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Function, so you can see your creation in a wireframe mode, and make changes until your happy with the results, then render. when i first downloaded the last version of knot, i was a bit intimidated by about half of the interface, which will make anyone not comfortable with parametric equations isn't that 98% of the population? ; sweat. however, the good news is that if you are so inclined, the included printout manual explains very clearly how simple it is to understand, what the values mean, and how they affect your strands. if your eyes are still glazed over, rest assured that you can enter just about any numerical values, just to see what will happen. and it's usually interesting and beautiful. i've always designed, in whatever medium i've worked in, with layers of number sequences combined with traditional design devices, such as mirror image, half drop, etc. since first seeing harry smiths' gorgeous and hypnotic filmed animations about 15 years ago, i've been on the lookout for something modern that would allow me to use my secret methods to extract beauty from numbers, with visual results. knot is that program. not to mention that it's a hell of a lot of fun, especially when you begin to master it, and can boss those strands around! the output is infinitely diverse. i've started a web site, "the knot room", to showcase some of my experiments using knot, on the way to creating short animated videos. you can check out some of knot's capabilities there, and also submit your own work. that can be movies, stills, icons, or anything else made with knot, see the submission guidelines for more information. knot is shareware, very modestly priced at . us ; and available for download at the usual macintosh shareware haunts, or lloyd burchills website, where you can also find his interesting photoshop plug-ins. the program is fully functional unregistered, but your final renderings will have a globe that says "please register knot" in the corner. for an explanation of terms and phrases used in this article, check out the d.film glossary phillip pelletier and verne lindner talk about the making of "new testament" by steve baker in a garish display of commercial overkill, jesus christ appears as the spokesman for "new testament", a wine cooler. this is the premise of swankytown's short, "new testament" that appears in this year's d.film festival. with the excess of many of today's ad campaigns, jesus christ singing jingles to sell alcoholic beverages may not seem too far from becoming true. with this in mind philip pelletier and verne lindner, co-founders of la's swankytown productions, embarked upon the task of making "new testament." the result is a hysterical and extremely well made satire of the excessive and, many times, ridiculous nature of today's commercial advertising. * d.film: i guess one of my first thoughts was: "if the primary motivation behind 'new testament' was to just fulfill some personal desire to see it done, then this guy really knows all that is good!" so, what was the primary motivation? to finalize an idea that you hatched yourself, or is it based on something or done for some occasion or event? phillip: i wanted to make a social commentary on the relentless barrage of commercial crap we are inundated with every day. my motivation was to create a cautionary yet hilarious tale of capitalism run amok, full of music, special-effects, and mayhem. when i saw the nike ad with john lennon's "revolution" soundtrack, and the mercedes ad with janis joplin's song, that really did it. d.film: tell me about swankytown and yourselves. what kinds of stuff do you guys do professionally? are you working on any big personal or professional projects now? "new testament" has some really incredible production values. how did you acquire these skills? and what's up with that damn jingle? it's indelibly burned in to my brain. ; - ; phillip: i originally went to film school at bard college, but i dropped out when i realized i couldn't afford to actually make a film. i bought a guitar for 0 instead and went to berklee college of music, thinking that music was more practical. i went on to compose music for film and television. producing music sessions was a really good preparation for directing, in that you have to work with talent, deal with technical equipment, watch the clock, and handle groupies. as for "that damn jingle" as you call it, that ditty was scientifically designed to burn into human brains by me in diabolical musical laboratory. and it doesn't go away. ever! verne: i started out as a calligrapher-go figure.a few i got interested in computer graphics and got friends to sneak me into facilities at night and on the weekends so i could learn on my own. my first professional gig was morphing a pineapple into a can of fanta. i've also worked on hollywood films, such as sylvester stallone's "daylight" and arnold schwarzenegger's "eraser". recently i've worked on some indie projects that came to us from people who had seen "new testament". i like showing filmmakers who don't think they can afford effects all the things we can do here and still retain some semblance of a budget. phillip: swankytown was founded by combining our different abilities and backgrounds into one company. with verne's artwork, design and fx, and my directing, editing, and music, we're kind of like the old max sennet studios, only with better equipment. we recently completed a tv promo for the la int'l short film festival airing on the independent film channel. we wrote the fully animated spot together, verne drew, animated, and digitally painted the scenes. i edited, composed original music, did the sound design, recorded the voice-over, and mixed the audio. i also just finished producing original music & sound design for 20th century fox's re-release of "planet of the apes" in thx. 9.
