He Thought He Left The Life Behind Him... He Was Wrong.
Plot
Two actors, as their make up is applied, talk about the size of their parts. Then into the film: Laurence Sterne's unfilmable novel, Tristram Shandy, a fictive autobiography wherein the narrator, interrupted constantly, takes the entire story to be born. The film tracks between "Shandy" and behind the scenes. Size matters: parts, egos, shoes, noses. The lead's girlfriend, with their infant son, is up from London for the night, wanting sex; interruptions are constant. Scenes are shot, re-shot, and discarded. The purpose of the project is elusive. Fathers and sons; men and women; cocks and bulls. Life is amorphous, too full and too rich to be captured in one narrative.
Keywords: actor-playing-himself, assistant, baby, based-on-novel, battle, boots, breaking-the-fourth-wall, child-nudity, circumcision, diaper
Because everyone loves an accurate period piece.
He's About To Play The Role Of His Life.
Jennie: 'Fear Eats The Soul,' there's more truth in that title than most whole films.
Tony Wilson: Why "Tristram Shandy"? This is the book that many people said is unfilmable.::Steve Coogan: I think that's the attraction. "Tristram Shandy" was a post-modern classic written before there was any modernism to be post about. So it was way ahead of its time and, in fact, for those who haven't heard of it, it was actually listed as number eight on the Observer's top 100 books of all time.::Tony Wilson: That was a *chronological* list.
Rob Brydon: [Rob shows Steve his teeth] What do you think? Have a look at the color.::Steve Coogan: I saw the color the last time I looked. It registered.::Rob Brydon: It's what they call "not white." What color would you call it?::Steve Coogan: I would, I'd concur with "not white." I'd go further.::Rob Brydon: I mean, it's not yellow.::Steve Coogan: I, you know, I mean, there's a sliding scale, isn't there, you know.::Rob Brydon: Hint of yellow.::Steve Coogan: I think you're closest to...::Rob Brydon: Barley meadow. Tuscan sunset.::Steve Coogan: You're getting laughs, but it's not making your teeth look any better.
Steve Coogan: [Steve is hanging upside down in the model womb] How about filming the other way around, the right way up, and then just flip the image?::Leo: Well, maybe, but I'd have to have a word with Mark about that. I mean, I think he wanted the realism.::Steve Coogan: He wants realism?::Leo: Yeah.::Steve Coogan: Yeah, I'm a grown man, talking to the camera, in a fucking womb!
Steve Coogan: Do you know there's a good Groucho Marx story about, see, he meets a woman with seven children and says "Why've you got seven kids?" and she says "Because I love my husband." And he says, "Well, I love my cigar, but I take it out now and again."
Steve Coogan: Given that the story's about Walter's love for his son, I really think that Walter should be there at the birth.::Joe: It's the 18th Century. Men just didn't do that. You're a 21st Century man, but Walter can't be.::Steve Coogan: He talks to the fucking camera. He can be emotional. If you saw Walter for an instant holding the baby in his arms, then you would forgive him all his flaws.::Joe: Yeah, but it would look terrible. It'd be like the scene in Robin Hood where Kevin Costner delivers a baby.::Steve Coogan: Because he's got a stupid mullet haircut.
Rob Brydon: [Rob shows Steve his teeth] What do you think? I've had them done.::Steve Coogan: I know you have.::Rob Brydon: What do you think? Feel that one. There's no crevice. Feel it.::Steve Coogan: Don't ask me to feel your teeth.::Rob Brydon: Just close your eyes and feel it.::Steve Coogan: No. It's your fucking teeth. Christ!::Rob Brydon: What is the matter with you? You've got such a thing about, whenever there's a hint of something gay, you immediately...::Steve Coogan: What? This has nothing to do with "gay". I'm very cautious.::Rob Brydon: That's what it is. You don't want to touch another man's teeth, because you're worried you might be attracted to me. Just touch my teeth.
