Crew Movie Quotes

Lord Cutler Beckett: [Jack is about to light a cannon that's pointed at the mast] You're mad. Jack Sparrow: Thank goodness for that, 'cause if I wasn't this would probably never work. [fires the cannon, which catapults him onto his ship, landing safely on his feet behind his crew] Jack Sparrow: And that was without even a single drop of rum.

Ever director has at least 10 bad films in them.

Our virus is a lot smarter than the ones you see in zombie movies. It doesn't make its victims stagger around slobbering and moaning so anyone in their right minds would run the other way. It gets you cozying up to people so you cough and sneeze it right into their faces. We just need the vaccine. Then we'll be okay.

Stalking a girl who preferred to lie in bed watching movies, reading, and ordering endless takeout was boring. It had been four days, and she had only left the house twice. How could I stalk her if this was all she did?

I keep thinking about all the kids who got wiped out by seventeen years of war movies before coming to Vietnam to get wiped out for good. You don’t know what a media freak is until you’ve seen the way a few of those grunts would run around during a fight when they knew that there was a television crew nearby; they were actually making war movies in their heads, doing little guts-and-glory Leatherneck tap dances under fire, getting their pimples shot off for the networks. They were insane, but the war hadn’t done that to them. Most combat troops stopped thinking of the war as an adventure after their first few firefights, but there were always the ones who couldn’t let that go, these few who were up there doing numbers for the cameras… We’d all seen too many movies, stayed too long in Television City, years of media glut had made certain connections difficult.

…Sam [Raimi] wanted the climactic sword fight to play out as elegantly as a Fred Astaire movie and he wanted it all in one crane shot. I must have rehearsed the routine for three weeks, but when it came time to shoot, the rigors of running up and down steps, fighting with both hands, and flipping skeletons over my head was too much to pull off without cuts. After ten takes, I knew Sam was pissed off, because he yanked the bullhorn from John Cameron. ‘Okay, obviously, this is NOT WORKING, and it’s NOT GOING TO WORK, so we’re going to break it up into A THOUSAND LITTLE PIECES.’ When Sam gets upset, he lets you know it, and he’ll torture you for days afterward because he’s one of those guys who never forgets. The first ‘little piece’ of the sequence was a shot of me ducking as a sword glances off the stone wall behind me. ‘So, you think you can do this, Bruce?’ he’d say, loud enough for the entire crew to hear. ‘Or should I break this ONE shot into THREE MORE SHOTS?’ Sam also threatened to put Ash in a chorus line with skeletons.

Dating is all about getting to know somebody, without wasting a lot of time or money. What is the price of love? You’ve got the cost of dinner, a movie, and cab fare for you and your date, as well as the entire film crew documenting your evening. So you add all that up, and subtract various coupons and bulk discount rates you might qualify for. But what about time? You can make more money, but you can’t make more time if you waste it. That’s why you have to be efficient with your dating. Don’t date one on one. Take 10 women out at once, assembly line style, and forget the small talk. Focus on hard-hitting topics, and give them all questionnaires to fill out. I think the women will appreciate your honest and novel approach. Of course it’s possible that nine out of ten women might be offended. But who cares? All you need is one.


As time passes, the cast and crew go the way of all flesh, though their celluloid echoes remain--walking, talking, fighting, fucking. After enough time, every person you see onscreen will have died, transformed through the magic of cinema into a collection of visible memories: light on a screen, pixels on a videotape, information on a DVD. We bring them back every time we start a movie, and they live again, reflected in our eyes. It's a cruel sort of immortality, I guess, though it probably beats the alternative.

It was a feeling shared by most of the boys Ebright coached, among them Robert McNamara, later the U.S. secretary of defense, and the movie star Gregory Peck, who in 1997 donated twenty-five thousand dollars to the Cal crew in Ebright’s memory.

I felt like Ray in the movie Field of Dreams when only he and his family could see the ghosts in his cornfield. Then finally that one moment came when everyone could see them. The smile on Kevin Costner's face was my smile, but it wasn't in a fictional movie

Probably the most wasteful and pointless aspect of The Room’s production was Tommy’s decision to simultaneously shoot his movie with both a 35mm film camera and a high-definition (HD) camera. In 2002, an HD and 35mm film camera cost around $250,000 combined; the lenses ran from $20,000 to $40,000 apiece. And, of course, you had to hire an entirely different crew to operate this stuff. Tommy had a mount constructed that was able to accommodate both the 35mm camera and HD camera at the same time, meaning Tommy needed two different crews and two different lighting systems on set at all times. The film veterans on set had no idea why Tommy was doing this. Tommy was doing this because he wanted to be the first filmmaker to ever do so. He never stopped to ask himself why no one else had tried.

Standing in the corner, leaning aginst the wall, is a fifth man. If Grange is a Hummer, this guy's an 18-wheel Mack truck, thinks Roddy. Parked, with its engine idling. He reminds Roddy of Ivan Drago from that Rocky movie. The guy must stand six five and tip the scales at 270. Pure, rock-hard muscle. His crew-cut blond hair is slickly gelled; his face--especially those cheekbones and that lantern jaw--could be carved from granite. He, no doubt, spends counteless hours at some muscle emporium. Pure muscle, but probably clumsy; he would go down fast if Roddy drove a flurry of punches into his gut and face. A gold earring pierces the guy's left earlobe. The drape of the jacket on his Schwarzenegger shoulders shows a bulge on the left side. The guy's packing some serious hardware. Mack Truck stares blankly and stands rock-still, hands clasped in front of his gargantuan body.

