Nicole Richie | Marie Claire

Ever since a Free People opened in NYC, I've become the overbearing girlfriend and/or crazy ex-girlfriend of the shopping world. Luckily, I'm pretty sure that if I keep spending money every time I go in, I won't have to worry about a restraining order. But, honestly, can you even blame me with accessories like these? I think not.

Cuffed

So, it looks like I'm going to be held hostage at my job for the rest of the week. Now, if only figurative handcuffs looked like this, being chained to my desk would probably suck a little less.

Walking in White

There is really no reason for this other than me just thinking that she looks very pretty all dressed in white. Then again, she is Bambi Girl. It's kinda hard not to look pretty when you have that going for ya. On the bright side, at least I'll never have to buy tissue paper again. Just thinking of all the pennies I'll save in future gift wrapping costs is probably enough to convince myself that I walked away with quite the bargain.

The damage really isn't as bad as it looks though. If you happened to check out the book, you'll know that there is a lot of emphasis on finding 'your esstentials' and the key pieces you want to build your wardrobe around. For me, that translated into finding the right accessories and basics to fill the gaps in my style. (aka me seriously stocking up on layering tees, belts, and light-weight scarves.)

Richie Getting Lucky

Nicole Richie has not come a long way since her days living the simple life. Nicole Richie has become a completely different person. In fact, I wouldn't rule out a brain transplant or brief alien abduction in between all those dramatic confrontations with Paris.

I may not fully understand how or when she went from being famous for no reason to a super-styled, career mom, but as long as she keeps the kimono dresses and costume jewelry coming, I won't question the process.

VIA I'm Kinda Stalking Free People

VIA The Black Dahilia Murder Celebrate the Release of "Ritual" with a FREE Download

Londoners can exchange usual lamps for the harmless free of charge

VIA «In the European Union since 2010 forbid standard lamps»

On June 15, 1215, in fields by the banks of the River Thames at Runnymede to the west of London, England's King John agreed to the demands of his rebelling barons and accepted the Magna Carta, Latin for "Great Charter", which for the first time placed the monarch under the rule of law.

In the centuries since, it has taken on huge global significance, becoming the basis for the U.S. Bill of Rights, the U.S. Declaration of Independence and the Universal Declaration of Human Rights. Three of its 63 clauses still remain on Britain's statute book.

"What happened in these meadows eight centuries ago is as relevant today as it was then. And that relevance extends far beyond Britain," British Prime Minister David Cameron said.

He said the document had changed the world, inspiring people from the founding fathers of the United States and Indian independence leader Mahatma Gandhi to Nelson Mandela in South Africa.

"Its remaining copies may be faded, but its principles shine as brightly as ever," Cameron told the ceremony attended by the queen, other royals and global figures including U.S. Attorney General Loretta Lynch.

Magna Carta came into being during a period of great political upheaval in England with conflict between King John, his nobles and the English church.

It was essentially a peace deal to address the problems of the day and was annulled by the pope shortly afterwards. But updated versions, which included two original clauses regarded as pivotal in establishing the rule of law, were re-released regularly by or on behalf of succeeding monarchs.

The clauses read: "No free man shall be seized or imprisoned, or stripped of his rights or possessions, or outlawed or exiled, or deprived of his standing in any way, nor will we proceed with force against him, or send others to do so, except by the lawful judgment of his equals or by the law of the land.

"To no one will we sell, to no one deny or delay right or justice."

Originals Exist

Four original copies of the document, written on a single sheet of parchment about the size of A3 paper, still exist.

At Monday's ceremony, a new art installation was unveiled and the American Bar Association's Magna Carta Memorial, which was erected at the site in 1957, was re-dedicated.

U.S. Attorney General Lynch said the charter was a bedrock to free societies globally, while Cameron also used the anniversary as a political opportunity to underpin his plan to overhaul human rights laws and reduce the influence of Europe.

However, John Dyson, chairman of the Magna Carta Trust, said King John and the barons would have been bemused that the document would garner such interest hundreds of years later.

"They would surely have been astonished that over time Magna Carta came to be regarded as one of the most important constitutional documents in our history," he said.

"They would not have believed that barons' lists of demands would become a symbol of democracy, justice, human rights and perhaps above all, the rule of law for the whole world. But that is exactly what has happened."

