Not many people can say they owe their lives to a near speeding ticket. But 86-year-old Gavin Falconer can. He was pulled over Saturday by a police officer in Kennebunk, Maine. But shortly after handing over his license and registration, Falconer suffered an apparent heart attack and slumped over without a pulse. Police say Officer Michael Harrington quickly transitioned from writing out a warning for the speeding infraction to administering CPR. A second officer then arrived with a defibrillator. Falconer was brought to a hospital and is recovering. He tells Wmtw-tv that he hopes to see the officer again and thank him.
- 7/30/2014
- by Associated Press
- PEOPLE.com
Thanks to Michael Harrington for forwarding on this epic video this morning (which is also showing up around the web on other sites now), which goes behind the scenes at J.J. Abrams' Bad Robot. It's a fantastic 20 minute long video looking at how Avid products are used at Bad Robot. You also get a look at how awesome the whole facility is as well. So find yourself 20 minutes (and theres a great Q&A afterwards for nearly an hour) at the very least and enjoy this rather brilliant glimpse inside Bad Robot.
- 1/10/2013
- by noreply@blogger.com (Vic Barry)
- www.themoviebit.com
Set in the backwoods of America, Winter's Bone eschews hillbilly cliche to create a moving drama of love and fortitude
Debra Granik's impressive second movie, Winter's Bone, adapted from a novel by Daniel Woodrell, takes place in President Truman's home state of Missouri and down near the border of Bill Clinton's native Arkansas. But the setting is of one of those pockets of impoverished rural America that have been in the backwoods for centuries in mountains ranges like the Adirondacks, the Appalachians and the Ozarks.
These white, Protestant communities are populated by the descendants of British immigrants who arrived in the 18th century and have retained old manners of speech, music and a tight-lipped clannishness from generation to generation. On occasion, the lives of these poor whites have become the subject of serious political attention. In the New Deal era of the 1930s, the Tennessee Valley Authority sought...
Debra Granik's impressive second movie, Winter's Bone, adapted from a novel by Daniel Woodrell, takes place in President Truman's home state of Missouri and down near the border of Bill Clinton's native Arkansas. But the setting is of one of those pockets of impoverished rural America that have been in the backwoods for centuries in mountains ranges like the Adirondacks, the Appalachians and the Ozarks.
These white, Protestant communities are populated by the descendants of British immigrants who arrived in the 18th century and have retained old manners of speech, music and a tight-lipped clannishness from generation to generation. On occasion, the lives of these poor whites have become the subject of serious political attention. In the New Deal era of the 1930s, the Tennessee Valley Authority sought...
- 9/18/2010
- by Philip French
- The Guardian - Film News
Alexandra Cheney Michael Moschen moves across the stage as he flips and twirls a baton and silver ring simultaneously.
His fingers resembled short, fat sausages, his hands wrought with thick calluses. He wore black and spoke softly. He refused to define himself, his craft, and his methodology.
He is Michael Moschen, the street performer-cum-MacArthur Fellow-cum-illusionist-cum-juggler. This weekend, Moschen appeared before a sold-out crowd at New York University’s Skirball Center for the Performing Arts.
Kids leap-frogged down the auditorium stairs as all 860 spectators took their seats. The lights dimmed and Moschen sauntered onto the stage.
“Hello,” he said, pausing, “I want to make new things.”
Over the course of the next 90 or so minutes, Moschen drew gasps and claps from the crowd. He opened his act with a story about his history in juggling with his next-door neighbor in Connecticut, Penn Jilette, of Penn and Teller. He tapped his white...
His fingers resembled short, fat sausages, his hands wrought with thick calluses. He wore black and spoke softly. He refused to define himself, his craft, and his methodology.
He is Michael Moschen, the street performer-cum-MacArthur Fellow-cum-illusionist-cum-juggler. This weekend, Moschen appeared before a sold-out crowd at New York University’s Skirball Center for the Performing Arts.
Kids leap-frogged down the auditorium stairs as all 860 spectators took their seats. The lights dimmed and Moschen sauntered onto the stage.
“Hello,” he said, pausing, “I want to make new things.”
Over the course of the next 90 or so minutes, Moschen drew gasps and claps from the crowd. He opened his act with a story about his history in juggling with his next-door neighbor in Connecticut, Penn Jilette, of Penn and Teller. He tapped his white...
- 4/19/2010
- Speakeasy/Wall Street Journal
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