Taking a trip with the Air Force Special Operations Wing folks is not like a flight on a normal airliner. For one thing, passengers and crew are all armed to the teeth. The seating is awful, the noise is incredible, and there is no movie. Your stewardess is likely to be a guy wearing a shoulder holster, and he will not bring you a pillow.

Yeah. Because her life was always that easy. The crew would take care of Ellie. She put him in a corner of her mind for later. Right now, she had to concentrate on helping a little boy. And destroying an evil man. Chapter Twenty-Four She cursed her trembling hands as she rid herself of her weapons, haphazardly tossing belts, guns, and shivs into her car. She might find Matthew alive and well inside that church, but where COS was concerned, she couldn’t get too optimistic. The outside of the building looked so benign, giving no hint of the bleak darkness inside. Her walk from the car to the front doors seemed to take an eternity, each step an effort. Her gut was screaming for her to run back to the car and get the hell out of there—to call in reinforcements. It was every horror movie she’d ever seen, scoffing at the stupid heroine for going into the house, the basement, the woods. Alone. She knew bad things were about

Sometimes entire families participate unconsciously in a culture of self-dramatization. The kids fuel the tanks, the grown-ups arm the phasers, the whole starship lurches from one spine-tingling episode to another. And the crew knows how to keep it going. If the level of drama drops below a certain threshold, someone jumps in to amp it up. Dad gets drunk, Mom gets sick, Janie shows up for church with an Oakland Raiders tattoo. It's more fun than a movie. And it works: Nobody gets a damn thing done. Sometimes

Just sit right back And you'll hear a tale A tale of a fateful trip, That started from this tropic port, Aboard this tiny ship. The mate was a mighty sailin' lad, The Skipper brave and sure, Five passengers set sail that day, For a three hour tour, A three hour tour. The weather started getting rough, The tiny ship was tossed. If not for the courage of the fearless crew The Minnow would be lost. The Minnow would be lost. The ship set ground on the shore Of this uncharted desert isle With Gilligan, The Skipper too. The millionaire And his wife, The movie star, The professor and Mary Ann, Here on Gilligan's Isle. So this is the tale of our castaways, They're here for a long long time. They'll have to make the best of things, It's an uphill climb. The first mate and his Skipper too Will do their very best, To make the others comf'terble In their tropic island nest. No phone, no lights, no motor car, Not a single luxury Like Robinson Crusoe It's primitive as can be. So join us here each week my friends, You're sure to get a smile, From seven stranded castaways Here on Gilligan's Isle!

It takes an army to make a movie. Camera crews, lighting crews, wardrobe crews, makeup crews, hair crews, painters, builders (called grips), a crew to provide the props, a crew to provide the furnishings (the art department), electricians, special-effects people, stunt performers, stand-ins, the accountant, scheduling and finance (called the unit production manager), catering and someone to provide snacks and drinks (called craft service), and the team of walkie-talkie-armed Gestapo that police the second-by-second momentum of shooting: the assistant director staff.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

In heist movies, there's always a montage of scenes where the caper crew rehearses for the big day. The greaser person practices maneuvering through a mock laser beam field made up of string. The driver races through obstacle courses, back alleys, and dark city streets. The hacker pounds on her keyboard, staring at screens full of code. The gadget person demonstrates all their clever toys. The key master practices opening a safe. The muscle finds a few security guards to knock unconscious and wrestles guard dogs to the ground. The inside person seduces or befriends the target and gets them to spill their secrets. And the leader organizes it all with the help of her second-in-command. At least, that's the way it works in the movies. In real life, with a bunch of newbs who are scraping by with low-paying jobs, inflexible hours, difficult bosses, and a bunch of side gigs to make ends meet, just organizing a rehearsal heist was one hell of a task.

Islamophobia” as a weapon of jihad The charge of “Islamophobia” is routinely used to shift attention away from jihad terrorists. After a rise in jihadist militancy and the arrest of eight people in Switzerland on suspicion of aiding suicide bombers in Saudi Arabia, some Muslims in Switzerland were in no mood to clean house: “As far as we’re concerned,” said Nadia Karmous, leader of a Muslim women’s group in Switzerland, “there is no rise in Islamism, but rather an increase in Islamophobia.”5 This pattern has recurred in recent years all over the world as “Islamophobia” has passed into the larger lexicon and become a self-perpetuating industry. In Western countries, “Islamophobia” has taken a place beside “racism,” “sexism,” and “homophobia.” The absurdity of all this was well illustrated by a recent incident in Britain: While a crew was filming the harassment of a Muslim for a movie about “Islamophobia,” two passing Brits, who didn’t realize the cameras were rolling, stopped to defend the person being assaulted. Yet neither the filmmakers nor the reporters covering these events seemed to realize that this was evidence that the British were not as violent and xenophobic as the film they were creating suggested.6 Historian Victor Davis Hanson has ably explained the dangerous shift of focus that “Islamophobia” entails: There really isn’t a phenomenon like “Islamophobia”—at least no more than there was a “Germanophobia” in hating Hitler or “Russophobia” in detesting Stalinism. Any unfairness or rudeness that accrues from the “security profiling” of Middle Eastern young males is dwarfed by efforts of Islamic fascists themselves—here in the U.S., in the UK, the Netherlands, France, Turkey, and Israel—to murder Westerners and blow up civilians. The real danger to thousands of innocents is not an occasional evangelical zealot or uncouth politician spouting off about Islam, but the deliberately orchestrated and very sick anti-Semitism and anti-Americanism that floods the airways worldwide, emanating from Iran, Lebanon, and Syria, to be sure, but also from our erstwhile “allies” in Egypt, Saudi Arabia, and Qatar.7