Author: Stefan Wermuth | Source: Reuters [June 15, 2015]

The actress had clearly gone for a relaxed look, paring the vest with some white floaty trousers and embellished sandals.
Toting a cup of coffee, she topped off the look with a fedora hat, black wayfarers and a make-up free complexion.
Katie has been getting into Miami style with her array of beachwear.
On the weekend, Katie showed off her slimmed-down physique in a bikini as she played with five-year-old daughter Suri on Miami beach.
Mother and daughter are together at the seaside town in Florida where Tom Cruise, 48, is filming Rock of Ages.
Beachy keen: The actress had clearly gone for a relaxed look, paring the risqué vest with some white floaty trousers and embellished sandals
Katie wore a red bikini and pink denim shorts while Suri was fully clothed in a multi-coloured dress.
The family were also spotted celebrating Father's Day in Miami on Sunday where Katie and Suri were pictured strolling with Cruise and then boarding a boat.
The close-knit trio were seen around the marina together in casual weekend wear.
Katie carried Suri in her arms, as always, to the luxury yacht which they hopped on for their afternoon cruise.
Accessorising: Toting a cup of coffee, she topped off the look with a fedora hat, black wayfarers and a make-up free complexion
After they boarded the yacht, named Marquis, Katie and Suri sat on the deck while Cruise kept cool inside as they sailed out to sea.
The couple have been the butt of break-up rumours pretty much from as soon as they got together six years ago.
But the loved-up twosome showed that their relationship is stronger than ever and were very touchy-feely at an event in Miami Beach later in the weekend.
Making waves: On the weekend, Katie showed off her slimmed-down physique in a bikini as she played with five-year-old daughter Suri on Miami beach
Katie lovingly grabbed her husband of nearly five years from behind and Cruise reciprocated, resting his hand over hers in a sweet gesture.
The couple turned up the Miami heat during a night out with the cast members from Rock of Ages including Julianne Hough and Malin Akerman.
They cosied up at Larios Cuban style bongo club and seemed to enjoy their date night in the Sunshine State.
Beach babes: Katie keeps close to her daughter Suri as they play in the water
Cruise is undergoing an amazing transformation to play long-haired, tattooed rocker Jaxx in the film, which is due for release next year.
Also starring Russell Brand, it tells the story of a girl who arrives in Hollywood at the height of the 1980s rock scene.
It's a very different role for Cruise, and Katie has given her backing to the career departure for her husband by revealing that he likes to perform at their home.
'Tom is such an amazing performer. Yes, we have music in our house and it’s amazing,' she told Access Hollywood.

Casual Cruises: The family celebrate Father's Day in Miami, Florida on a yacht
source : dailymail

VIA Racy Katie! Ms Holmes wears a white see-through top as she dines at Miami restaurant

VIA Toxic Vision Fashion Show

The Economic Moon

Financial crisis — not a hindrance for scale building of the landscape park Zabil. «The new Moon» becomes the central construction of the project. The construction in the form of a half moon — a symbol of force and energy of the countries of the East — will tell about today's prosperity of the United Arab Emirates.

The New Moon in Dubai

Monument interiors contain 5 floors. Everyone symbolizes one of five postulates of Islam: belief, a pray, mercy, mutual aid and pilgrimage. The design contains in itself a conference hall, cafe, children library and an information desk.

The New Moon Monument

The external part of a building decorated by the Arabian inscriptions represents a steel skeleton with emptiness. Such decision will give the chance to supervise illumination and air temperature on all platforms of the New Moon, will protect an interior from a direct sunlight and will provide free circulation of air streams. Inside there will be a special microclimate which will unload the central systems of safety. The project completely corresponds to ecological building standards. Solar batteries will be built in a building covering, and it considerably will lower energy consumption.

VIA «Rising of the New Moon»

Emerald Interior and Exterior

The world's largest paint retailer, Sherwin-Williams, is the only paint company with a VOC-free, environmentally responsible colorant that can tint all 1,500 of its colors. The washability of Emerald Interior and Exterior doesn't make its colors any less vibrant. Print ads for Emerald showcase the rich, sumptuous palettes of Sherwin-Williams through the imagery of London-based artist Mark Mawson. Those who wish to pamper their walls paint with Emerald.

Agency: McKinney;
Country: United States of America;
Chief Creative Officer: Jonathan Cude;
Group Creative Director: Ellen Steinberg;
Art Director: Jordan Eakin;
Copywriter: Ian Fairbrother;
Retoucher: Stacy Evans;
Photographer: Mark Mawson;
Print Producer: Lauren March;
Print Producer: Kellie Bingman.

