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Below are the 12 most recent journal entries recorded in fellresopha's InsaneJournal:

    Monday, March 25th, 2013
    8:56 pm
    Beef Stew and Garlic Mash
    Relax, penny stock egghead review fans. The captain is OK.
    TOKYO -- google sniper review major automakers are trying to find alternative parts suppliers to replace those knocked out of action by the colossal earthquake last week that has forced most of the country's car production to a halt.Attorney
    General Eric

    H. Holder Jr.
    told a Senate committee Wednesday that he expects President Obama to explain the legal rationale underpinning the use of armed drones

    to target and kill U.S.
    citizens overseas. Read full article >> From Casablanca to The Killing – the elements of a great script are essentially the same.
    John Yorke – who is responsible for some of the most popular recent British TV dramas – reveals how and why the best screenwriting worksOnce upon a time, in such and such a place, something happened."

    In basic terms that's about it – the very best definition of a story.
    What an archetypal story does is introduce you to a central character – the protagonist – and invite you to identify

    with them; effectively they

    become your

    avatar in the drama. So you have a

    central character, you empathise with them, and something then happens to them, and that something is the genesis of the story. Jack discovers a beanstalk; Bond learns Blofeld plans to take over


    world. The "something" is almost always a problem, sometimes a problem disguised as an opportunity. It's usually something that throws your protagonist's world out of kilter – an explosion in the normal steady pace of their lives: Alice falls

    down a rabbit hole; spooks learn of a radical terrorist plot; Godot doesn't turn up.Your
    character has a problem that he or she must solve: Alice has

    to get back to the real world; our spooks have to stop

    a bomb going off in central London; Vladimir and Estragon have to wait.

    The story is the journey they go on to sort out the problem presented. On the way they may learn something new about themselves; they'll certainly be faced with a series of obstacles to overcome; there will be

    a moment near the end where all hope seems lost, and this will almost certainly be followed by a last-minute resurrection of hope, a final battle against the odds, and victory snatched from the jaws of defeat.You'll
    see this

    shape (or its tragic counterpart) working at some level in every story. It might be big and pronounced, as in Alien or Jaws, it might be subtler, as in Ordinary People, or it might represent a reaction against it (Jean-Luc Godard's Weekend) –

    but it will be there. It reveals itself most clearly in the framework of the classic crime or hospital drama. A murder is committed or someone gets sick; the detective or doctor must find the killer or make their patient well.
    That's why detective fiction is so popular; the unifying


    that appear at some level in all stories are at their most accessible here.The
    protagonistNormally the protagonist is

    obvious. It's Batman, it's James Bond, it's Indiana Jones.
    If it's difficult to identify a protagonist then perhaps the story is about more than one person (say EastEnders, or Robert Altman's Short Cuts) but it will always be the person the audience cares about most.But
    already we encounter difficulties. "Care" is often translated as "like", which is why so many screenwriters are given the note (often by non-writing executives) "Can you make them nice?" Frank Cottrell Boyce, a graduate of Brookside and one of Britain's most successful screenwriters, puts it more forcibly than most: "Sympathy is like crack cocaine to industry execs. I've had

    at least one wonderful screenplay of mine maimed by a sympathy-skank.
    Yes, of course the audience has to relate to

    your characters, but they don't need to approve of them.
    If characters are going to do something bad, Hollywood wants you to build in an excuse note."We don't like Satan in Paradise Lost – we love him.
    And we love him because he's the perfect gleeful embodiment of evil. Niceness tends to

    kill characters. Much more interesting are the rough edges,

    the darkness – and we love these things because, though we may not want to admit it, they touch something deep inside us.
    If you play video games such as Grand Theft Auto or Call of Duty: Modern Warfare (and millions do), then you occupy literal avatars that do little but kill, maim, destroy, or sleep with the obstacles in your path.
    David Edgar justified his play about Nazi architect Albert Speer by saying: "The awful truth – and it is awful, in both senses of the word – is that the response most great drama asks of us is neither 'yes please' nor 'no thanks' but 'you, too?' Or, in the cold light of dawn, 'there but for the grace of God

    go I.'"The key to empathy, then, does not lie in manners or good behaviour. Nor does it lie, as is often claimed, in the understanding of motive. It's certainly true that if we know why characters do what they do, we will love them more. However, that's a symptom of empathy, not its root cause. It lies in its ability to access and

    bond with our unconscious.Why are so many fictional policeman and doctors mavericks? Laziness on the writers' behalf possibly, but can that really account for the widespread prevalence of one particular character trait? Why did so many find themselves drawn to Sarah Lund in The Killing? Like her pulp-fiction counterparts, she broke the rules, ignored her bosses and went behind

    their backs; like them she was told by her bosses: "You've got 24 hours or I'm taking you off the case."
    Why did she – and why do all mavericks – prove so popular? Largely because that's how many of us feel at times, too.
    When we watch Sarah Lund rejecting her bosses, we think, "I wish I could do that"; when we watch Miranda Hart's Chummy in Call the Midwife, we bleed for her clumsiness. There is something immensely attractive in living through a character who does obtain revenge, who is proved to have value or, like Lund, is finally proved right.
    The attraction of wish fulfilment, benevolent or masochistic, can't be underestimated –

    what else can explain

    the ubiquity of Cinderella or the current global dominance of the Marvel franchise? Isn't there a Peter Parker in most of us, longing to turn into Spider-Man? We may recoil at the idea of empathising with Adolf Hitler but, as Downfall attests, we can and do.The antagonistSo something happens to a central character that throws them off the beaten track and

    forces them into a world they've never seen. A

    beanstalk grows; a patient collapses, a murder

    is committed.
    All of these actions have consequences; which in turn provoke obstacles that are commonly dubbed forces of antagonism – the sum total of all the obstacles that obstruct a character in the pursuit of their desires.The detective and "monster" templates illustrate this

    well, but antagonism can manifest itself in many different ways, most interestingly when it lies within the protagonist. Cowardice, drunkenness, lack of self-esteem – all will serve as internal obstacles that prevent a character reaching fulfilment; all make the

    person more real.
    While antagonists can be external (James Bond), internal (The Diving Bell and the Butterfly) or both (Jaws), all have one thing in common, which Hitchcock summarised succinctly: "The more successful the villain, the more successful the picture."What
    do Bond and Blofeld, Sarah Connor and the Terminator, Sam Tyler and Gene Hunt (Life on Mars), Fiona and Frank Gallagher (Shameless) have in common? They're all opposites.
    "We're not so very different, you and I," says Karla to Smiley in Tinker Tailor Soldier Spy.
    "We both spend our lives looking for the weaknesses in one and another's

    systems."As the Joker, displaying an uncharacteristic grasp of story


    says to Batman in The Dark Knight, "You complete me."
    All forces of antagonism embody the qualities missing in their protagonist's lives.The desireIf a character doesn't want something, they're passive. Aaron Sorkin, writer of The West

    Wing put it succinctly: "Somebody's got to want something, something's got to be standing in their way of getting it.
    You do that and you'll have a scene."The Russian actor,

    director and theoretician Konstantin Stanislavski first articulated the idea that characters are motivated by desire. To find Nemo, to put out the Towering Inferno, to clear their name, to catch a thief, purpose must be bestowed and actively sought. Why do characters in EastEnders offer up the mantra, "It's all about family"? Because it gives them something

    to fight for; it gives them a goal – it brings them to life.
    "Tell me what you want," said Anton Chekhov, "and I

    will tell you what manner of man you are."Whether simple (kill the shark) or profound (return the key in Channel 4's The Promise), the underlying "grail quest" structure is ever present.
    Cops want to catch the killer, doctors want to heal their patient.
    In North by Northwest, everyone is simply chasing microfilm of an unspecified variety.
    Again, Hitchcock says it best: "[We] have a name in the studio, and we call it the