Steve Coogan: I've got to be able to kick and stretch. That's what foeti do.::Leo: Yeah, but not when they're full term.::Steve Coogan: He wants realism. Yeah. I'm a grown man, talking to the camera, in a womb.
Rob Brydon: The thing is, I can't act...::Steve Coogan: I know that.::Rob Brydon: ...with Gillian Anderson. I have a sexual thing for Gillian Anderson.
Tristram Shandy: That is a child actor, pretending to be me. I'll be able to play myself later. I think I could probably get away with being eighteen, nineteen. Until then, I'll be played by a series of child actors. This was the best of a bad bunch.
Plot
Terri Hansen is discovered in the desert beside the blackened husk of her car which contains the charred corpse of her husband. When forensic evidence makes her out to be her husband's murderer, she quietly protests her innocence, but makes no effort to mount a defense. Terri doesn't expect to be believed. Was it self-defense or murder? While Terri acts strangely indifferent to her own fate, her attorney tries to reconstruct what happened. The moral ambiguity and the unfathomable mysteries of the human heart are just the sort of thing her attorney had hoped to leave behind him when he left big city law. In flashback, we see Terri's story.
Keywords: marital-abuse
Plot
In 1815, Michael Martin, member of an Irish revolutionary society, turns highwayman to support it, and is forced to flee into outlawry. In Dublin, he meets famous rebel "Captain Thunderbolt" and becomes his second-in-command, "Lightfoot." 'Tis a perilous life, with captures, turncoats, rescues, and romance.
Keywords: 1800s, 19th-century, ballroom-dance, based-on-novel, castle, caught-eavesdropping, character-name-in-title, disguise, dragoon, dublin
an unforgettably beautiful love story
bringing again to the screen those brilliant young stars of Magnificent Obsession in W.R.Burnett's dramatic best-seller !
Trim may refer to:
DJ Cameo is a British disc jockey and former host of Pirate Sessions, a now-defunct Sunday afternoon grime show on the digital UK radio station BBC 1Xtra. He now presents the Tuesday night UKG show. The music Cameo produces varies from 2 step vocals, to 4x4, to grime, and sublow. In 2004, Cameo was voted winner of the "Best Newcomer" Award for the garage scene's 2004 Peoples Choice Awards held in London. Cameo also received two back to back awards on behalf of Uptown Records, winner of best record shop.
DJ Cameo began his DJing career back in 1997 playing in local bars and clubs in West London. His main influences at that time were Tuff Jam, EZ and the Dreem Teem. Cameo landed on the set on London's Taste FM. This allowed him to be heard on the UK underground music scene and to gain experience in working on a radio station. With success on Taste FM Cameo also featured on other pirate stations such as Delight FM, Ice FM and Lush Fm.
In 2001 he secured a job at Uptown records, a European underground music store and has since been promoted to head buyer for the UK garage department. That same year Cameo teamed up with Danny C and MC Viper to produce Addicted. Cameo then got involved with producer J-Sweet to produce the underground track "Hi Grade" that was then signed to the MOBO 2002 compilation, and more recently the 2003 Garage anthem "original bad girl style" featuring Gemma Fox for ministry of sounds street beats compilation.
He-he-heat in your skin, pull up a chair and unwind
Dog we don't share, the taxi left us behind
Silhouette of a psychic reader in the market
And the straw wrapped around a bottle to take home
Barbecue chicken oil in a drum, double strong wrong
Here comes the horn you call for
Woman in a box with her head in her box
Speaks French when spoken like a tourist French
Hey classic Coca-Cola in a can
When you wanna cool down
Heat, she move up the street in waves
Sugar, sugar, clear your mind, leave it all behind
Get in the boat and float, join in on a high spot
And ride, ride, put on some smile, stay for a while
Heat, she move up the street in waves
Sugar, sugar, clear your mind, leave it all behind
Get in the boat and float, join in on a high spot