University, where she is an adjunct professor of education and serves on the Veterans Committee, among about a thousand other things. That’s heroism. I have taken the kernel of her story and do what I do, which is dramatize, romanticize, exaggerate, and open fire. Hence, Game of Snipers. Now, on to apologies, excuses, and evasions. Let me offer the first to Tel Aviv; Dearborn, Michigan; Greenville, Ohio; Wichita, Kansas; Rock Springs, Wyoming; and Anacostia, D.C. I generally go to places I write about to check the lay of streets, the fall of shadows, the color of police cars, and the taste of local beer. At seventy-three, such ordeals-by-airport are no longer fun, not even the beer part; I only go where there’s beaches. For this book, I worked from maps and Google, and any geographical mistakes emerge out of that practice. Is the cathedral three hundred yards from the courthouse in Wichita? Hmm, seems about right, and that’s good enough for me on this. On the other hand, I finally got Bob’s wife’s name correct. It’s Julie, right? I’ve called her Jen more than once, but I’m pretty sure Jen was Bud Pewtie’s wife in Dirty White Boys. For some reason, this mistake seemed to trigger certain Amazon reviewers into psychotic episodes. Folks, calm down, have a drink, hug someone soft. It’ll be all right. As for the shooting, my account of the difficulties of hitting at over a mile is more or less accurate (snipers have done it at least eight times). I have simplified, because it is so arcane it would put all but the most dedicated in a coma. I have also been quite accurate about the ballistics app FirstShot, because I made it up and can make it do anything I want. The other shot, the three hundred, benefits from the wisdom of Craig Boddington, the great hunter and writer, who looked it over and sent me a detailed email, from which I have borrowed much. Naturally, any errors are mine, not Craig’s. I met Craig when shooting something (on film!) for another boon companion, Michael Bane, and his Outdoor Channel Gun Stories crew. For some reason, he finds it amusing when I start jabbering away and likes to turn the camera on. Don’t ask me why. On the same trip, I also met the great firearms historian and all-around movie guy (he knows more than I do) Garry James, who has become

The culture we have does not make people feel good about themselves. And you have to be strong enough to say if the culture doesn’t work, don’t buy it.” Morrie, true to these words, had developed his own culture—long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted no time in front of TV sitcoms or “Movies of the Week.” He had created a cocoon of human activities—conversation, interaction, affection—and it filled his life like an overflowing soup bowl.I had also developed my own culture. Work. I did four or five media jobs in England, juggling them like a clown. I spent eight hours a day on a computer, feeding my stories back to the States. Then I did TV pieces, traveling with a crew throughout parts of London. I also phoned in radio reports every morning and afternoon. This was not an abnormal load. Over the years, I had taken labor as my companion and had moved everything else to the side.

The original flagship for the company was the MS City of New York, commanded by Captain George T. Sullivan, On March 29, 1942, she was attacked off the coast of Cape Hatteras, North Carolina, by the German submarine U-160. The torpedo struck the MS City of New York at the waterline under the ship’s bridge, instantly disabling her. After allowing the survivors to get into lifeboats the submarine sunk the ship. Almost two days after the attack, a destroyer, the USS Roper, rescued 70 survivors, of which 69 survived. An additional 29 others were picked up by USS Acushnet, formerly a seagoing tugboat and revenue cutter, operated by the U.S. Coast Guard. All these survivors were taken to the Naval Base in Norfolk, Virginia. Almost two weeks later, on April 11, 1942, a U.S. Army bomber on its way to Europe spotted a lifeboat drifting in the Gulf Stream. The boat contained six passengers: four women, one man and a young girl plus thirteen crew members. Tragically two of the women died of exposure. The eleven survivors picked up by the U.S. Coast Guard Cutter CG-455 and were brought to Lewes, Delaware. The final count showed that seven passengers died as well as one armed guard and sixteen crewmen. Photo Caption: the MS City of New York Hot books by Captain Hank Bracker available at Amazon.com “Salty & Saucy Maine,” is a coming of age book that recounts Captain Hank Bracker’s formative years. “Salty & Saucy Maine – Sea Stories from Castine” tells many sea stories of Captain Hank’s years at Maine Maritime Academy and certainly demonstrates that life should be lived to the fullest! In 2020 it became the most talked about book Down East! “The Exciting Story of Cuba -Understanding Cuba’s Present by Knowing Its Past” ISBN-13: 978 1484809457. This multi-award winning history of Cuba is written in an easy-to-read style. Follow in the footsteps of the heroes, beautiful movie stars and sinister villains, who influenced the course of a country that is much bigger than its size! This book is on the shelf as a reference book at the American Embassy in Havana and most American Military and Maritime Academies.