    'MacGuffin'. It is the mechanical

    element that usually crops up in any story.
    In crook stories it is almost always the necklace and in spy stories it is most always the papers."When "something happens" to a hero at the beginning of a drama, that something, at some level, is a disruption to their perceived security. Duly alarmed, they seek to rectify their situation; their "want" is to find that security once again. They may often, however, choose to find that security in the wrong place. What a character thinks is good for them is often bad. This conflict is one of the fundamental tenets of structure, because it embodies the battle between external and internal desire.External
    and internal desireBlockbusters, with one or two exceptions, are two–dimensional. It's a world where desire is simple: the hero wants something - to kill Bill or find the secret of the Unicorn. In pursuit of that goal the multiplex hero

    doesn't change.The cynic might say that's because of the demands of the franchise – we want James Bond to be the same in every film. But

    Bond is the refined, simplified bastardisation of a deeper archetype. He is white bread: impurities

    removed, digestion eased; a product of the demand for the thrill of story, minus its more troubling and disturbing elements.
    Bond just wants; he is an embodiment of pure desire.

    Three-dimensional characters, however, do change.When we first meet Thelma and Louise they are living in darkness,

    mortgage-holders in a conservative American society. In The Lives of Others, Hauptmann Wiesler is a Stasi agent, the product of a world where empathy doesn't exist.
    Here he can flourish – his power and steel are terrifying.Thelma, Louise and Wiesler are all flawed characters, and it is this concept of "flaw" that

    is critical in three-dimensional storytelling. Wiesler cannot care; the women are unknowingly repressed.Flaw
    or need isn't the same as want or desire. Wiesler wants to punish the dissident couple he has been sent to spy on; Thelma and Louise want to escape the police and get

    to Mexico.
    Both sets of characters go on a journey to recognise that what they want stands in direct opposition to what they need. Going to Mexico or imprisoning dissidents will not make them complete.The Russian formalist Vladimir Propp coined the beautiful term "lack" for what a protagonist is missing in the initial stages of any story, and it's  this lack

    that three-dimensional stories exploit.While it's possible for characters to get what they want and what they need (certainly that's what happens in Aliens or Star

    Wars), the true, more universal and powerful archetype occurs when the initial, ego-driven goal is abandoned

    for something more important, more nourishing, more essential. In Rocky, Cars, Saving Private Ryan, Little Miss Sunshine, Midnight Run and Tootsie, the heroes find a goal they weren't aware they were looking for.The
    inciting incidentAll stories have a premise – "What if?" This is almost always the inciting incident, or the "something" that happens. In The Long Good Friday Harold Shand is a gangster, planning to develop London's derelict docklands. He's invited the mafia to London to secure their investment when, without warning, one of his gang, charged with taking Harold's mother to church, is blown up in his car. That's the inciting incident – or part of it, because

    what the inciting incident must also do is awaken a desire. We go back to our story shape: a problem occurs; a solution is sought. Harold's solution is to track down the perpetrators and destroy them: "I'll have his carcasses dripping blood by midnight," he mutters.
    That's his "want", and that's the film.Hollywood tends to

    insist that inciting incidents are massive explosions.
    But as Fawlty Towers demonstrates, they may just be the arrival of a guest followed by an ever-growing complication AW Schlegel first codified the structural point in 1808, calling them "first determinations". In many ways, it remains the perfect term.The
    journeyIn Terminator 2,Arnold Schwarzenegger was turned from villain into hero, arguably helping position him as a

    family-friendly star, but the far more significant adjustment was the upgrade the character underwent. The new model

    Terminator, the T2, was programmed to learn from his

    surroundings and experience.
    Cunningly, his ability to undergo internal change was actually built into the script.Compare From Russia with Love with Casino Royale, and The Terminator with Terminator 2: the former in each case is a brilliantly slick product, but the latter has a far greater depth and resonance. As the heroes pursue their goals, their journeys in the latter films move us beyond visceral thrill to touch not just our senses but something deeper. In both sequels, the protagonists' superficial wants remain unsated; they're rejected in favour of the more profound unconscious hunger inside. The characters get what they need.
    Expecting one thing on our quest, we find ourselves confronted with another; traditional worldviews aren't reinforced, prejudices aren't reaffirmed; instead the protagonists'

    worldviews – and ours too – are realigned.The quest is an integral

    ingredient of all archetypal stories,

    internal or external, and, perhaps most rewardingly, both. Change of some kind is at the heart of this quest, and so too is choice, because finally the protagonist must choose how to change. Nowhere is this more clearly embodied than in the crisis.The crisisThe crisis is a kind of death: someone close to the hero dies (The Godfather), the heroes themselves appear to die

    (ET) but more commonly all hope passes away.
    Some US TV drama series refer to it as the "worst case," and in BBC continuing drama, "worst point" has become an almost ubiquitous term. Not for nothing; it's the point of maximum jeopardy in any script, the moment the viewer should be shouting "Oh no!" at the screen, the moment where it seems impossible for the hero to "get out of that". The crisis is also, in self-contained stories, almost always the cliffhanger before the last commercial break and the ending of every episode of EastEnders, of the 1960s Batman TV series and every American serial film of the 1940s

    from Superman to Flash Gordon.The
    crisis occurs when the hero's final dilemma is crystallised, the moment they are faced with the most important question of the story; just what kind of person are they? This choice is the final test of character, because it's the moment where the hero is forced to face up to their dramatic need or flaw. In the Pilgrim's Progress-type structure that underlies Star

    Wars, Luke's choice is

    between that of being a boy and a man; in Casablanca Rick has to confront and overcome his selfishness ("I stick my neck out for no man"), and

    in Aliens Ripley learns, by choosing to save Newt, that she can be a mother once again. In all you can see the cleverness of the structural design, where the external antagonists are the embodiments of what each protagonist fears most.
    To overcome that which lies without, they must overcome the chasm within.Hence the stench of death – every crisis is the

    protagonists' opportunity to kill off their old selves and live anew. Their choice is to deny change and return to their former selves, or confront their innermost fears, overcome them and be rewarded.
    When Gary sings, "Am I a man or a Muppet?" at his crisis point in 2011's The Muppets, he's articulating the quintessential dilemma all protagonists

    face at this crucial structural point.
    Being a "man" is the road less travelled, and it's the much harder choice.The
    climaxThe climax is the stage at which the protagonist finds release from their seemingly inescapable predicament.
    It's the final showdown with

    their antagonist, the battle in which the hero engages with their dramatic need and overcomes their flaw.
    Historically it is sometimes referred to as the "obligatory scene" (a term coined in the 19th century by French drama critic Francisque Sarcey).When Thelma

    and Louise shoot the rapist and decide to run from the law, there's one essential sequence that has to

    happen: they must do battle with the law.