Sherwin-Williams: TV Commercial

VIA «New Emerald Paint»

Trick ‘R Treat (movie poster)

Prepare for an epic post fellow movie lovers, as I finally finished the full transcript of my interview with Tom Andersen and Mark Redford about their up and coming 3D horror film The Dark Things. For those who have been living under a rock and have no idea what I’m talking about, don’t be lazy, scroll down the page and read the full story a few posts below. Anywho, as I eluded to last week, the interview is extremely interesting and Farmer in particular shared some awesome insights on Hollywood, modern horror films and 3D technology. Enjoy and stay tuned for more The Dark Things updates.

Jane Storm: So now that you’re here, what have you guys been doing so far? Have you been busy scouting locations?
Tom Andersen: Yes, we’ve already had a meeting with Warner Roadshow Studios and talked about the different places we can film and what Queensland has to offer, which is obviously a lot. We’ve been very happy with that.

Jane Storm: So you’re definitely coming to shoot here?
Tom Andersen: Yes, definitely.

Jane Storm: Cool!
Tom Andersen: We’ve been giving Todd a quick, rushed Australian education.

Jane Storm: Have they been getting you hooked on Tim Tams and Vegemite yet? Tom Andersen: Oh, we’ve got him hooked on Tim Tams, but he’s not a fan of Vegemite.
Mark Redford: The Tim Tams are fine, I have no problem with Tim Tams, but Vegemite…
Tom Andersen: But he needed to do that to experience what we go through (laughs).

Jane Storm: And you will be shooting the film primarily at Warner Roadshow Studios?
Tom Andersen: Yes and on locations throughout the coast.

Jane Storm: When are you planning to start filming?
Tom Andersen: The start of the year, definitely next year.

Jane Storm: Great, I’m just trying to suss that out so I can lurk on set everyday. So, the storyline, it’s about Aboriginal legends that come to life? Have you started writing the script already?
Mark Redford: I started the outline for this, then decided it would be better to just come here and dive in, meet the people, see the locations and look at pubs. I can write pretending to be an Aussie, but I need to come here to experience it. We have consultants that we’re going to meet with. It’s been quite fun.

Jane Storm: What kind of research have you had to do so far?
Mark Redford: Just researching…even film is different. Watching your films compared to our films, they’re different. So, watching films and what I like to do the most is just people watch. While that sounds boring, it’s actually fascinating because everything is different, everyone is different; the way you drive, the way you think. It's really quite fun because I've never done anything like this. At the end of the day it will all come down to the story, it will all come down to the characters. I grew up reading Stephen King and he was great at taking ordinary people and dropping them into extraordinary situations and that's exactly what I'm going to do.

Jane Storm: Right. As far as Aboriginal legends and Aboriginal culture goes, have you got some experts and consultants who are helping with the projects?
Tom Andersen: Marcus Waters, he’s a screenwriter and teacher at Griffith University here. We’re actually meeting him today and tomorrow and going over a bunch of stuff.

Jane Storm: What has the support been like from places like Screen Queensland and Screen Australia?
Tom Andersen: Everyone has been great and very supportive. You know, film’s not so hot here right now, so they’re excited to be getting a film over here. Everyone has been great, which is a lot different from the states.

Jane Storm: Why do you think that is?
Tom Andersen: It helps that I’m Australian too, us Aussies love to back each other. Another thing is I’m bringing home a good story with top Hollywood people. And it’s different, with all the remakes and sequels, it’s different. Everyone is excited to have a breath of fresh air.

Jane Storm: What made you decide to shoot the film specifically here?
Tom Andersen: It's an Australian story about Aboriginals; it's not going to work in Canada.

Jane Storm: No, I meant why on the Gold Coast, out of the whole of Australia?
Tom Andersen: Because I'm from here, I love it here. And the town that the story is set, it’s on the beach and I love Queensland. I want it here.

Jane Storm: Did the facilities help drawing you here? I know the studios have quite amazing capabilities. James Cameron’s Sanctum just wrapped filming here and the Narnia entry.
Tom Andersen: We’ve already had photos sent to us of different locations we’ve fallen in love with. There are some cool areas along the beach and we had some photos sent to us this morning and we saw that and were like `holy hell, that’s perfect’.

Jane Storm: With the cast, have you got that picked out and underway?
Mark Redford: No, we just have a wish list.
Tom Andersen: We’re just going to wait on that right now. We would like to cast Australians, established Australians.
Mark Redford: I would like to do another nude scene but other than that…

Jane Storm: (Laughs) What’s the budget?
Tom Andersen: Around $25 million. This is mainly a research trip, give Todd an education, get our feelers down and meet our producer. We have Mike Lake on board so we’ll be having a chat with him. We’re just flying our soldiers in and getting them ready to go.