Because what would you rather read about: a swashbuckling starship captain? Or a being as incomprehensible to us as we are to an amoeba? To be fair, science fiction novels have been written about a future in which this transformation has occurred. And I could write one of these, as well. The problem is that for the most part, people like reading about other people. People who are like them. People who act and think like, you know . . . people. Even if we imagine a future society of omniscient beings, we wouldn’t have much of a story without conflict. Without passions and frailties and fear of death. And what kind of a story could an amoeba write about a man, anyway? I believe that after a few hundred years of riding up this hockey-stick of explosive technological growth, humanity can forge a utopian society whose citizens are nearly-omniscient and nearly-immortal. Governed by pure reason rather than petty human emotions. A society in which unrecognizable beings live in harmony, not driven by current human limitations and motivations. Wow. A novel about beings we can’t possibly relate to, residing on an intellectual plane of existence incomprehensible to us, without conflict or malice. I think I may have just described the most boring novel ever written. Despite what I believe to be true about the future, however, I have to admit something: I still can’t help myself. I love space opera. When the next Star Trek movie comes out, I’ll be the first one in line. Even though I’ll still believe that if our technology advances enough for starships, it will have advanced enough for us to have utterly transformed ourselves, as well. With apologies to Captain Kirk and his crew, Star Trek technology would never coexist with a humanity we can hope to understand, much as dinosaurs and people really didn’t roam the earth at the same time. But all of this being said, as a reader and viewer, I find it easy to suspend disbelief. Because I really, really love this stuff. As a writer, though, it is more difficult for me to turn a blind eye to what I believe will be the truth. But, hey, I’m only human. A current human. With all kinds of flaws. So maybe I can rationalize ignoring my beliefs long enough to write a rip-roaring science fiction adventure. I mean, it is fiction, right? And maybe dinosaurs and mankind did coexist. The Flintstones wouldn’t lie, would they?  So while the mind-blowing pace of scientific progress has ruined far-future science fiction for me, at least when it comes to the writing of it, I may not be able to help myself. I may love old-school science fiction too much to limit myself to near-future thrillers. One day, I may break down, fall off the wagon, and do what I vowed during my last Futurists Anonymous meeting never to do again: write far-future science fiction.  And if that day ever comes, all I ask is that you not judge me too harshly.

Oh yeah, who doesn't love a movie night with their bestie, watching home videos of her getting fucked by four dudes at once?

Stalking a girl who preferred to lie in bed watching movies, reading, and ordering endless takeout was boring. It had been four days, and she had only left the house twice.

You can’t seriously be entertained by this. I think we’ve watched this episode already. Regan ?? Who is this? Unknown Put on a better show. Or a movie maybe? Something scary or maybe…Taken?

There were many people killed in that movie, but everyone worries about the horse. It was the same on the set. When the head arrived, it upset crew members who are animal lovers, who like little doggies. What they didn’t know is that we got the head from a pet food manufacturer who slaughters two hundred horses a day just to feed those little doggies.

As I write this, I’m sitting in a café in Paris overlooking the Luxembourg Garden, just off of Rue Saint-Jacques. Rue Saint-Jacques is likely the oldest road in Paris, and it has a rich literary history. Victor Hugo lived a few blocks from where I’m sitting. Gertrude Stein drank coffee and F. Scott Fitzgerald socialized within a stone’s throw. Hemingway wandered up and down the sidewalks, his books percolating in his mind, wine no doubt percolating in his blood. I came to France to take a break from everything. No social media, no email, no social commitments, no set plans . . . except one project. The month had been set aside to review all of the lessons I’d learned from nearly 200 world-class performers I’d interviewed on The Tim Ferriss Show, which recently passed 100,000,000 downloads. The guests included chess prodigies, movie stars, four-star generals, pro athletes, and hedge fund managers. It was a motley crew. More than a handful of them had since become collaborators in business and creative projects, spanning from investments to indie film. As a result, I’d absorbed a lot of their wisdom outside of our recordings, whether over workouts, wine-infused jam sessions, text message exchanges, dinners, or late-night phone calls. In every case, I’d gotten to know them well beyond the superficial headlines in the media. My life had already improved in every area as a result of the lessons I could remember. But that was the tip of the iceberg. The majority of the gems were still lodged in thousands of pages of transcripts and hand-scribbled notes. More than anything, I longed for the chance to distill everything into a playbook. So, I’d set aside an entire month for review (and, if I’m being honest, pain au chocolat), to put together the ultimate CliffsNotes for myself. It would be the notebook to end all notebooks. Something that could help me in minutes but be read for a lifetime.

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Gentile’s office in downtown Las Vegas, I got on the elevator and turned around and there was a TV camera. It was just the two of us in the little box, me and the man with the big machine on his shoulder. He was filming me as I stood there silent. “Turn the camera off,” I said. He didn’t. I tried to move away from him in the elevator, and somehow in the maneuvering he bumped my chin with the black plastic end of his machine and I snapped. I slugged him, or actually I slugged the camera. He turned it off. The maids case was like a county fair compared with the Silverman disappearance, which had happened in the media capital of the world. It had happened within blocks of the studios of the three major networks and the New York Times. The tabloids reveled in the rich narrative of the case, and Mom and Kenny became notorious throughout the Western Hemisphere. Most crimes are pedestrian and tawdry. Though each perpetrator has his own rap sheet and motivation and banged-up psyche, the crime blotter is very repetitive. A wife beater kills his wife. A crack addict uses a gun to get money for his habit. Liquor-store holdups, domestic abuse, drug dealer shoot-outs, DWIs, and so on. This one had a story line you could reduce to a movie pitch. Mother/Son Grifters Held in Millionaire’s Disappearance! My mother’s over-the-top persona, Kenny’s shady polish, and the ridiculous rumors of mother-son incest gave the media a narrative it couldn’t resist. Mom and Kenny were the smart, interesting, evil criminals with the elaborate, diabolical plan who exist in fiction and rarely in real life. The media landed on my life with elephant feet. I was under siege as soon as I returned to my office after my family’s excursion to Newport Beach. The deluge started at 10 A.M. on July 8, 1998. I kept a list in a drawer of the media outlets that called or dropped by our little one-story L-shaped office building on Decatur. It was a tabloid clusterfuck. Every network, newspaper, local news station, and wire service sent troops. Dateline and 20/20 competed to see who could get a Kimes segment on-air first. Dateline did two shows about Mom and Kenny. I developed a strategy for dealing with reporters. My unusual training in the media arts as the son of Sante, and as a de facto paralegal in the maids case, meant that I had a better idea of how to deal with reporters than my staff did. They might find it exciting that someone wanted to talk to them, and forget to stop at “No comment.” I knew better. So I hid from the camera crews in a back room, so there’d be no pictures, and I handled the calls myself. I told my secretary not to bother asking who was on the line and to transfer all comers back to me. I would get the name and affiliation of the reporter, write down the info on my roster, and