    Once Elliot

    has adopted ET and saved him from the faceless hordes of government, he has to face the "villains" he's hidden him from.During
    each film we watch as Thelma, Louise and Elliot develop the skills they need to overcome their flaws; the two women need to believe in themselves and each other; Elliot needs to find the

    tenacity and selflessness within.
    And here, in the climax, they apply them.
    Both are classically structured films, where the flaws of the protagonists are embodied in the characterisation of the antagonists, so that in ET, when Elliot overcomes his external obstacle, his internal need is liberated, and when the women renounce society they become (we are led to believe) emancipated and whole.A climax can be subverted

    (the Coen brothers' No Country

    For Old Men kills its protagonist at the crisis point, but it's very much an exception) but the effect is akin to Bond running from Blofeld.
    Unless it's part of a wider schematic plan it feels wrong – the writer has set up something and then refused to pay it off.The inciting incident provokes the question "What will happen?", and the climax (or obligatory

    act) declares, "this". It is the peak of the drama.
    Protagonist faces antagonist – all come together to fight it out and be resolved.The resolutionThe word "denouement" is a derivation of dénouer, meaning "to untie", and that's what it is – the knots of plot are undone and complications unravelled.
    But it is also a tying up of loose ends. In a classically structured work there must be a payoff for every set-up, no strand left forgotten.Traditionally, stories always ended happily ever after, with all action resolved.

    Either the tragic hero died

    or the romantic couple got married.
    As the journalist and author Christopher Booker has observed, a number of significant changes took place as a result of the industrial revolution in the way we tell stories. "Open endings" have become more commonplace, partly to add an air of uncertainty and partly because, in a godless universe, death doesn't mean what it once did. As Shakespearean scholar Jan Kott noted: "Ancient

    tragedy is loss of life, modern tragedy is loss of purpose."
    Characters nowadays are just as likely to drift into meaningless oblivion as to die (The Godfather: Part II); just as likely not to marry as to find

    themselves at the altar (Four Weddings and a Funeral).
    Archetypal endings can also be twisted to great effect. The Wire found an extremely clever way of subverting the normal character

    arc, by brutally cutting it off at an arbitrary point. The death of Omar Little at the hands of a complete stranger works precisely because it's so narratively wrong; it undercuts the classic hero's journey by employing all its conventions up to the point of sudden, tawdry and

    unexpected death. In effect, saying this is a world where such codes don't operate, such subversion also has the added bonus of telling us just how the cruel and godless world of Baltimore drug-dealing really works.Putting it all togetherThese building blocks are the primary colours of storytelling.
    To a greater or lesser extent they either occur in all stories, or else their absence (the missing bit of Omar's arc in The Wire; the early death of the hero in No Country for Old Men) has an implied narrative effect. In archetypal form these are the elements that come together to shape the skeleton of almost every story we see, read or hear. If
    you put them all together, that skeleton structure looks like this:Once upon a time a young friendless boy called Elliot discovered an alien in his backyard. Realising that unless he helped the creature home it would die, he took it on himself to outwit the authorities, win over sceptics and in a race against time, in a true act of courage, set his friend free.It
    sounds very simplistic, and in some senses it is, but like the alphabet or the notes on a musical stave, it is an endlessly adaptable form. Just how adaptable starts to become clear when we see how it lends itself to conveying a tragic tale.TragedyWhen
    we first meet Michael Corleone in The Godfather he's in an army uniform. Every inch the war hero, he explains the nefarious deeds of his father and his brothers to his fiancee, before mollifying her: "That's my family, Kay, that's not me." Macbeth

    bears an uncanny resemblance.
    As he emerges from the mists of battle, Duncan cannot help but be impressed: "So well thy words become thee, as thy wounds: They smack of honour both."Michael
    Corleone and Macbeth are both flawed, but their faults are not what are traditionally described as tragic flaws or blind spots.
    They are, instead, good qualities: selflessness and bravery, and it is this that provides the key to how tragic story shape really works.Tragedies follow exactly the same principles as Jaws or ET but in reverse. In tragedy a character's flaw is what conventional society might term normal or good –

    a goodness that characters overturn to become evil in their own way.
    Historically, critics have focused on the Aristotelian definition of a fatal malignant flaw to describe tragic heroes, but

    it is just as instructive, I would argue, to chart how their goodness rots. It's a common trope of liberal American movies (in both The Good Shepherd and The Ides of March idealistic patriots

    find their morals slowly eaten away) but it's equally apparent in Hilary Mantel's Wolf Hall, where Thomas Cromwell undergoes a similar corruption.
    It is Cromwell's goodness that corrodes him, his loyalty to Cardinal Newman that fixes him on the same tragic trajectory as both Macbeth

    and Michael Corleone. Furthermore, it's a goodness that is corroded according to an absolutely archetypal pattern. From Line of Duty to Moby-Dick, Dr Faustus to Lolita ("good" is a relative concept), there's a clear pathway the characters follow as, in pursuit of their goal, their moral centre collapses. The initial goals can be good (The Godfather or Line of Duty), seemingly innocuous (Carmen, Dr Faustus), but the end-result is the same: the characters are consumed by overwhelming egotistical desire.It
    seems impossible to understand how, with only eight notes in an octave, we don't

    simply run out of music. But just as tones give rise to semi-tones and time

    signatures, tempo and style alter content, so we start to

    see that a simple

    pattern contains within it the possibility of endless permutations.

    Feed in a different kind of flaw; reward or punish the characters in a variety of ways; and you create a different kind of story.What's
    more fascinating perhaps is just why the underlying pattern exists, and why we reproduce it whether we've studied narrative or not.
    Every act of perception is an attempt to lasso the outside world and render it into meaning.
    Elliot's journey to maturity, just like the Terminator's journey to human understanding, are interpretations of that basic act.
    Both metaphorically (and literally in the case of ET) every story can therefore be seen as a journey into the


    to find the secret that lies outside the self. It's in that journey that narrative shape is forged.• Into the Woods:

    A Five Act Journey into Story by John Yorke is published by

    Particular Books on 4 April

    (£16.99) ©

    2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject

    to our Terms & Conditions | More Feeds Playing in his first hardcourt tournament in nearly a year, Rafael Nadal defeated Roger Federer in the quarterfinals of the BNP Paribas Open in Indian Wells, Calif.
    The first deadly attack on settlers in months shattered the relative calm that had settled over the West Bank. ISLAMABAD, PAKISTAN - As

    Congress mulls cuts to foreign aid, a diplomatic dispute over an American official facing murder charges in Pakistan has emerged as

    a test of Washington's alliance with Pakistan, a

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    WASHINGTON penny stock egghead Six more banks repaid their government bailouts, bringing the penny stock egghead review capital program close to 99 percent recovery, the Treasury Department said Wednesday. The Obama administration has signaled its disfavor for Uhuru Kenyatta, accused of war

    crimes, who was ahead in presidential balloting.
    But rejecting him could harm ties to a vital ally.ProPublica A series of internal investigations

    over the past decade warned senior BP managers that the oil company repeatedly disregarded safety and environmental

    rules and risked a serious accident if it did not change its ways. The confidential

    inquiries, which have not previously been made pu... The bride works for Google; the groom is studying for an M.B.A.
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    of art history at Yale University, is in the middle of a brilliant love affair with the 1940s.
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    live in fear."
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    A gallery google sniper readers’ local escapes. google sniper WORTH -- American Airlines executives should have been celebrating last week during their annual stockholders' meeting, the first in

    six years at which they could spotlight an annual profit.Every new industry is driven by risk-taking pioneers.
    It's no different with medical marijuana in the District, where those seeking a piece of the cannabis action include an electrician from Baltimore,

    an unemployed administrator who lives in Southeast Washington and the owners of a hemp clothing st NEW YORK, Jan. 27 -- Some of Wall Street's earnings anxiety eased Tuesday after companies including United States Steel and American Express managed to post profits in a difficult recession. The settlement covers some owners in the United States who leased or bought 2002-6 A4 or A6 models with continuously variable transmissions. Hip-hop artist Wyclef Jean was shot in the hand Saturday night on the eve of Haiti's tense presidential runoff vote, but he has since been treated and released from a local hospital, according to his publicist. Peer beyond the tattoo parlors

    and sweaty spring breakers and you’ll find everything from sugary sands to a farmers’ market in this Emerald Coast town. House and Senate leaders on Tuesday bought themselves a little more time in their efforts to avoid a government shutdown, agreeing to a two-week funding extension