Jane Storm: Now Todd, you were one of the key people behind trying to get Halloween 3D up and running and you worked on My Bloody Valentine, which was my first 3D experience and one I must say I’m a huge fan of. What is it about 3D that lends itself so well to the horror genre?
Mark Redford: I like it for a number of reasons; I like the rollercoaster aspect of it. There's a couple of ways to do 3D; there's the gimmicky, in-your-face way, which we were not afraid of in My Bloody Valentine. There’s also the Avatar version, which is the more voyeuristic, immersion-type where you are sucked in. But the truth is, you’re going to get that anyway with today’s 3D and you saw it yourself with Valentine and other 3D movies that you see, you’re literally inside. But with a horror movie, you’re even closer to the scares and the action. So I like that, the risk is that because we had a lot of success with Valentine and there’s been a lot of success with other movies, because of that everyone jumped on the 3D bandwagon and the problem is a lot of 3D has been rushed with the conversion process and a lot of the stories. I think at the end of the day it still has to be about the story, it still has to be about telling that story and you have to shoot good 3D. We will be shooting everything in 3D, we won’t be converting. We will be doing everything we did with Valentine and Drive Angry. I think as a result of that, especially here with all the sweeping vistas and the land, it’s going to look quite remarkable.
Tom Andersen: It’s a tool to telling a good story. There are a lot of crappy stories that are hoping to get by on their 3D and it’s a marketing gimmick. And it is, it’s a good marketing ploy for sure, but we’re using it as another tool to tell a really cool story.

Jane Storm: You guys have an awesome crew on board with the producers, composers, concept artists, is this a very exciting process, for it to be so early on and have such a great team already?
Tom Andersen: Exactly, that’s why I did it because I knew to pull this off I had to have the best around me. And I’m in Hollywood with the best so it was just a matter of pull. Everyone realises it’s something unique and who doesn’t want to come to Australia and make a movie, right? `Come to paradise with really cool people, really beautiful beaches!’ That was my lure and then it was just about building a good team. I think it’s like building a house and my foundation is strong, so you’ve just got to keep moving up.

Jane Storm: Have you made any decisions about the director yet?
Tom Andersen: We want Patrick Lussier.

Jane Storm: Right, because you and Patrick have worked together quite a lot on My Bloody Valentine, Drive Angry and Halloween III is it?
Mark Redford: Yeah. Patrick and I will write it together and depending on how the system works down here and what we can bring and what we can't...
Tom Andersen: -because we’re going after the 40% (producer) offset.

Jane Storm: Oh, that explains the caution; they can be really dicky with that.
Mark Redford: It will also depend on his schedule in the states because he is working on Drive Angry to the end of the year and then there’s another project we may end up working on which won’t affect me for this, but it might affect him.
Tom Andersen: A couple of things, he’s my first choice for a lot of reasons; he's an amazing editor, an amazing director and in 3D he’s very experienced. You want the best.

Jane Storm: With the general story idea, what was the appeal with…well, you haven’t gone for a standard slasher flick. Instead you’ve gone with the whole mythical and supernatural take?
Tom Andersen: Because it hasn’t been done before.

Jane Storm: It hasn’t?
Tom Andersen: It’s original. I’m very picky about movies and I’m very in tune with audiences and that’s why Paranormal Activity did well because everyone wants something different. It’s just the same stuff repetitive, sequels and presequels, and this is different. It hasn’t been done before. Then I looked at the 3D aspect of seeing Aboriginal culture in 3D and how amazing would that be? There’s a lot of people that say `oh wow, you’re from Australia, I would so love to go there’ and they’re never going to get here so now I’m brining Australia to them. In 3D. So, it will do well just for that appeal alone and then everyone loves to be scared.

Jane Storm: And it has so much potential too, the horror twist on Aboriginal legends hasn’t really been done. Well, I guess Prey but that was terrible. So, it hasn’t been done well yet.
Tom Andersen: Yeah, and we were saying Australian films have a very sort of independent feel and as far as Australian stories go, this is going to be very different. It’s going to be structured very different.

Jane Storm: Now this is more of a general question, but what is the key to writing a decent horror film?
Mark Redford: I think at the end of the day it’s about…I’m still scared of everything, which helps, and for me it’s always been about taking everyday life and throwing a twist into it. Certainly we did it with My Bloody Valentine. You take these ordinary people and you put them in a situation where the audience can relate to them and I think if you can do that…that’s another reason Paranormal Activity worked so well because you watch the movie and think `what if that was me?’ So, as long as the characters are first, as long as they’re relatable, they can be as unique on screen as they can in a person. I started in the horror genre because when I started, that’s what you did, that was how you broke into the business. So, back then it was just Miramax and New Line, those guys making horror movies and then Scream came out and that kind of blew the lid off everything and we were all a part of it. Now everybody has a genre department and what ended up happening is the same thing that I think will end up happening with 3D; a lot of people were making horror and some of them were horrible. I think as long as you put the characters first, as long as you put the story first, as long as you keep the momentum of the story, then the rest is about creating situations that scare you as a writer.