Udhayanidhi Stalin, Nayantara, Chaya Singh, Santhanam latest Tamil movie Idhu Kathirvelan Kadhal - Movie Review, Movie Rating, Movie News, Cast and Crew Details and much more @ iluvcinema.in Movie Name : Idhu Kathirvelan Kadhal Director : S.R.Prabhakaran Producer : Udhayanidhi Stalin Music Director : Harris Jayaraj Cast & Crew : Udhayanidhi Stalin, Nayantara, Chaya Singh, Santhanam

Director: Saravana Rajan Producer: Dayanidhi Azhagiri Written : Saravana Rajan Starring: Jai,Swati Reddy Music: Yuvan Shankar Raja Cinematography: Venkatesh S. Release Date: Jan 24, 2014 Editing: Praveen K. L, N. B. Srikanth Director Saravana Rajan’s debut comedy thriller ‘Vadacurry’ features actors Swati Reddy and Jai in lead role. ‘Vadacurry’ is produced by Dhayanidhi Alagiri with Yuvan Shankar Raja’s music. Bollywood actress Sunny Leone has shaken her legs for ‘Vadacurry’ Tamil film’s dream song with actor Jai in Bangkok. The shooting of the song was held in December 2013. It’s a dream sequence of Jai’s character in the ‘Vadacurry’ where, Sunny will be grooving with him. Sunny was given half-sari, bangles and anklets to portray a typical south Indian look in this song. However, the hot diva loved trying these accessories to shake her legs for her debut film in Kollywood ‘Vadacurry’. ‘Vadacurry’ Tamil movie’s cinematography is handled by Venkatesh. ‘Vadacurry’ team started rolling on floors from August 19, 2013. Interestingly, ‘Vadacurry’ Tamil movie’s music composer Yuvan Shankar Raja is cousin of director Saravana Rajan. Director Saravana Rajan has followed the steps of his tutor Venkat Prabhu in coining food names as title for his movie ‘Vadacurry’ that matched with Venkat Prabhu’s recent release ‘Biriyani’. The charming beauty Anusha Dhayanidhi has made a debut as costume designer in ‘Vadacurry’. Anusha Dhayanidhi has transformed the looks of female lead Swathi in ‘Vadacurry’ Tamil film. It should be noted that ‘Subramaniyapuram’ pairs, who had portrayed good chemistry have joined this comedy entertainer ‘Vadacurry’. However, ‘Vadacurry’ Tamil film is ready to be served on 24January, 2014 to give a punch of full-on comedy with its taste and essence.

HEROPANTI MOVIE REVIEW & RATING Movie Name: Heropanti Director: Sabbir Khan Producer: Sajid Nadiadwala Music Director: Sajid-Wajid, Manj Musik Cast: Tiger Shroff, Kirti Sanon, Sandeepa Dhar ‘Heropanti’, a love story is directed by Sabbir Khan and produced by Sajid Nadiadwala. It is the debut movie of Tiger Shroff (son of superstar Jackie Shroff) and Kirti Sanon, both starring in lead roles alongside Sandeepa Dhar featuring in a pivotal role. Overall it is a remake of Telugu movie ‘Parugu’ starring Allu Arjun. ‘Heropanti’ is all about another new gem in Bollywood industry. Big launch with hit songs. New faces- heroine as well as hero. Does it work? Let’s go through to know it… ‘Heropanti’ borrows half of its title from Sr. Shroff’s breakout film and is also having the signature tune from ‘Hero’ (1983) which is being played in the background repeatedly. The action movie is not as terrible as Salman and Akshay films. The newcomer Tiger Shroff has done amazing stunts in the film. The story is set in the land of Jattland in Harayana where Chaudhary (Prakash Raj), the Haryanvi goon is completely against love marriages. He has two daughters- Renu (Sandeepa Dhar) and Dimpi (Kirti Sanon). Chaudharyji’s elder daughter Renu’s marriage is held, but on the wedding night she elopes with her boyfriend Rakesh. Her step results in a frantic search for her across the village. Chaudharyji launches a manhunt to track them down and eliminate them. Now Haryanvi goon’s men suspects Rakesh’s friends and thinks that they may know where Renu is. So the goon decides to kidnap the buddies of his daughter’s lover. Bablu (Tiger Shroff) turns to be one of the buddies with ultra muscular head and shoulders model who falls in love with Chaudharyji’s younger daughter Dimpy (Kirti Sanon). The goons manage to trace Bablu who has actually helped Rakesh and Renu in escaping. Bablu, meanwhile in captivity, shares with his pals about his love interest. Bablu falls in love at first sight with the pretty younger daughter of Chaudharyji’s, Dimpy. He comes to know quite early that it is none other than the Harynavi goon Chaudharyji’s daughter. The movie tries to end up in a ‘Dilwale Dulhania Le Jayenge’ style where Bablu uses his superpowers and figures out to be with his love but without offending her father. launch pad for Shroff to show his acting and dancing skills. Plan to watch it, if nothing left to do. Tiger Shoff is a great action hero. When it comes to action, he is a star but comparatively his acting skills are zero. Kirti Sanon requires a little brushing up on her acting skills she reminds us somewhere of young Deepika Padukone who is surely going to have a good run in the industry someday. Verdict: It’s the most masala-less movie of this year with more action and less drama. But the movie is a perfect

Once we walked into the emergency department, it looked like a scene from a Western movie. Quaadir, King, Nasir, Dutch, Markese, Sarge, Rahmeek, Killa, Hassan, and Boogie were all standing front and center with their guns out, and another crew of men I never seen before also had their guns out.