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People try to figure it out before the ending, and that is the popularity of the art form, " he replied. "what i love about it in its theatrical styling is that it is immediately engaging to an audience. they understand what it is. unlike a great play that you just sit back and absorb, our theatre, no one sits back everyone is on the edge of their seat watching for clues and trying to figure it out. it is the most actively engaged audience i have come across in theatre. the discussions in the lobby are great because everyone has a theory and is trying to figure it out. our audiences spend the entire intermission talking about the play, it is amazing the eye for detail that people have. it is a lot of fun to scare the crap out of people." and yes, a party to murder likely will fall into the "scare the crap out of you" department. "there are some good, creepy thrills in this show. the power goes out, of course. it is different than watching it on film because you are distant from film. when people are stuck in the cabin and plunged into the dark, it's a lot more visceral and creepier because you are right there with them, in the same room as the killer. i wouldn't go out in the woods after seeing it! just don't go to a cabin on an island with five people you don't really know - that would be the moral in this story. and never look for someone in your underwear. it is a sure way to die. there is no underwear in the show everyone is in their pajamas." we asked if the pajamas in this particular show were at all revealing, to which he responded, laughing, "you never know, you will just have to come and see it and find out." in case you still aren't convinced, mark has one last message as to why you should check out the 2007 2008 season opener of vertigo mystery theatre. "you will laugh, be scared, and engaged and intrigued. if you like any mystery in any form, you will love this. you will keep guessing and guessing, peeling away more layers like an onion and when you get to the core it is quite surprising. [there are] lots of great twists and turns. if you have never been here before you should definitely check it out because the work we do is really great. our audience is growing rapidly, so get on board while there is still room!" vertigo mystery theatre presents a party to murder september 15th - october 7th vertigo theatre calgary tower ; 403 ; 221-3708 vertigotheatre.
Although millwall have signed up for the 'lets kick racism out of football' campaign its nothing to shout about, as some fans are still making racist chants and no-one seems to be doing anything about it. don't these people realise that when they are chanting at opposing black players they are also doing it to et, albeit indirectly. haven't they noticed he is black? alright, he plays for millwall but it must still affect him even though the abuse is aimed at a black player from the opposition. what about the black supporters we have, imagine how they must feel when a crowd around them are shouting racist abuse at a player. despite all this, they still come back because they love millwall, just like any of us. the danger is that we become immune to all this crap going on around us and don't actually notice it because it becomes part of the norm. this must not happen! its about time everyone realised what effect this is having on our great south london club and done something about it. i'm sure most people join in racist abuse because they are in a crowd. its no use these people pretending they can walk out of the ground and say they are not racist because they are. just because a crowd around you are making monkey noises this doesn't mean you have to join in. i think it needs tlr to make a stand on this because you are the voice of millwall supporters, and so, have some clout. i have also written to reg burr asking him to run the 'lets kick racism out of football' advert in another programme m coyne se19 dear tlr could you please print this letter that i sent to reg burr about match day tickets, to which i have still to receive a reply. dear mr burr i have been a millwall supporter for over ten years. i wanted to attend the millwall v derby match. i was outraged at the attitude of staff employed at the stadium, and at the actual ticketing system itself. at 12.30 saturday i rang millwall ticket line to enquire if there were any south stand upper tier tickets available. i didn't expect there to be any as this is the most popular part of the ground, and the tickets had been on sale during the week. to my surprise the voice on the other end of the line said there were. they also said, if we got down there quick enough, we would be able to purchase them. my friend and i immediately jumped into a cab and headed for the ground. as soon as we got there. i headed straight for the ticket office and asked for two tickets for the south stand upper tier. the reply was, 'sorry mate we're not selling them here' i informed the gentleman behind the counter that i had rung twenty minutes earlier and i was told i could buy tickets. he called over another man who said i could buy tickets at the south stand turnstile. as it was only 1.30pm, i did not want to enter the ground as i was meeting friends at and craps roulette.