Jane Storm: Both of you seem like really big fans of the horror genre. What is it about it that you love so much?
Tom Andersen: I love the rollercoaster ride. You go to the movies and you want a thrill, you want to leave going `wow’ and that’s what I like about it. You know, I don’t like torture, gore, blood and guts, I don’t want to look at that. I want a rollercoaster ride where I’m scared and where you’re trying to solve it…like The Sixth Sense. I think that was perfect. I loved that twist and you think you have it figured out, but you can watch that movie three or four times and always see something different. There’s suspense, I love that about it. That’s what I want for this, rather than `oh look, someone’s dead and their guts is everywhere’. Obviously that will be in there, but there will be a reason, not just insanity. Mark Redford: I just like scaring people.

Jane Storm: (Laughs) Out of all your projects Todd, what would you say is a favourite of yours? Which is your baby?
Mark Redford: At this point, Drive Angry, which will come out 19th of February, we just wrapped it. The reason I like it so much is because what we wrote is what we were able to shoot. You know, Jason X changed a little, The Messengers changed a little, the others have changed, but Drive Angry didn’t. So we’re hoping for the same thing here, we write this and then we can go shoot.

Jane Storm: I saw the bloody car from Drive Angry that you posted on your blog, it looks awesome.
Mark Redford: Yeah, that was Gary (J. Tunnicliffe), the dude is just remarkable. He’s killed me more than anyone else and he’s really the only one I would want to.

Jane Storm: So what’s the rest of the schedule like for you guys? What’s the next step when you go back?
Mark Redford: I dive in and start making the magic.
*my phone starts ringing* Mark Redford: Nice ring tone.
Jane Storm: Thanks, nothing like a bit of Wu Tang Clan (Kill Bill Theme). Sorry about that. Okay, so the next question I have to ask you is, please don’t be offended, but a friend of mine wanted me to ask you what shrooms were you on when you put Jason in space? Mark Redford: The big ones, the big yellow ones with the hairs. (Laughs) Okay, it’s funny because Michael De Luca was running New Line at the time, the guy who green lit Jason X, and he read the script and loved the script. So, that’s what we went in and pitched; Alien and Aliens, a combination of the two movies so that you take those actors and the aliens and you pull those out and then you have Jason with a real crew, ghetto, raw, no slapstick in-your-face jokes. It was just a very dirty movie, dark and dirty. Then Scream came out and suddenly everyone wanted everything to be tongue-in-cheek, so things changed as a result. But it’s funny now because De Luca is producing Drive Angry and what we like about him is he was like `Jason X was a great script, what happened?’ Now a lot of people still love Jason X, a lot of people hate it, my excuse is, well, I wrote what I wanted and maybe that didn’t get made, but it bought me an Audi. But I loved Alien and I love Aliens, and I still think that someone will take another scary movie into space.

Jane Storm: When you say take another scary movie into space, do you mean the slasher genre?
Mark Redford: Yes, I don’t understand why a slasher can’t…I mean, I know slashers have gone into space and I know one can, why couldn’t it? It’s all about production value and it’s all about story, and so far those two have not made it into space from some sort of slashers point of view. It’s just a matter of time. If Kevin (Williamson) had written Scream in space it would have worked, that was fantastic. They better do a good job on Scream 4, I see him tweet about it all the time. You following him?
Jane Storm: Yeah, I was so pissed off last fortnight when he was doing a give away of signed posters and our work computers are so slow that even though I had the right answers, I would miss out because it wouldn’t update before all the crazy Americans who answered a second after. Mark Redford: I saw it way too late, otherwise I would have tried to.

Jane Storm: (Laughs) Oh come on, you would be able to get a poster from him, surely?
Mark Redford: No, he wouldn’t give me a free poster. He’s honestly a really nice guy though.

Jane Storm: Finally, this is a more general question, but what are some of your favourite films? Whether that’s horror or whatever?
Tom Andersen: The classic ones like Jaws, Alien, The Sixth Sense and all of the different elements in those. I like the hunt, the twists, you think you know what’s going on but you don’t. What I like is that people could know what’s going on, and they’re given the signs, but they see what they want to see.
Mark Redford: Oddly enough some of the same movies; Alien and Aliens, Jaws was the first movie that scared the crap out of me, The Exorcist I saw next and both of those movies influenced me, and Star Wars on a how to tell a story level, especially The Empire Strikes Back, those were, granted, big fantasy movies but as far as the mythology and linear story structure, those were pretty incredible. It was Quentin Tarantino that taught me to actually break the rules a little bit and go outside the Hollywood system, write outside the Hollywood system, and create characters that were interesting and didn’t fall into the norm. I don’t have a favourite movie, I get asked all the time, but it’s literally a lot of great movies.