All Sam Peckinpah ever did in his movies was show that getting hit on the chin doesn't sound like [makes a small popping noise]. When one grown man hits another grown man in the face, it splatters like an overripe tomato. And it's not fun getting killed. It's bloody and gory and altogether unpleasant. That's all Sam Peckinpah ever did.

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element.

The writing part is always the hardest part of filmmaking. Almost anyone can direct—they won’t necessarily direct well, but the machinery works—you can take someone off the street and put them with an experienced crew and the movie will get made. But writing can’t be faked. It doesn’t run itself. It has to be worked out very specifically, word for word, image for image.

Creating soap opera in our lives is a symptom of Resistance. Why put in years of work designing a new software interface when you can get just as much attention by bringing home a boyfriend with a prison record?   Sometimes entire families participate unconsciously in a culture of self-dramatization. The kids fuel the tanks, the grown-ups arm the phasers, the whole starship lurches from one spine-tingling episode to another. And the crew knows how to keep it going. If the level of drama drops below a certain threshold, someone jumps in to amp it up. Dad gets drunk, Mom gets sick, Janie shows up for church with an Oakland Raiders tattoo. It’s more fun than a movie. And it works: Nobody gets a damn thing done.

Mornings they get up late, eat breakfast in their cottages, then cross the road and spend the day gathered on the beach in front of Pasco’s place, one of about a dozen clapboard houses set on concrete pylons near the breakwater on the east end of Goshen Beach. They set up beach chairs, or just lie on towels, and the women sip wine coolers and read magazines and chat while the men drink beer or throw in a fishing line. There’s always a nice little crowd there, Pasco and his wife and kids and grandkids, and the whole Moretti crew—Peter and Paul Moretti, Sal Antonucci, Tony Romano, Chris Palumbo and wives and kids. Always a lot of people dropping by, coming in and out, having a good time. Rainy days they sit in the cottages and do jigsaw puzzles, play cards, take naps, shoot the shit, listen to the Sox broadcasters jaw their way through the rain delay. Or maybe drive into the main town two miles inland and see a movie or get an ice cream or pick up some groceries.

Later that night, I drink a Peartini. Italy now has the largest death rate of any country since the pandemic began. When we return, the cruise lines announce that all operations will be suspended after we dock. I order a Corona beer. The crew, which has been so kind to us, is still unsure what’s going on. They believe they’ll be scattered across different ports or given berths on the ship. We decide to pack rather than go to the silent disco. By the end of the cruise, movie theaters have unprecedentedly closed. President Trump says, “This is very contagious. This is a very contagious virus. It’s incredible. But it’s something we have tremendous control of.

Mary and Anne wore traditional women’s clothing around the sailors, but, when prepared for battle, they always dressed in men’s fashion. When called upon to fight, the two women would stand back-to-back, each holding a pistol in one hand and a machete in the other. They literally had each other’s back. For two months in 1720, Jack, Anne, and Mary ruled the seas, and their fame spread far and wide. (You may not realize it, but they are all recalled in modern culture; for instance, Jack flew a black flag with a skull and two criss-crossing sabers imprinted in white on it, and that is the stereotyped pirate flag used in movies such as Pirates of the Caribbean.) A bounty was on Calico Jack’s head, so both other pirates and government officials sailed the seas hoping to capture him. One evening after Calico Jack had captured a large Spanish ship, his crew was celebrating with alcohol and were so intoxicated that the crew of a British government ship was able to come aboard his ship unannounced. Most of Jack’s men were in the ship’s galley and immediately surrendered. Anne and Mary, who were upstairs relaxing with Jack in the captain’s quarters, fought until they were clearly overwhelmed. All the pirates were taken to prison and most sentenced to death.  Anne snarled in frustration as the men were led past her, “If you had just fought like men, you wouldn’t be hanging like dogs.” Anne and Mary, though, both escaped the death penalty – but not prison - because they were pregnant. Anne was found to be carrying Jack’s baby and Mary was carrying a crew member’s child. Mary got a fever and died in prison, but no one knows what happened to Anne.

Now, though, as we assembled the crew to work on our second film, A Bug’s Life, drawing on people who’d been key to Toy Story’s evolution, I discovered we’d completely missed a serious, ongoing rift between our creative and production departments. In short, production managers told me that working on Toy Story had been a nightmare. They felt disrespected and marginalized—like second-class citizens. And while they were gratified by Toy Story’s success, they were very reluctant to sign on to work on another film at Pixar. I was floored. How had we missed this? The answer, at least in part, was rooted in the role production managers play in making our films. Production managers are the people who keep track of the endless details that ensure that a movie is delivered on time and on budget. They monitor the overall progress of the crew; they keep track of the thousands of shots; they evaluate how resources are being used; they persuade and cajole and nudge and say no when necessary. In other words, they do something essential for a company whose success relies on hitting deadlines and staying on-budget: They manage people and safeguard the process. If there was one thing we prided ourselves on at Pixar, it was making sure that Pixar’s artists and technical people treated each other as equals, and I had assumed that that same mutual respect would be afforded to those who managed the productions. I had assumed wrong. Sure enough, when I checked with the artists and technical staff, they did believe that production managers were second-class and that they impeded—not facilitated—good filmmaking by overcontrolling the process, by micromanaging. Production managers, the folks I consulted told me, were just sand in the gears.