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    Workers at google sniper review Agnew gold mine were fired after posting their google sniper to YouTube. Writer and actor Richard O'Brien and composer Richard Hartley remember how three weeks at the

    Royal Court turned into a gender-bending 20th Century Fox extravaganzaRichard O'Brien, writer and actorI'd been in Jesus Christ Superstar and Hair, and was starting to think I wouldn't mind seeing a musical that appealed to me, an eternal adolescent. I loved B-movies, rock'n'roll and glam, so thought

    I'd do a parody – or homage – to all those things.Then Jim Sharman, the

    director of Jesus Christ Superstar, asked me to audition

    for a play at

    London's Royal Court. There I met Richard Hartley, who was writing its incidental

    One night, Jim brought

    Richard round to my place, and I sang them some of my songs, including Science Fiction/Double Feature and Hot Patootie. Jim thought they'd make

    a great show and called me afterwards saying: "They've asked me to do another play at the Royal Court and I've agreed – as long as they let me have three weeks' fun upstairs afterwards." So I wrote some more songs and 20 pages of dialogue. I didn't think it would be a hit.
    I thought

    we'd have our three weeks of fun on the Royal Court's upstairs stage then move on.It
    grew a lot

    in rehearsals. I'd written Science Fiction/Double Feature without a musical in mind, but it has the line: "See androids fighting Brad and Janet." Those names seemed to

    exemplify a clean-cut,

    boy-girl relationship.
    Brad and Janet needed their own song, so Dammit Janet went in. I think their sexual awakening is something we can all relate to, but it's not just a sexual rites of passage: when

    their car breaks down and they arrive at the castle, they're leaving the American dream and walking into an uncertain future.It's
    astonishing that the US movie industry bought into it: there we were with a fringe theatre event that hadn't even gone to the West End, and not only were we allowed to make it into a film, we also all got to star in it – with Jim directing.
    The only imperative from 20th Century Fox was that we include some American actors. That's why Barry Bostwick and Susan Sarandon play Brad and Janet – they were actually an item during filming, too. And then the whole thing nearly got canned when there was a change of head at Fox. Yet, later, this one movie would keep that studio afloat for three years. It's gone into cinema history. I think you could say it's the No 1 cult classic movie of all time.We
    filmed in the

    UK, in an old building next to the Hammer House of Horror studios. It

    wasn't an actual set: it was an old Victorian gothic revival house a paddock away from the studios that had been used for other films, including the horror movie The Innocents. Listed, gloomy and semi-derelict, with its

    owner living abroad, it was perfect for us – even if we did have to carry all our lights and technical stuff across the paddock to get to it.The birthday party for Rocky, the gold-panted creation of Dr Frank N Furter, was the most fun to film, with Peter Hinwood wrapped up in bandages in the laboratory, and all those

    Transylvanian extras in tailcoats. We finished filming a week before Christmas.
    It was freezing on set.

    Susan got really ill: at the end, when she sings Wild and Untamed Thing in the pool, she should have been under medical supervision.
    She'd had a shocking cold and was shaking with fever, but still she went on.Jim, directing, played pranks on us throughout filming. When Eddie's corpse was revealed under the dining table, it came as a real shock: none of us had been aware that it was there apart from Tim Curry

    – playing Dr Frank N Furter – because he was the one who had to whip the tablecloth off.
    Jim wanted a natural reaction.When you consider

    that, with the exception of Susan, it was the first movie for all of us, we made a pretty good film – and we shot

    it in six weeks too, without going over budget. It's flawed, there's

    no doubt about that.
    But it's allowed to be a little bit kitsch, I think, and the flaws are part of that

    quality. It is rather funny if we see the shadow of a boom mic somewhere.Rocky Horror was probably not the first example of gender-bending on film, but it was the most in-your-face. When Dr Frank N Furter sings "I'm just a sweet transvestite" without any apology, it was empowering for many people. And Janet singing Touch-A Touch-A Touch Me was controversial, too

    – a girl wanting to be sexual in a let's-get-down-and-do-it way.I like to think I'm more of a lyricist than a

    My favourite Rocky Horror line is: "It's not easy having a good time."
    It still makes me laugh. It's pathetic but it does.
    And the narrator's last verse in Superheroes – "Crawling on the planet's face, some insects called the human race, lost in time, and lost in space, and meaning" – has a quasi-gravitas I find appealing.You'd think I'd have had enough of it by now, but as long as the band is cooking and the music is rocking and the audience is laughing, I'm happy as a sandboy.Richard Hartley, composerRocky Horror is just Frankenstein with a twist. Except there's

    no twisting – it's rock'n'roll. Richard and I listened to the same records when we were growing up, so we just put all the things we loved in.
    You can hear the influences: a bit of Chuck Berry, and a bit of Rolling Stones in Sweet Transvestite. It's self-indulgent, but the songs aren't pastiche like the ones in Grease.The

    space only seated 50 people, but they rolled around with laughter. I've never thought it was that funny.
    It was done seriously – this wasn't variety-show camp.
    Until he was in costume, Dr Frank N Furter was a serious scientist. Then, when the high heels came out, it was liberating for him – and Tim Curry appealed to both sexes. For the film, they got in a makeup artist, Pierre La Roche, who did Bowie's makeup, but he took so long

    – about four hours – that Tim just did his

    own face.Time Warp was added during rehearsals because you need a dance number in a musical.
    Plus we had to pad it out: the show was only about 40 minutes. It evolved on the fly, all within three weeks.
    I'd dream up musical arrangements as we rehearsed and, though half the cast were vocally challenged, somehow it fell into place.It
    was only subversive in the sense that it was raw-edged: the music was like

    something by a garage band.
    For the film, we wanted things to be more gothic, so

    we got two musicians in from Procol Harum. It was sweetened for Hollywood, with strings and a brass band, too.

    We recorded the backing tracks in four days, and the vocals in a week. We prerecorded every song except Science Fiction, so what you see is all mimed. It would have been easier and cheaper if they'd sung live. But the whole film still cost less than $1m.I'm staggered it's such a phenomenon.
    The film's a bit long, and it's so slow.
    It wilts after an hour then picks up again.
    That might explain why audience participation started to play a big part at screenings – they probably got bored so they started answering back.• For details of The Rocky Horror Show 40th anniversary tour, go to Horror ShowKate
    © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More FeedsStanley Kubrick ditched the original score for 2001: A Space Odyssey – and replaced it with Ligeti and Strauss.
    Robert Ziegler reflects on the challenges of conducting live with the filmIt is hot and busy in this corner of Australia called Adelaide. The festival atmosphere is town is buoying us all up through long days and late nights, here in the 30+ degrees heat – for me a welcome change from a miserable March in the UK.
    I was last here in 2000, to conduct a pair of concerts for the then artistic

    director (and all round Australian arts heroine) Robyn Archer.
    Then, it was a series on the east German composer and Brecht collaborator Hanns Eisler, performed with the Adelaide Symphony Orchestra and Adelaide Chamber Singers. These two ensembles are back again this year, to