Jane Storm: What else do you have to do before you can get back here and film?
Tom Andersen: We’ve learnt a lot on this trip. Now we’ve got to get the script down and tight, we want to make sure it’s good and not rush that because you only get one shot. Then just hit it.

Jane Storm: Fantastic, well that’s pretty much everything I have to ask you guys. If you don’t mind we’ll head out and get the pic taken soon?
Tom Andersen: Yeah sure.
Mark Redford: I sent you a really creepy tweet when you arrived.

Jane Storm: (Laughs) Oh really? Awesome.
Mark Redford: I wrote `I’m looking at you right now’.

Jane Storm: (Laughs) I love it!
Mark Redford: That’s creepy, it was when you were walking in right then.

Jane Storm: I love how you are so interactive with your fans online and getting content out there.
Mark Redford: Well, it has got me into trouble. Hollywood doesn’t want you to tell the things that I sometimes tell. They certainly didn’t want me telling the Halloween 3D story. It didn’t get me into trouble, they just didn’t like it. But there’s nothing they can do about it.

Jane Storm: It probably got you a lot of respect from people as well.
Mark Redford: I think from the fan base perhaps.

Jane Storm: The Bloody Disgusting guys were on to it.
Mark Redford: Yeah, but they always shoot it straight anyway and that’s why I like them. That’s why I like Brad and those guys. I don’t like rude behaviour, even from a studio.

Jane Storm: Yeah, I’m a big fan of Bloody Disgusting because they cover everything. They don’t just look at the big, commercial horror films, but they give time to the independent, small-budget and foreign language stuff that you wouldn’t know about otherwise.
Mark Redford: I trust those guys because if I know they like something I know that it’s worth my time. Everybody’s opinion is different, but I trust their judgment.

VIA Tom Andersen talks about horror, 3D & pissing Hollywood off

• Moscow, Russia
• Los Angeles, California, USA
• Texas, USA
• China
• Africa
• Florida, USA
• Chicago Film Studios, Chicago, Illinois, USA
• Gary, Indiana, USA

VIA [VIDEO Trailer] Transformers: Dark of the Moon (2011)

Tropfest 2015 | Gold Coast | Australia

And no, unfortunately that isn't as dirty as it sounds. The world's largest short film festival, the Movie Extra Tropfest, is on again this weekend and by some beautiful sign from the Gods, it's coming to the Gold Coast. I know what you're thinking; `so what? I don't live on the Gold Coast.' But for those of us who call the cultural vacuum home, having an event like this each year is a glorious reminder that yes, there is artistic expression and free-thinking individuals somewhere. Rejoice!

The festival is one of Australia's most iconic cultural events and has grown from humble beginnings in the early nineties at the Tropicana Café in Sydney, to what is now the largest outdoor short film festival globally. Out of thousands of films that entered, the 16 finalists will be screened on Sunday night with the 14 finalists in the Trop Jr category playing in the afternoon.

The finalists are broadcast nationally to a live audience of more than 150,000 via simultaneous satellite broadcast in Sydney, Melbourne, Adelaide, Hobart, Canberra, Brisbane, the Gold Coast and Perth. A fantastic opportunity for up and coming filmmakers, the top entrants compete for prizes worth $150,000 across several categories.

Tropfest festival director John Polson, who also directed the Russel Crowe-starring film Tenderness (for those of you playing at home)
Festival director and founder John Polson says watching the entries is the best part of his job, but choosing the final 16 is the "the toughest''.
"This year's line-up encompasses an incredible, entertaining and thought-provoking mix of comedy, drama, animation, documentary and even mocumentary,'' he says.
"There are some familiar faces amongst the 16 finalists, including some past Tropfest finalists, but it's also great to be able to showcase some of Australia's best, new filmmaking talent.''

The flick I'm, er, rooting for is Testicle, an animated short film from a duo in Queensland about a baby born with one testicle. You've got to admit, it's pretty ballsy *insert face slap here*. The festival highlights will also be broadcast live on the Movie Extra Channel. If you feel like you're missing out, never fear because Tropfest is a global event and the New York leg is one of the biggest so I suggest check out the website here for all the details on a Tropfest near you.