It’s hard to explain how important Star Trek is to me. I think I went to my first Star Trek convention when I was fifteen. So to hear that Leonard Nimoy—Mr. Spock—was on the phone, I was not processing what he was saying. I could only focus on his amazing voice. I thought this was a phone call to see if he’d agree to do the part, but in his mind, he had already agreed to do it! He had one specific note on the script, which is that Mr. Spock doesn’t use contractions when he speaks. He says “cannot;” he doesn’t say “can’t.” And I remember just being chagrined that I hadn’t intervened and had allowed this to go on. I loved Spock so much, I used to sneak lines of Mr. Spock dialogue from the movies and TV shows into Big Bang Theory and give them to Sheldon. There’s an episode early on where Sheldon and Leonard are having a fight, and Penny asks, “Well, how do you feel?” And Sheldon replies, “I don’t understand the question.” That’s from the beginning of Star Trek IV where Spock has reunited with his mind and his body, and is being quizzed by a computer about his status. So Leonard Nimoy was just one of many fanboy moments. I once said to LeVar Burton, “If I could go back in time and tell my teenage self there would be a day where I would eventually talk to three crew members of the USS Enterprise, I’d fall over and die.

The Other Side of the Wind is the story of Jake Hannaford, a hard-drinking, big-game-hunting, womanizing, adventure-seeking director who loves to shoot in remote locations around the world and revels in putting himself, his cast, and his crew in dangerous situations. Welles would joke that at least one crew member dies on the set of every Hannaford film. A product of the studio system, Hannaford fell out of favor and retreated to Europe for a few years of self-imposed exile and has finally returned to Los Angeles, seeking end money to complete his artsy, modernist attempt at a sex-infused and violence-laden comeback movie that reflects the style and values of New Hollywood circa 1970. As Welles mentioned in his introduction, the film examines the last day of Hannaford’s life as viewed through the medium of film in

Help should arrive any minute. But I think maybe we should stand up before our circulation gets fucked.” “And do what?” Panic rang in Ryan’s voice. “Stand ass to ass?” Brand’s rumbling laughter against Lexi’s back made her tingle all over. “Ass to ass. Uncle Hank would like that.” Oh my God. Lexi erupted into a fit of giggles. The grouch of the band was making a joking reference to the movie Requiem for a Dream? Quinn groaned. “God damn, that movie was fucked up.” “Ass to ass.” Lexi giggled as Brand pulled her to her feet. Soon the whole band was laughing and echoing, “Ass to ass,” at poor Ryan as they once more huddled with their crew.

tell some of her crew, “Officers, if the Bad Guys crash

Somehow, I feel like I'm surrounded by sharks in this room. Just … are they going to eat me or eat the fuckers who are trying to kill me? “Listen up, Jaws,” I start, only vaguely realizing that perhaps my Jaws movie reference only makes sense to me.

When I began making movies, the only crew jobs available to women were as script girls and in the editing department. As a result, I still think of movie crews as male. And in fact, they still predominantly are.

Tell me what you want me to do,” Gary said almost eagerly. He was sick of bullies pushing him around. “You are going to walk in by yourself and fish for as much information as you can get before they try to kill you,” Gregori answered. “Try. I hope that’s the operative word,” Gary said nervously. “Try to kill me.” “You will not have to worry about yourself,” Gregori informed him, his voice utterly confident. “But it is necessary that the police do not come looking for you. That means no dead bodies in your room.” “Right, messy. If I have vampires and nut cases from the society hunting me, we don’t need the cops, too,” Gary admitted. He was sweating now, his palms so wet he kept rubbing them on his jeans. “Do not worry so much.” Gregori flashed a smile meant to reassure, the one that left vivid images of open graves. “I will be with you every step of the way. You might even have fun playing Rambo.” “He had a big gun,” Gary pointed out. “’ m going up there with my bare hands. I think it might be pertinent to say I’ve never won a single fistfight. I’ve been put in trash cans and toilets and had my face rubbed in the dirt. I’m no good in a fight.” “I am,” Gregori said softly, his hand suddenly on Gary’s shoulder. It was the first time Gary could remember the Carpathian voluntarily touching him out of camaraderie. “Gary is saying all these things, chérie, yet he intended to go up against a man brandishing a knife with only his lab jacket for protection.” Gary blushed a fiery red. “You know why I was in the lab,” he reminded Gregori, ashamed. “I made a tranquilizer that works on your blood, and they turned it into a poison of some kind. We’ve got to do something about that. If something goes wrong tonight, and they get me, all my notes on the formula are in my laptop, too.” “This is beginning more and more to sound like a bad movie.” Gregori sighed. “Come on, you two amateurs.” He was impassive on the outside, but he couldn’t help laughing on the inside. “Do not worry about the formula. I allowed one of the members to inject me with it, so we know its components and are working on an antidote now.” “It didn’t work?” Gary was appalled. He had spent a tremendous amount of time on that formula. Although Morrison and his crew had perverted it, he was still disappointed. “You cannot have it both ways, Gary.” Exasperated, Gregori gave him a little shove toward the entrance to the hotel. “You should not want the damn thing to work.” “Hey, my reputation is on the line.” “So was mine. I neutralized the poison.” Gregori nudged him again. “Get moving.