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Ms. vanderkamp's home was on the other side of town, which itself was built on a series of hills and valleys. the route she usually took undulated its way through subdivisions, the road rising and falling in black waves that glistened silver in the moonlight. she would pedal her bicycle uphill with icy resolve, her eyes narrowed into slits of concentration; once past the apex she would coast down noiselessly a stealthy, silent wisp through the night, fingers poised over the handbrakes. ms. vanderkamp moved out onto the road. the first big hill was only a block and a half away; she began to gather speed, her spindly legs pumping, urging the bike forward. but when she arrived where she would normally have begun her ascent, the hill had disappeared: the road stretched flat and straight ahead, the usual great bulge having presumably sunk into the earth. ms. vanderkamp proceeded cautiously, wary of potential earthquakes. meanwhile, claudio, the tenor, was pulling his sports utility vehicle into the town's hockey arena. his son andy played for the local aa bantam team, and their game times coincided exactly with claudio's choir practices. andy was in fact waiting for his father outside the arena. he was a stocky, sullen boy, notorious throughout the league for his dirty stick work in front of the net. andy hopped up into the suv and threw his bag into the back. "how'd you do?" asked claudio. his son sat scowling out the window, silent. "that well, huh?" claudio pulled out of the parking lot and started heading for home. after a few more minutes of silence, andy finally spoke: "coach says we were flat." "flat?" "yeah." "how so?" "i don't know. just flat." andy reached over and turned on the radio, fishing around the dial until he found a station whose music he knew would sufficiently irritate his father. also at this time, beth, the anxious alto, was walking home to her nearby basement apartment. the neighbourhood was dark and still, with only the blue flicker of a television set through the occasional window indicating any sign of life. beth, who worked part-time as both air traffic controller and 911 call receiver, found these nighttime walks soothing amidst the frantic pace of her life. soon enough beth was home, and she crept down the concrete steps that led to her door. it was barely past nine o'clock, and still beth was wary of waking her upstairs neighbour, a man she only knew as someone who owned a pair of menacing black dogs. she let herself into her apartment and, without turning on any lights, proceeded to the kitchenette. there she removed a bottle of beer from her refrigerator with which she sat down at the table in the dark and how to win at craps.
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Who whacked the crap out of the millwall lads, and then whacked the crap out of any innocent millwall fans that were about as well. the stoke police set this up. it's so obvious and they were totally over the top. i hope people made complaints to the stoke police, they shouldn't be allowed to get away with this. p sheehan e-mail ed - please write to ken chapman at the club, telling him in as much detail what happened and he will do whatever he, and the club, can, to ensure these people are made to justify their actions ; travel request although exiled on the isle of wight, home games are no problem to get to and usually i manage 75% each season. but away games can be a pain in the arse. it's either getting up at ridiculous times saturday morning to get an early ferry, then train to waterloo, then onto euston or wherever, for the trip up country. which isn't too bad, until getting back to london, getting across to waterloo then getting back to portsmouth, missing the last ferry and dossing on a bench on portsmouth harbour station! the alternatives are not bothering with away games which would be annoying due to the fact away matches are a better day out, usually ; or finding somewhere in london or the outskirts to doss at. unfortunately, the only family members i've got left in south london are ones i'd rather not stay with overnight! the only other thing is finding fellow millwall fans who are also living down here now, who perhaps drive up to away games. so, if you can help find out any information that might help me i'd be very grateful. either a lift up from the south coast with someone or a place to doss before and or after an away game, would be so much easier. as you can imagine, apart from me and the missus, there's not many other millwall fans down this way! it'll be nice to meet a fellow supporter to go to games with, so if anyone can help please let tlr know. simon rideout e-mail wrinkly gibberish i have just been to indonesia teaching the wa wa tribe of batam island the way of the lion. they are now our most dedicated supporters, who attempt to travel to every home game by canoe. unfortunately they have not yet managed to master the barrier reef, but give them time. they now have millwall tattooed on their eyelids to spread fear to their mother-in-laws, their enemy. tony budd - aka tasmaniac alternative opinion i was baffled and bewildered by your comments in your recent editorial issue 126 ; . whilst agreeing that rhino and macca had to go, your pro-bonds article was beyond!
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