VIA The Largest Outdoor Short Film Festival — Tropfest 2015

A decision to cap Sunday free entries to no more than 15,000 visitors at a single time was made following a May 3 record of 35,000 visitors after reviewing UNESCO inspectors' analysis.

According to experts, high numbers of visitors cause increased moisture and micro-climate alterations which put Pompeii's priceless frescoes at risk.

The ministry and superintendency will present their reorganization plans at a press conference on Tuesday.

Source: ANSA [May 11, 2015]

In an area of Colombia so vast and remote that contact has still not been made with some tribes thought to live there, Mike Slee used a helicopter to film hundreds of paintings depicting hunters and animals believed to have been created thousands of years ago. He said: “We had crews all over the place and helicopters filming all over Colombia. As a photographer, Francisco Forero Bonell discovered and took the pictures for my movie.”

The extraordinary art includes images of jaguar, crocodiles and deer. They are painted in red, on vertical rock faces in Chiribiquete national park, a 12,000 square kilometre Unesco world heritage site that is largely unexplored. There are also paintings of warriors or hunters dancing or celebrating. “It is the land that time forgot,” Slee told the Observer.

There had previously been only vague reports of rock art in the area, which is known as Cerro Campana, he said: “There’s no information, maps or communication. It’s such a massive central part of Colombia.” Though some paintings had previously been found and photographed elsewhere in Chiribiquete, this Cerro Campana art has never been filmed or photographed, Slee said: “It was an absolutely stunning moment to be able to get the footage.”

Slee used a helicopter to gain access to the area, as the terrain is impenetrable – thick vegetation, forested rock peaks and valleys, sheer cliffs and giant rock towers soaring through a rainforest canopy.

Professor Fernando Urbina, a rock art specialist from the National University of Colombia, was struck by the “magnificent naturalism” of the depictions of deer when shown the photographs.

“They reveal the hand of a master of painting,” he said, adding that the paintings could be up to 20,000 years old. He was particularly interested in a human figure in a seated position whose arms appear to be folded over his shoulders, a ritual position in Amazonian cultures. “A seated man has special significance as the sage of the tribe,” he said.

The art may have been painted by the Karijona tribe, a few of whose members still live in the region. The seated position might suggest a prisoner or slave, Urbina said.Jean Clottes, a French prehistorian, and author of Cave Art – a book covering key sites such as Lascaux in France – described the images as exciting and well-preserved, but said it would be hard to determine their age because radiocarbon dating could not be used, as they were painted with mineral-based materials derived from iron oxide rather than the charcoal used in European rock art.

The species depicted are thought to include capybaras, snakes and anteaters. Slee described the art as a wildlife chapel. “The peoples who once lived here have left in pictures testimony of their awe and respect for the wild,” he said. “When I saw the images, I honestly felt an affinity with the artists. They were attempting to capture the power, grace, spirit and essence of the animal in pictures. Perhaps it was to make the hunt better next day, but there is clearly careful observation in their art. It’s what contemporary photographers, painters, film-makers set out to do when they create a wildlife project.”

Slee made his name making natural history films and directed the movie Bugs! 3D, about two rainforest insects, narrated by Judi Dench. In 2012, the Observer reported that his Flight of the Butterflies 3D had captured butterflies in unprecedented detail, moving scientists to tears at an early screening. Over the past three years, Slee has been exploring Colombia to make Colombia: Wild Magic, which will be in cinemas next year. Through spectacular footage, it portrays “a majestic tropical wilderness” – but one he said was threatened by humans who are “taking more than they are giving”. With swooping aerial footage and detailed close-ups, it reveals a landscape of canyons and caves, lakes and lagoons, rivers and rock masses with “the largest varieties of living things on the planet”, including unique species of hummingbird and endangered jaguar.

Drawing on the expertise of a dozen scientific advisers, the film warns of threats from the world’s “craving” for natural resources such as gold and emeralds. Slee said: “We’ve got illegal gold-mining polluting the rivers, we’re overfishing the seas, the habitat destruction is massive. We’re taking out the rainforest, we’re losing species every week. We have the most beautiful country on Earth and we are in danger of destroying it. There are places that no Colombian has been. It’s mainly because, when you think of Colombia, you think of kidnapping and drugs.”

Bonell, a Colombian conservationist and photographer, was inspired to become executive producer of the film, describing the region as “one of the few areas on our planet that still remains unspoiled and unexplored”.