Nuggsy continued on. ‘Seriously, legend. A bloke might have a six-figure salary at a job he truly loves, but it all means nothing if he has a shit rig and a poor grasp of Anchorman quotes. It probably doesn’t even matter if he averages in the mid-30s and does a lot at the club, because he’ll never go anywhere.’ I briefly wondered as to the relevance of Will Ferrell movie quotes, but then remembered back to my first training session. I had overheard a crew of second graders reciting dialogue from the movie Step Brothers while mucking around on the slips cradle. Obviously this broad style of comedy had particular resonance within grade cricket circles. The humour was absurd, male-skewed, anti-intellectual, and highly quotable. Suddenly, I was beginning to understand the things that made grade cricketers tick. Meanwhile, Nuggsy continued to bluster on, flecks of spit now hissing out from his animated mouth. The next piece of advice he had for me revolved around women: a subject I knew little about.

By our seventh anniversary, we had five kids and weren’t done yet. Raven was blessed with easy pregnancies and could run around until the moment of delivery. Oh, and did those deliveries become legend. When River was born, the whole crew was laughing their asses off in the waiting room because of Raven’s profanity-laced rants. Our twins came two years later. During their deliveries, a drinking game started with the crew and club guys. Every time Raven screamed a cuss word, Tucker told the guys at the bar and they’d take a shot of whiskey. Half of the guys were wasted by the time Savannah was born. As Avery joined her sister, the other half of the bar was just as drunk off their asses. The obstetrician nearly begged Raven to use pain meds. She refused of course. No one was telling her what to do. For Maverick’s birth, the hospital moved Raven to a room at the end of the hall and kept the other laboring mothers as far away as possible. Another change the third time around was how Raven refused to allow the club guys free fun based on her laboring pains. To play the drinking game, they had to donate a hundred dollars into the kids’ college fund. We figured at least one of our kids would want to do the education thing. The guys donated the money and got ready for Raven to let loose. In her laboring room, she even allowed a mic connected to overhead speakers at the bar. Despite knowing they were all listening, my woman didn’t disappoint. One particular favorite was motherfucking crustacean cunt. When Maverick’s head crowded, she also sounded a little bit like a graboid from Tremors. Hell, I think she did that on purpose because we’d watched the movie the night before. Raven was a born entertainer. That night, we added a few thousand dollars to the kids’ college fund, the guys had a blast getting wasted to Raven’s profanity, and I welcomed my second son. Unlike his angelic brother, Maverick peed on me an hour after birth. I knew that boy was going to be a handful.

It is my expectation that wireless WiFi streaming of movies on airplanes will increase the rates of illness and disease in pilots, cabin crew and frequent fliers.

Sitting on top of an electrical outlet and having radio frequency WiFi devices charging their batteries while streaming wireless movies is a very undesirable dynamic for the biological health of the passengers and aircraft crew.

Danny Boyle had to employ an army of pretty girls to charm motorists into getting off the roads. And even though the police shut the M1 for two hours, the crew only got one minute’s useable film.

Years later, reporters would link together the deaths of many members of the cast and crew of The Conqueror (1955), including Susan, John Wayne, Agnes Moorehead, Pedro Armendariz, and director Dick Powell. All of them eventually developed cancer; the cause seems to have been the radiation that hovered over the Utah filming site in 1955 after government A-bomb tests.

Website: h t t p s : / / spartan tech group retrieval . o r g WhatsApp: + 1 ( 9 7 1 ) 4 8 7 - 3 5 3 8 Telegram: + 1 ( 5 8 1 ) 2 8 6 - 8 0 9 2 Flying over mountain tops and cruising above crystal blue oceans, I capture the world from a drone's-eye view. Precision is my business, both in cinematography and in safeguarding my finances. That is, until the day both crashed, literally. I had securely saved $480,000 in Bitcoin on a hardware wallet stored safely inside my drone case. My plan was foolproof. Or so I thought. It was a standard flight over a picturesque Icelandic lake. The sun was setting impeccably over the rolling water, that Holy Grail of cinematic gold. I was midway through the flight, controlling the drone with the finesse of a virtuoso, when a savage North Atlantic gust of wind turned my concerto into a catastrophe movie. My drone dropped from the sky with a dramatic splash that would have won an award for best special effect if it was not my wallet sinking along with it.Cue panic. I was on the lakeshore, staring into the void, balancing the odds of swimming into hypothermia with the prospect of recovering my digital fortune. Spoiler alert: I opted for hypothermia. Three freezing dives later, I surfaced empty-handed and 100% convinced I had just donated my Bitcoin to Poseidon. Defeated, trembling, and contemplating a career change, I recalled another pilot at a tech conference raving about SPARTAN TECH GROUP RETRIEVAL. Desperation led me to call, still wrapped in a towel like a damp burrito. From that first call, their crew reacted to my situation as though it was a search-and-rescue mission. Not only were they tech-savvy, they knew my universe, my language, my horror. With a blend of satellite positioning, sonar mapping, and some technological Spartan that I still don't fully understand, they helped pinpoint the approximate location of my underwater drone. More incredibly, they remotely pulled the wallet details from my water-logged device, defying the laws of nature and logic. Two weeks later, they sent my Bitcoin back to me, like returning a set of lost car keys. I nearly cried. No, wait, I actually cried. Tears of happiness. My drone is in the air again today, my wallet is securely backed up (on land), and my faith in humanity (and technology) is soaring. SPARTAN TECH GROUP RETRIEVAL, not only did you retrieve my Bitcoin, you restored my sanity. Count me as your forever flying ambassador.

Harry Warren was ready for the pressure, and ready to go from two hit songs a year tops to sometimes two or more hits a movie, starting with this most crucial one. The title song itself has an epic quality to it, as if to say 'I now declare this era open.' The movie 42nd Street gives you not just New York, even better to my mind than '/Lullaby of Broadway' does, but almost the exact year in New York, something Harry had never come close to while he was still living there.

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