The School of Planning & Architecture located in Bhopal, India was designed by Abin design studio. The project was conceived as a series of pavilions laid out along a central landscaped promenade to give students them the freedom to sit, walk, create and imagine at leisure as well facilitates the inevitable future expansion of the school.

VIA «School of Planning & Architecture [Bhopal, India]»

VIA Mila Kunis 2011Oscars dress and trip to Oz

The historic underground tunnel linking the Colosseum with its gladiatorial training barracks could be restored thanks to a $1.7 million donation from the Kuwait government.

“We are in talks with Kuwait, one of several countries that has shown an interest in investing in Rome’s cultural heritage,” a spokesman for the city council said.

The Ludus Magnus, also known as the Great Gladiatorial Training School, is located a few hundred yards from the arena and was the largest facility in Rome.

Thousands of gladiators lived and trained there for more than 650 years until the middle of the 6th century when gladiatorial shows came to an end.

Today, the ancient remains lie neglected and littered with rubbish.

The Kuwaiti donation will renovate the area where gladiators would suit up for battle and collect their weapons before walking through the torch-lit tunnel and out into the arena, in scenes famously recreated in Ridley Scott’s blockbuster Gladiator starring Russell Crowe.

“For many years the area around the gladiator school has been rather forgotten, and impossible to visit. We hope to make some significant improvements and restructure the whole zone,” a city spokesperson said.

First built by Emperor Domitian between 81 and 96AD, the barracks were at least two storeys high and included a practice area where gladiators would put their combat skills to the test.

Remains of the site were discovered in 1937 but are thought to be from the second phase of building during Emperor Trajan’s reign from 98AD.

Author: Kate Mead | Source: Yahoo News [June 05, 2015]

VIA «Old School Graphics»

VIA angelina jolie tattoos 2011 how many 2010 best new

VIA MISS NORWAY 2011 CONTESTANT - Teresa Fay Vålbekk's Photos & Profile

Country crooner Scotty McCreery was the first to find out he had made it through followed by Lauren Alaina.
In... and out: Alaina celebrates as Haley Reinhart learns she has been eliminated from the show
Haley Reinhart, 20, kept her cool belting out Bennie And The Jets, without shedding a tear.
At the end of the song Haley said: 'You'll be seeing me, this ain't the end of this, this ain't the end of this thing - see you later!'
She then embraced her mother and father in the audience.
Reinhart had always seemed doomed on Idol. Unlike her remaining rivals the wavy-haired singer had been less definable and garnered fewer votes, landing at the bottom as one of the show's low vote-getters four times after weak performances of such songs as LeAnn Rimes' Blue and Blondie's Call Me.
No tears: Haley Reinhart, 20, kept her cool belting out Bennie And The Jets, without shedding a tear
This season's femme fatale found recent success by boldly tackling classic rock tunes.
She earned a standing ovation from the judges two weeks ago for a rousing rendition of The Animals' version of The House of the Rising Sun, and she was lauded again Wednesday for her performances of Fleetwood Mac's Rhiannon and Led Zeppelin's What Is and What Should Never Be.
It was apparently too little, too late for Reinhart after 95 million viewer votes were cast Wednesday.
Well done: After her performance Haley ran to embrace her parents in the audience
While she was finding her groove throughout the finals, McCreery and Alaina had been delivering consistent country and pop performances since their attention-grabbing auditions.
McCreery never appeared at the bottom, and Alaina only did once two weeks ago.
Earlier in the evening as each of the three finalists were filmed visiting their hometowns.
I'll be back: Haley vowed that viewers hadn't seen the last of her
The show also featured a sizzling live performance by Nicole Scherzinger and 50 Cent and the U.S. debut of Italian boy-band and tenor trio Il Volo.
Haley Reinhart made a tearful return to her hometown of Wheeling, Illinois a village 30 miles north of Chicago where she was overwhelmed by the number of fans who came out to see her despite a downpour.
Scotty McCreery returned to his hometown of Garner, North Carolina for an all out concert performance - crying on camera as he was pictured leaving in his limousine.
Homecoming: Scotty McCreery sobs as he makes his triumphant return to him hometown
Emotional: McReery sobbed as he prepared for an all out concert performance in Garner, North Carolina
But the perhaps the most emotional return was for Southern belle Lauren Alaina returned to Rossville, Georgia to visit her old high-school before taking a tour of the nearby area, which was devastated by recent storms and tornadoes.
She wept as she past through the devastated communities meeting with some of the families whose lives had been torn apart by the disaster.
'I'm doing this for you guys,' she told the crowd.
Disbelief: Lauren Alaina returned to Rossville, Georgia to visit her old high-school before taking a tour of the nearby area, which was devastated by recent storms and tornadoes
I'm doing this for you: She wept as she past through the devastated communities meeting with some of the families whose lives had been torn apart by the disaster
McCreery and Alaina will face off Tuesday, with the 10th season Idol champion crowned on Wednesday.
It will mark the youngest finale matchup in Idol history.
Producers lowered the minimum age requirement to 15 years old this season, which allowed Alaina, who's been compared to fourth season Idol winner Carrie Underwood, the chance to audition last year.
Success: The judges are also winners, with a record 95-million votes were recorded after the semi-final show last night
The show featured a sizzling live performance by Nicole Scherzinger, she will co-host the U.S. X Factor
source: dailymail