    perform in a special project that originated at London's South Bank: 2001

    A Space Odyssey – Live. Live film and music performances have become increasingly popular since Adelaide festival director David Sefton and I first collaborated in the 1990s, on a new score for Hitchcock's early silent hit The Lodger by

    composer Joby Talbot. The

    score's debut at the Edinburgh Film Festival back in the 1990s (this was pre-digital) was a rocky one: the old acetate catching fire in the projection room mid-performance, with festival president Sean Connery sitting in


    house. We re-grouped, fixed the film – and finished triumphantly to

    the sound of a resonant Scottish "Brahhvoooh!" from 007 in the stalls. Stanley Kubrick's 2001 is another unique event: a spacey, psychedelic essay on the rise of artificial intelligence, and the strange encounters between space explorers and ancient black monoliths – objects that appear to embody

    some strange universal intelligence that has affected human evolution. Kubrick wrote the script with Arthur C Clarke, using then ground-breaking special effects and cinematography: the film still looks awesome, in the best sense of that overused word. Alex North, one of the great film composers, was originally commissioned to write

    the score – but Kubrick discarded it.

    I don't know of many successful film composers who have been spared

    this experience in the course of their careers – but this was apparently done quite brutally late, during the post-production period. One of the hazardous facts of life for a film composer is that the music is usually the final element to be realised.
    I recently worked on Howard Shore's score for The Hobbit, and was conducting at Abbey Road studios just a few weeks before the film's release. The majority of 2001 is, in fact, silent, so the lack of a score left a big part of the film unfinished.
    When Kubrick realised that the North score (which is available in an excellent recording conducted by fellow maestro Jerry Goldsmith) was not going to work, he turned to music of a completely different and surprising kind.Gyorgy

    eerie, powerful works are milestones of 20th century music. Kubrick strategically used two works – the massive orchestral score Atmospheres, and the Kyrie from his Requiem – as the sound of the unfathomable intelligence embodied in those enigmatic monoliths.
    A third work, Lux Aeterna, characterises the cold, silent stillness of infinite outer space.Kubrick's use of Johann Strauss' waltz The Beautiful Blue Danube was a stroke of absolute genius – its giddy, spinning weightlessness perfectly underscoring the effortless orbit of the

    spaceships around the whirling space stations as they glide between planets. Finally, and most famously, Kubrick used what was then a lesser known fanfare

    that opens Richard Strauss's tone poem Also Sprach Zarathustra, heralding Man's Nietzschean moment of self-realisation. Kubrick used Herbert von Karajan's recordings for the film; after a meeting with the director, the eminent conductor stated that Kubrick was "one of the only true geniuses I have ever met".
    Bringing this score to life has been a complete delight for me: it's one of the

    few films that really justifies the reviving of the score in a live context. It's been a big undertaking and I've now watched the film many dozens of times (I'm still not tired of it). I find myself mentally

    cueing the film, as I would an opera

    singer, for various cuts and "hit points". I guess when the film starts reacting back, it will be time to go home. • Robert Ziegler conducts the Adelaide Symphony Orchestra and the Adelaide Chamber Singers in a live accompaniment to 2001: A Space Odyssey, on 8 and 9 March. Details: festival 2013Classical musicStanley © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved.
    | Use of this content is subject to our Terms & Conditions | More Feeds U.S. and Pakistani officials Wednesday offered dueling accounts of the events leading up to the arrest of an American who fatally shot two men in Lahore last month and whose continued detention is at the center of an increasingly tense diplomatic standoff between the two countries. Genetic study reveals startlingly little diversity in the enigmatic ocean creature As with all portrayals of punk, its authenticity can be, and was, questioned.
    But with lead performances of this quality it's really all about the relationships, messed up as they wereSid and Nancy (1986)Director: Alex CoxEntertainment grade: B+History grade: B–Sid Vicious was the bassist of punk band the Sex Pistols from 1977 to 1978. When his girlfriend Nancy Spungen was murdered in October 1978, he was charged with the crime. He died of a heroin overdose before the case could come to trial.CastingSid Vicious (Gary Oldman) and Johnny

    Rotten (Andrew Schofield) are

    vandalising a Rolls-Royce on a London street.
    Can of paint in hand, Sid kicks in the windscreen to reveal a nonplussed Scottish terrier sitting in the driver's seat.
    "Go on, Sidney," says Johnny. "Spray the beast." "Nah," replies Sid. "It's a really good dog." What a kind heart.
    Oldman and Chloe Webb are astonishingly good as


    and Nancy, though at 28 and 30 respectively when this film came out, they were stretching credibility by playing teenagers. At the time of Spungen's murder, almost two years after the couple met, she was 20 and Vicious was 21.
    Musician Courtney Love, then 22, was desperate to play Spungen but settled for a smaller part as one of her friends. Meanwhile, according to Cox, Oldman fought off competition to play Vicious from "another then-unknown London

    stage actor … Daniel Day-Lewis."MusicVicious

    the Sex Pistols on bass. At their first gig, he

    uses it to assault a critic who the film calls Dick Dent.
    In real life, Vicious assaulted NME journalist Nick Kent at a gig at London's 100 Club, though according to Kent he whipped him with a bicycle

    chain rather than clobbering him with a guitar.
    When it comes to using the bass to generate actual music, Vicious is less sure what to do.

    In real life, Lemmy Kilmister of Motörhead attempted to teach Vicious to play.
    "It was all uphill," Lemmy later told an interviewer. "And he still couldn't play bass when he died, I mean, fucking hell."

    Nevertheless, watching from the audience, Nancy Spungen is smitten.RomanceThe real Johnny Rotten – now known as John Lydon – is not a fan of the film. "I still get asked questions about it", he wrote in his 1994 autobiography.
    "I have to explain that it's all wrong. It was all someone else's fucking fantasy, some Oxford graduate who missed the punk rock era.
    The bastard." There is plenty to quibble with in the movie's depiction of the punk scene, but its take on Vicious and Spungen's relationship is compelling.
    Director Alex Cox (who read law at Worcester College, Oxford) avoids excessive romanticisation, and yet,

    amid all the filth, vomit, blood, bruised veins, shouting, blackouts and violence, captures authentically the fractious but intimate tone of their interaction.Reading this on a mobile? Please click here to view videoThe

    film's clever, imaginative photography by Roger Deakins –

    who went on to receive 10 Oscar nominations for his cinematography, most recently on Skyfall – underscores Cox's theme, finding moments of beauty in the garbage.MurderSid
    and Nancy move into New

