Clark Thompson Quotes

He wished he could somehow go back and find the iPhone people whom he'd jostled on the sidewalk earlier, apologize to them - I'm sorry, I've just realized that I'm as minimally present in this world as you are, I had no right to judge -

Clark County’s

While the men at Attica hoped that powerful people such as State Senator John Dunne still might do something on their behalf, there was little consensus regarding what to do if this effort also failed to bring some meaningful improvements to their facility. The disparate political factions in the yard had been talking about this very question for some time now—activists like Sam Melville from the Weather Underground (a revolutionary organization committed to fighting racism and imperialism), Black Panthers like Tommy Hicks, Black Muslims like Richard X Clark, and men like Mariano “Dalou” Gonzalez from the Young Lords Party (a grassroots activist organization working in cities like New York and Chicago to improve conditions for Puerto Ricans).1 Still, no new strategy had been agreed upon. By early September 1971, however, and after Oswald’s taped message, all of them could agree on one crucial point: most men at Attica were now at a breaking point. Just about anything might cause this place to explode.

The next week, Finian’s Rainbow began a twelve-week filming schedule. Jerry Jackson recalled that when Coppola was unhappy with Pan’s choreography he would ask him (Jackson) to change it rather than approach Pan directly—so poor was the working relationship between director and choreographer. Michael Goodwin and Naomi Wise suggest that the tension between them may have had less to do with Pan’s work and more to do with the challenge he presented to Coppola’s authority: “Coppola described Pan as ‘a disaster.’ That probably means that Pan disagreed with him or insisted that the camera serve the choreography, not vice versa, or asked for more rehearsal time for the numbers” (Goodwin 1989, 79). After the filming of “That Great Come-and-Get-It Day” in which Pan makes his final on-screen appearance shining shoes in a barbershop vignette, his twenty-week guarantee was up and he was released from the film. Since Jackson refused to stay on after Pan left, a young choreographer named Claude Thompson was hired to stage the remaining numbers. Even before Pan had been released, his work was subverted by Coppola who continually interrupted the choreography with cutaway shots of vignettes that were neither entertaining nor dramatically effective. The director had no choreographic training or experience and staged musical numbers based on concepts that often had no relationship to the sound of the music or the sense of the lyrics. For example, he filmed “Something Sort of Grandish” on a hill with Petula Clark hanging white bed sheets on a clothesline and conceptualized “If This Isn’t

The next week, Finian’s Rainbow began a twelve-week filming schedule. Jerry Jackson recalled that when Coppola was unhappy with Pan’s choreography he would ask him (Jackson) to change it rather than approach Pan directly—so poor was the working relationship between director and choreographer. Michael Goodwin and Naomi Wise suggest that the tension between them may have had less to do with Pan’s work and more to do with the challenge he presented to Coppola’s authority: “Coppola described Pan as ‘a disaster.’ That probably means that Pan disagreed with him or insisted that the camera serve the choreography, not vice versa, or asked for more rehearsal time for the numbers” (Goodwin 1989, 79). After the filming of “That Great Come-and-Get-It Day” in which Pan makes his final on-screen appearance shining shoes in a barbershop vignette, his twenty-week guarantee was up and he was released from the film. Since Jackson refused to stay on after Pan left, a young choreographer named Claude Thompson was hired to stage the remaining numbers. Even before Pan had been released, his work was subverted by Coppola who continually interrupted the choreography with cutaway shots of vignettes that were neither entertaining nor dramatically effective. The director had no choreographic training or experience and staged musical numbers based on concepts that often had no relationship to the sound of the music or the sense of the lyrics. For example, he filmed “Something Sort of Grandish” on a hill with Petula Clark hanging white bed sheets on a clothesline and conceptualized “If This Isn’t Love” as a series of children’s games. The director’s method of staging was little more than playing the music for a dance routine and telling the actors to “move with