The film has been produced by British company Off The Fence, and will be distributed free in schools in Colombia, as well as cinemas, “spreading the word about what their country has and the need to protect it”, Slee said. Slee hopes to return for another large-scale expedition focusing on the rock art. “We’ve probably only scratched the surface,” he said. “There are believed to be many hundreds of these cave paintings dotted throughout that central region.”

Author: Dalya Alberge | Source: The Guardian/Observer [June 24, 2015]

Stranded: Passengers sleep on the floor at Edinburgh Airport after their flights were cancelled late last night
Tens of thousands of families are facing air travel chaos from today – and into the half-term holidays – as a thick cloud of volcanic ash descends over the UK.
The towering plume of Icelandic ash, smoke and steam hit Scotland and Ireland last night, bringing disruption to airlines, leading to the cancellation of 252 flights - and forecasters say the plume is expected to reach Heathrow airport by 1pm bringing further chaos.
British Airways and a host of other airlines last night cancelled all flights between London and Scotland until 2pm today, and the Civil Aviation Authority has said the ash cloud is moving unpredictably and changing by the hour.
Closer to the source: A plane flies past smoke plume from the eruption of the Grimsvotn volcano in Southeast Iceland but flights in Britain are being cancelled
Stationary: Eastern Airways, which has cancelled all flights to an from Scotland, now has its planes standing still at Aberdeen Airport
Shortly after 8am the Met Office said that high level densities of ash were likely to be confined to Scotland and northern England today.
A Met Office spokeswoman went on: 'The weather is uncertain over the next few days. We have a low pressure system moving in tomorrow and there could be some westerly winds.
'However, very small changes in weather patterns can make very large changes in how the ash will move.'
Between 30 and 40 BA flights will be affected from airports including Heathrow, Gatwick and London City to and from Glasgow, Edinburgh and Aberdeen. The airline runs 80 flights a day between these airports.
Pink lightening: The stormy conditions around the Grimsvotn volcano look dramatic but authorities insist that it poses a lesser threat than the last ash cloud
Problems: The departures board at Edinburgh Airport shows the disruption caused by the volcanic ash cloud already
Royal Dutch Airlines KLM cancelled the 16 flights scheduled for this morning to and from Aberdeen, Glasgow, Edinburgh and Newcastle.
The airlines said customers on any cancelled flights will be able to claim a full refund or rebook on to alternative flights – and that all other flights will operate as scheduled.
A BA spokesman said: ‘We would urge customers not to travel to the airport if their flight has been cancelled.’
At least 36 flights were cancelled in Scotland last night and today, as airports across Britain were put on stand-by for imminent disruption.
Easy Jet, Aer Lingus, Flybe, KLM, Logan Air and Eastern Airways have all cancelled flights to and from Scotland.
Ryan Air has been ordered by the Irish Aviation Authority to cancel flights to and from Glasgow, Prestwick, Edinburgh and Aberdeen.
Presidential flight: Barack Obama and Air Force One touch down at Stansted Airport last night after he was forced to rearrange his plans because of the ash cloud
'Perhaps it's a little bit too early to be absolutely sure about that, but clearly that's the most important thing - if the ash stops belching out of the volcano then, after a few days, the problem will have cleared, so that's one of the factors.
'The other is the wind speed and direction. At the moment the weather patterns are very volatile which is what is making it quite difficult, unlike last year, to predict where the ash will go.
'The public can be absolutely confident the regulators that airlines are only able to operate when it is safe to do so.'
U.S. President Barack Obama flew from Ireland to London last night – a day early – to ensure the cloud does not delay his state visit.
Haves and have nots: President Obama flew early so he could avoid being stuck in Ireland longer than he wanted, but these stranded passengers at Edinburgh Airport didn't have that luxury

Grey skies: Emergency services vehicles in Kirkjubaearklaustur are covered in a thick layer of the volcanic ash from clouds that are now passing over Britain


How are we going to get home? Tourists leave the Islandia Hotel yesterday in Nupur as ash continue to pour out of the erupting volcano
What happens now depends on three things. How long the volcano continues to erupt (this could be days or just hours); how the airlines decide to interpret the ash guidelines issued by the Civil Aviation Authority – which is unknown – and, lastly, the weather.
With a fair wind and a bit of geological luck, holidaymakers might manage to get away as planned this weekend.
But if, like the millions of Britons who enjoyed the blissfully silent skies of April last year, Iceland’s trolls and elves decide they too appreciate the silence of plane-free skies, we could be looking at yet another week of travel nightmare for millions.
UK airspace is 'better prepared' for volcanic ash cloud as flights could be threatened

source: dailymail

VIA Nightmare for air passengers begins as hundreds of flights are cancelled and volcanic ash threatens half-term getaway