    York's Chelsea Hotel. It is impossible to represent Spungen's murder accurately, because no one knows what happened.
    Vicious confessed to the crime, told several different stories, then retracted. In subsequent years, it has been suggested that Spungen may have been murdered by a

    third party. It seems like every time a famous man is accused of killing his girlfriend, there's someone ready to

    construct an elaborate scenario to get him off the hook.CrimeEven if you don't take Vicious's confession seriously on grounds of extreme incoherence, the case against him looks pretty damning. Witnesses remembered him talking about wanting to kill someone beforehand. He was a long-term drug addict with an extensive history of violence, including several arrests. According to local news reports, Spungen had

    bruises on her face when her body was found, and had told friends these were the result of fights with Vicious.
    While the film's version of what went on in Room 100 of

    the Chelsea Hotel that night makes dramatic sense within its own narrative, it cannot claim to be the truth.
    Nor could any other version.VerdictSid and Nancy may have shortcomings as a movie about punk, but it's an intriguing and harrowing glimpse into a dysfunctional relationship.Sex PistolsPeriod and historicalPunkDramaPop and rockGary OldmanAlex

    von © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds President Obama pressed for Libya’s help in

    finding the attackers whose assault led to the previous envoy’s death.
    Oral arguments at the Supreme Court have become an hour filled with questions, commentaries and critiques by the justices, especially since Sonia Sotomayor

    and Elena Kagan

    joined the
    8:49 pm
    In Tunisia, first steps toward democracy
    As Lagos google sniper to raise its penny stock egghead review profile, the city’s poor feel they have become the government’s enemy, a feeling deepened by the dismantling of a slum last week. RICHMOND, Va.
    -- A Texas businessman faces decades in prison after being convicted in a $100 million life insurance fraud scheme in which his company used investors' money to buy policies at less than face value then collected benefits when the insured people died.Matchbooks
    were once ephemera — written on, burned up

    in the space of a weekend — but they’re now a keepsake. William Leonard, who oversaw state secrecy under George W Bush, says successive US presidents have abused systemSuccessive US presidents, including Barack Obama, have abused the system for handling classified information to expand their executive powers, the former senior official who oversaw state secrecy under George W Bush has claimed.William Leonard, who was entrusted with ensuring proper treatment of state secrets by government agencies in the immediate aftermath of the 9/11 terrorist attacks, said that over the past decade both the Obama and the previous Bush administrations had manipulated their classification authority to create new executive powers without congressional oversight or judicial review.Leonard,
    the former head of the Information Security Oversight Office from 2002 to 2007, said that what was at stake was "the abuse of the very form of government we are operating under, as unilateral executive powers go unchallenged."He said: "Governments have decided under the cloak of secrecy to unleash the brutality of violence

    in our name and that of our fellow citizens. So extra judicial kidnapping becomes 'rendition', torture becomes 'enhanced interrogation', detainees are held on information that barely qualifies as hearsay, and assassination becomes 'targeted killing'."Leonard
    told a high-level discussion group on secrecy and security convened by the Brennan Center for Justice in Washington that even language had suffered in this scramble for new powers.
    "It is as if Lewis Carroll, George Orwell and Franz Kafka were jointly conspiring to form official US policy."The issue of how the US government treats state secrets has risen towards the top of the political agenda in recent days as the White House has come under intense pressure to make public the legal advice for the targeted

    killing program – the use of unmanned drones to assassinate terror suspects in Pakistan, Yemen and elsewhere.The
    subject was given additional publicity last week during the course of a 13-hour filibuster by the Republican senator, Rand Paul, who demanded an assurance that Obama would not authorise drones to kill American citizens on domestic soil.The issue of classification of sensitive intelligence material has also been central in the prosecution of Bradley Manning, the source of the massive WikiLeaks publication of US state secrets.
    The US soldier had asked for permission to present evidence at his upcoming trial that he said would show the classification system was broken, and that a large portion of the hundreds of thousands of documents he transferred to WikiLeaks were ranked "secret" when they were, in fact, anodyne.The
    judge in the Manning case, Colonel Denise Lind, ruled the over-classification argument to be inadmissible at trial.Excessive secrecy in government has now been recognised at all levels, from Obama down.
    In 2009 he effected an executive order that provided for information to be released to the public as soon as possible, and the following year he signed HR 553, the "reducing over-classification act".Yet, at the same time as Obama has talked about

    enhancing transparency, he has also presided over one of the toughest administrations in terms of policing state

    secrets. There have been six prosecutions under the 1917 Espionage Act under his

    watch – more than under all previous presidents combined.An
    investigation by the Associated Press recently revealed that the Pentagon, CIA and other government agencies are rebuffing

    public requests for information at a greater rate than at any time since Obama took office, all in the

    name of national security.The endemic tendency towards secrecy was underlined at the Brennan Center event by two currently serving senior administration figures. Nancy Soderberg, a former US ambassador to the UN who now advises Obama on classification of national security

    information, said the system

    for handling official documents was not

    functioning."We are withholding documents we should not be withholding.
    The current classification system

    is outmoded and outdated, and entirely unsuited for the modern digital age."Soderberg chairs the Public Interest Declassification Board, an advisory committee set up by Congress to tackle the crisis of spiraling official secrets. In December the board produced a devastating report

    that said the present situation was unsustainable."It is a basic right," Soderberg told the meeting.
    "The government must be accountable to the public, and the public has to know what is being done in

    its name.
    But the system cannot keep pace with the number of digitised documents being created."She
    said that between 2001 and 2011 the cost of administering the classification of official material had more than doubled, from $4.7bn to $11.4bn.Robert Litt, the most senior legal advisor to the Director of National Intelligence who is at the coal face of classification issues in

    the current administration, agreed that too much information was being held secret for too long.
    But he ascribed it not to "evil or venality" but to a combination of a culture of secrecy among executive branches and "bureaucratic inertia"."Nobody wants to be responsible for being the person who blows the cover of an [intelligence] asset that may lead to them being killed.
    Nobody wants to be the person who results in the loss of an important security capability that protects the public," he said.He added: "In my view, it's fundamentally a cultural problem. We need more training of classifiers, and management buy-in, to move people away from the tendency to lean towards classification and get them to see the very real benefits of greater public information."US
    national securityData protectionWikiLeaksFreedom of informationUS politicsBarack ObamaGeorge BushBradley ManningEd © 2013 Guardian News and Media

    Limited or its affiliated companies.
    All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds The Air Force's decision late last month to award the long-contested, $35 billion aerial refueling tanker program to Boeing ended a competition that had been

    fraught with controversy. But analysts say the decision may have sent another

    message to the contracting community: The government isn't ne...
    A federal appeals court held that the agency must disclose, at least to a judge, a description of its records on drone strikes in response to a lawsuit by the American Civil Liberties Union. Malaysian forces also led a ground assault on an armed group that

    has occupied

    parts of northern Borneo Island for weeks.
    Benjamin Britten’s Third String Quartet, performed by the Escher String Quartet at the Rose Studio, was one of the most profound expressions of his final
    8:47 pm
    Tiny compound semiconductor transistor could challenge silicon’s dominance
    Job certificate programs are google sniper review by employers

    for google sniper review workers with in-demand skills, but they are often not eligible for federal financial aid. The vehicles are the 2013 Nissan Altima, Leaf, Pathfinder, Sentra and Infiniti JX35.As

    the labor market improved, the number of homeowners who fell behind on their mortgage payments dropped in the final three months of last year to the lowest level since 2008, according to a national survey released Thursday by the Mortgage Bankers Association. The Lens blog invites people age 14 to 18 to submit photos for their “My Hometown” project by May 1.
    Learn more, and find related ideas for

    making this invitation a starting point for rich project-based

    learning. Top Pentagon officials are to appear before the Senate and House Armed Services committees Tuesday and Wednesday to support Defense Secretary Robert M. Gates' ambitious effort to reduce Defense Department overhead by $100 billion in the next five years and to eliminate redundant spending. Bird's feather coat gets colder than the surrounding air Steaua Bucharest are looking to cause an upset as they prepare to face Chelsea in the first leg of their Europa League last 16 tie The creative process — whether the end result is a movie, a television program, or future technologies — is a bit like driving through the fog, producer-writer-director J.J.
    Abrams said in a talk Tuesday at the MIT Media Lab.
    Abrams is the creator of the television series “Lost” and “Revolution” and director of a “Star Trek” sequel to be released next year.Abrams explained that in the creative process, one often has a sense of one’s destination, but the journey may end up taking some surprising twists and turns. When he’s on the set, he

    says, even though the dialog is established, once the performance starts sometimes “you have to let it go, and see where it takes you.
    You can’t anticipate everything.”Abrams spoke after a tour of the Media Lab with its director, Joi Ito, as part of the lab’s series of “Conversations,” informal talks that are webcast live.
    8:45 pm
    Big Tent Activate Summit: LIVE from New Delhi
    The google sniper review of the American-led invasion are still being felt in google sniper which remains a deeply divided, violence-plagued country that some fear may be headed for a full-blown civil war.
    Kent Tritle conducted a student presentation of Mendelssohn’s “Elijah” at the Manhattan School of Music.Comedian Kathy Griffin shows up on "Glee" (Fox at 8 p.m.),
    playing a judge at the regionals competition, along with fellow guest-star judge Loretta Devine. Meanwhile, the glee clubs gear up to compete as Sue coaches the rival Aural Intensity, the Warblers create a great set list, and the New... Click here to have the Fiver sent to your inbox every weekday at 5pm, or if your usual copy has stopped arrivingBUCKET LISTIn 1863, the Football Association was formed and wrote down the

    rules of football, and since that august day has, along with its Premier League goneril, endeavoured to do everything possible to ruin everything possible. The Fiver is yet

    to hear confirmation as to whether this is

    on account of the work of Roald Dahl or in spite

    of it, but the triumph of combining the greed of Augustus Gloop, the entitlement of Veruca Salt,

    the aggressiveness of Violet Beauregarde and the wanton abandon of Mike Teavee is a feat the Fiver cannot help but admire, and as such, has penned a song in its honour. Please do sing along, for it is the least that they deserve:Oompa loompa, oompa-dee-dooWe've

    got another debacle for youOompa loompa, oompa dee-deeHere's an example of base lunacyWhat do you get when your laws are all skewedProtecting officials, when tackles are lewdSwivel-eyed drivel 'bout integrityNow poor old Haïdara owns an ex-kneeHe don't like the look of itOompa loompa doompa-dee-daDon't rock the boat and you will go farYou can live in happiness tooLike Dave Richards and his knighthood, doompa-dee-dooOompa, loompa, oompa-dee-doWe've got another debacle for youOompa loompa, oompa dee-deeHere's an example of base lunacyWhat do you get when you're bedazzled by cashSlavemasters, usurpers, despots, Chicken ShackFamous old clubs left like vagrants in rags"Best league in the world," what a vomitous blagWe can't bear the sight of youOompa loompa doompa-dee-daIf you are greedy, you will go farYou can live in happiness tooLike the rich men with your heritage, doompa-dee-dooOompa loompa, oompa-dee-dooWe've got another debacle for youOompa loompa, oompa dee-deeHere's an example of base lunacyWanting to know just what your club meansUsed to be about stories, great players and teamsNow it's all accounts and debt, what a stateAnd the hand in your pocket belongs to [Snip – Fiver Lawyers]He just loves the feel of itOompa loompa doompa-dee-daDeface our history, never mind who you areWe can snap your spirit in twoAnd walk on by to our yachts singing, doompa-dee-doOompa, loompa, oompa-dee-doWe've got another debacle for youOompa loompa, oompa dee-deeHere's an example of base lunacyWhat do you get when you go down a leagueJust a fat bung, 'solidarity' feeThen prey on the poor, come back quick to our sectBut charge more for tickets, they'll never suspectWe just love the taste of goldOompa, loompa, oompa-dee-doLife in a suit suits us fine, why thank youYou are an addict we are boydem and dopeSo just know your place while we taunt you doompa-dee-doo.DO
    NOT KNOW YOUR PLACEQUOTE OF THE DAY"At the moment they are telling him he needs to get rid of a whole lot of people and bring in a stronger squad – especially in the defence.

    also needs to let assistant manager Steve Bould do his job.
    Mr Wenger likes to do everything but he is not good at everything" – Stephany Cohen, who says she is in contact with three different alien species, reveals that the Grays – tantric, mystical spirits from Canic Major – have started to give Arsène Wenger advice on his team selection.
    Yep.FIVER LETTERS"This is either biting satirical comment on the scarcity of football news in international week or, more likely, you've just sent out yesterday's Fiver in error with your silly sausage fingers" – Paul Turp (and 1,056 others)."Is there any mileage, once Rio Ferdinand retires, in getting him to edit the

    Fiver? After all, putting it 'in the hands of the man whose attention to detail is so meticulous he once completely forgot to turn up for a regulation drug test' ought to introduce enough quality control to ensure the

    same edition isn't sent two days running" – Ian Sargeant."Re: the extermination of the bees at the

    Ponte Preta v Atletico Sorocaba game (yesterday's Fiver letters). What if Edgar Davids was manager of either side? He has a tendency to rescue Bees.
    But it may be dependent on

    results. Seemingly a defeat to Accrington = humanitarian ideals towards bees" – Michael Holt.• Send your letters to
    Also, if you've nothing better to

    do you can also tweet the Fiver. And to placate certain readers, the Fiver awards prizeless Fiver letter o'

    the day to: Michael Holt.JOIN GUARDIAN SOULMATESWe keep

    trying to point out the utter futility of advertising an online dating service "for interesting people" in the Fiver to the naive folk who run Guardian Soulmates, but they still aren't having any of it. So here you go – sign up here to view profiles of the kind of erudite, sociable and friendly romantics who would never dream of going out with you.BITS AND BOBSJosé Mourinho claims there were "irregularities" in the voting for Fifa's World Coach of the Year award last year. José Mourinho did not win the Fifa World Coach of the Year award last year.
    Fifa denies the allegations.The new owners of Nasty Leeds have decided to sell up just three months after buying the club.8
    March: "The chairman's been very supportive.
    He has got behind me and the team and that support has helped" – Stevenage boss Gary Smith says chairman Phil Wallace is right behind him.20 March: "It's always difficult

    when you have to replace the man in charge. It's time for a change" – right behind him with a boot.Wojciech
    Szczesny's dad has got the right hump on with Arsène Wenger over his son being dropped as Arsenal keeper.
    "Wenger already started to look for

    the scapegoat. It is not the way the boss should behave," sniffed Maciej Szczesny.Wojciech
    Szczesny's dad.
    Good old international week. Still, at least it's not the Grays.And
    two men have been sentenced to a 12-month community

    order after a fight broke out between the pair when one told the other he looked like Joey Barton. "Shaun Beckwith, 21, and Maxwell McStravick, 40, both admitted using threatening behaviour after the pair came to blows outside the Tap and Spile pub, Darlington, on 8 March," reported the Northern Echo.GUARDIAN MASTERCLASSESThere are still places available for the next of Big Paper/Website's 'How to be a football journalist' masterclasses on 6 April.
    If you're interested, you can sign up here.RECOMMENDED VIEWINGGhost goals happen even when Stuart Attwell isn't around. Here's one from

    the Spanish lower leagues.STILL WANT MORE?Are you sitting comfortably? Then Marina Hyde will begin the brilliant story of Bobby Shillinde.Once
    more to the well:

    the Knowledge offers up the greatest fixture pile-ups in history (redux), this time featuring Guernsey FC.Stuart
    James suggests that Tony Pulis may have taken Stoke City as far as he can in the Premier League.And farewell Umbro, welcome Nike – England's diamonds become a swoosh.SIGN UP TO THE FIVERWant your very own copy of our free tea-timely(ish) email sent direct to your inbox? Has your regular copy stopped arriving? Click here to sign up.RED
    IS. ONDaniel © 2013 Guardian News and Media Limited or its affiliated companies.
    All rights reserved.
    | Use of this content is subject to our Terms & Conditions | More Feeds -- --- Airlines whipsawed by costly fuel, Japan disaster Iran is

    steadily stockpiling enriched uranium, even in the face of toughened international sanctions, according to

    a U.N.
    inspection report that raises new concerns about the ability to monitor parts of the

    Islamic nation's nuclear program that could be used to make a bomb. Having a baby is a wonderfully happy time and also a stressful one, so it pays to get your financial house in order for the sake of you, your partner and your new child. 'These are the remains of Luke Skywalker's childhood home, as seen at the start of Star Wars'This is part of a project that began when I was using Google Maps to look at Chott el Djerid, the great salt desert in Tunisia. Intriguingly, someone had attached a photograph of some crumbling plaster to the online map with the strange caption: "There is no more English Patient." I discovered that The English Patient had been shot there – and Star Wars.As
    I researched further, I found out that it wasn't uncommon for Hollywood and European

    productions to abandon sets in

    deserts. In Morocco, there are huge re-creations of ancient Rome and Greece, plus a fake Mecca. There's also a replica

    of an American gas station, which a homeless guy has moved into. Over time, they become almost like archaeological sites.So
    in September 2010, I spent a month travelling around Chott el Djerid. I tracked down three Star Wars sets in all. With only my Google map as a guide, I struggled at first to find anything.
    Then I met a driver who knew the desert well and offered to take me to the sites. We still ended up asking

    for directions at a police station and they told us it was 15km from the Algerian border – but only accessible by quad bike. Somehow

    we made it.These are the remains of Luke Skywalker's childhood home, which we see at the start of the film – he was raised by his aunt and uncle, who had a "moisture farm" on the planet of Tatooine. After all my detective work, it was exciting to finally find the set. And exploring it was unexpectedly moving: like many people,

    I saw Star Wars when I was young, so it felt very nostalgic.
    I spent a morning shooting, on both digital and film. The sand was brown-red and the speckles of salt sparkled in the sun.
    These are not real ruins, of course.
    They are just rubbish that has been left by a richer country in a poor country. But at the same time, they have a monumentality about them because they resonate with our childhood memories. Star Wars looks futuristic to us, yet this is the biological decay of past imaginations.When
    my pictures were published, some

    Star Wars fans were annoyed that the house

    in this picture had been left in such a state of disrepair. So

    they spent four days and $11,000 working with locals to restore it.CVBorn:
    Rome, 1975.Studied:
    Slade School of Art and Chelsea College of Art, London.Influences: Rodney Graham, Nan Goldin, Cindy Sherman, and Gregory Crewdson.High
    point: When I plan a complex project and it not only works but I discover things I wasn't even hoping for.Low

    point: When I find myself just staring at the computer and not really doing anything.Top
    tip: Don't feel down if your work isn't appreciated.PhotographyStar
    WarsScience fiction and fantasySarah © 2013 Guardian News and Media

    Limited or its affiliated companies.
    All rights reserved.
    | Use of this content is subject to our Terms & Conditions | More
    8:43 pm
    Russia, U.S. warm up on missile defense
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    the SENSEable City Lab.
    And Ratti notes that the differing energy use profiles of the MIT buildings are themselves of interest. "It may be no more than a reflection of

    the different building construction and use,"

    he says. "Further inquiry would likely show all the buildings on campus have their own particular 'signature.'
    Knowing the signatures across the campus and across the

    seasons may be enlightening in determining appropriate operating strategies." Spreading the word, encouraging change While continuing to gather and analyze data, the researchers are working to spread the word about energy/occupancy mismatching and the significant energy conservation opportunity solving this

    problem represents.
    For example, they are developing new ways to present their findings so that people can quickly comprehend what's involved. The figure below demonstrates their latest data-presentation method.
    Skimming down a single vertical bar shows how that factor changes on a given day over a year; looking across a bar at one level shows how a particular

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    level quickly


    where occupancy and energy use match and do not match. The team also offers some simple energy-saving rules for designing and using buildings. For example,

    grouping offices together can prevent the loss of heat from occupied, heated spaces to unoccupied, unheated ones. And

    at times, spaces can be designed to take advantage of "thermal seepage" through internal walls.
    For instance, that continuously heated lecture hall can be surrounded by heavily used offices so that someone benefits from the warm air even when the lecture

    hall is empty. Finally, the group stresses

    the importance of behavioral change. Rex

    Britter, a DUSP research scientist in the lab, notes that encouraging people

    to change their habits may require some creative thinking.
    As an example, he describes a concept he calls the "weighted thermostat."
    Picture a large meeting room. When many

    people are present, they can

    adjust the thermostat over a wide range to get the room to a comfortable temperature.
    But if only a few people

    are present, their ability to regulate the temperature would be more restricted. Over time, small groups would learn to use small rooms.
    Occupancy and energy use would be better matched, and less energy would be wasted.
    "Behavioral change is a huge component that

    we haven't even scratched the surface of," Robinson says. "This is an area with lots of opportunity to do research — and enormous potential for making a real difference." This research was supported by a seed grant from

    the MIT Energy Initiative and by the National Science Foundation, the AT&T Foundation, the MIT SMART program, General Electric, Audi Volkswagen,

    Banco Bilbao Vizcaya Argentaria, Société Nationale des Chemins de fer Français,

    Ente Nazionale per l'Energia Elettrica S.p.A.,
    and the members of the MIT SENSEable City Lab

    Consortium. Further information can be found in: C. Martani, D.
    Lee, P.
    Robinson, R.
    Britter, and C. Ratti.
    "ENERNET: Studying the dynamic relationship between building occupancy and energy consumption."

    Energy and Buildings, DOI: 10.1016/j.enbuild.2011.12.037, 2012.In spite of its success, the director has declined the chance to direct another Bond film, citing theatre projects as a prioritySkyfall director Sam Mendes has confirmed he won't be returning to the next Bond film, despite Skyfall's stellar success.Speaking to Empire magazine, Mendes said

    it had been a "very difficult decision" to decline producer Michael G Wilson and Barbara Broccoli's offer to direct a

    Skyfall follow-up, currently known as Bond 24."Directing
    Skyfall was one of the best experiences of my professional life, but I have theatre and other

    commitments … that need my complete focus over the next year and beyond."In a statement, Wilson and Broccoli said:

    "We thoroughly enjoyed working with Sam, he directed our most successful Bond movie ever, Skyfall. We would have loved to have made the next film with him but completely respect his decision to focus on other projects and hope to have the opportunity to collaborate with him again."Mendes cited forthcoming stage productions of Charlie and the Chocolate Factory and King Lear as the main factors in his decision; he is also attached as director to Netherland, adapted from the Joseph O'Neill novel, and has producer credits on a number of other forthcoming projects.Skyfall's
    staggering box office impact – it is by far the most successful Bond

    film, with a worldwide take currently standing at $1.11bn – had led to suggestions that Mendes might take up the reins again.
    But with a track record of Oscar-bait dramas including American Beauty and Revolutionary Road, Mendes will be reluctant to become identified with a blockbuster action franchise.
    He did, however, leave the

    door open for the future. "I feel very honoured to have been part of the Bond family," he said, "and very much hope I have a chance to work with them again sometime in the

    BondSam MendesThrillerAction and adventureTheatreFilm industryUnited StatesAndrew © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved.
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