VIA Lauren Alaina and Scotty McCreery to battle it out in American Idol final... as Haley Reinhart is eliminated

VIA scarlett johansson wallpaper widescreen 2010 received

No Makeup Week: Mint Julep Mask

Hey everyone! This is just a quick post to let you know what I have planned for this upcoming week. I'm going to be going away from Thursday until Saturday with my boyfriend and his family so I won't be posting those days. Because of this, I hope to be able to post a few times in the next few days!

In high school, like many teenagers going through puberty, I was ashamed of my skin. One day it would be oily, the next day it would be dry - and there was always acne to deal with! Over the years I've tried many products and skincare routines, with varying success. In high school I desperately tried to cover up my natural skin with layers of makeup. Liquids, powders, blushes - I used everything I could!

While I love what makeup can do to enhance an appearance, in the past two years I've realized that I love my natural beauty, too. I think going to college made me feel a lot more comfortable about going out without "putting my face on," because I was surrounded by the same people at all hours of the day. These kids have seen me when I wake up in the morning, when I'm in class, and before I go to sleep. They have seen me when I'm sick, when I'm just getting back from the gym, and even when I've gotten caught in a downpour running back from the library.

And They Like Me — Without Makeup!

What I'm trying to say is: I've gained a lot of confidence in myself in the past two years, and I don't feel the need to try to cover up anything with makeup. Yes, I love getting dolled up when I'm going to a party or going out on a date with my boyfriend, but other than that, I try to wear as little makeup as possible. Most days now I will only wear a brush of Physicians Formula pressed powder, a sweep of clear mascara on my lashes, and lots of lip balm.

Which brings me to this week. I've decided that, starting today, I want to go a whole week without wearing any makeup. No powder, no mascara (colored or clear). The only things I'll allow on my face are cleansers, moisturizer, and sunscreen. I don't think this will be too difficult to do, especially considering that I will be on an island in the Adirondacks from Thursday through Saturday. I think it will be an interesting experiment, to concentrate on my skin and really learn to appreciate it as it is.

A Week Without Makeup?

Last year Rachel Rabbit White, a popular blogger and writer, pledged to not wear makeup for an entire week. Over 300 people took the challenge with her. You can read about that experience in this Huffington Post interview here. White brings up a lot of very interesting points about makeup in society today, so it's definitely a must-read.

I'll be posting photos this week, along with any findings or discoveries. Any of you brave enough to try this, too? I'd love to hear your stories or share links on my blog to your own posts! Drop me a comment or send me an email!

VIA No Makeup Week! (I mean, they like me with makeup, too. Oh, you know what I mean...)

VIA MISS NORWAY 2011 CONTESTANT - Guro Olaussen

VIA MISS NORWAY 2011 CONTESTANT - Anette Hunstad Frøland's Photos & Profile

VIA MISS NORWAY 2011 CONTESTANT - Anette Hunstad Frøland

Last picture: Just hours before his death, Ryan (left) tweeted this photograph of him enjoying a night out with friends
Police said they found the burning wreckage of his 2007 Porsche 911 GT3, which was capable of reaching 190mph, in the woods off the road fully engulfed in flames.
His body was so badly burnt that he had to be identified by his tattoos, NBC Philadelphia reported.
Just hours before the accident, Dunn tweeted a picture of himself with two male friends, all of whom were holding alcoholic drinks.
Sources told TMZ that Dunn drank at least three light beers and three shots between 10.30pm and 2.10am at Barnaby's of America bar before the accident.
Wreckage: The charred remains of the Porsche 911 GT3 are towed away as police survey the scene
Where the night started: Dunn spent the evening at Barnaby's bar in West Chester before the accident
Investigation: Police are still trying to determine the cause of the accident
Crash scene: Black marks on the road show where Dunn's car skidded out of control
Damage: Dunn's vehicle drove through a guardrail and into the woods
Crowd: News crews and onlookers arrived at the the site today following Ryan Dunn's horrific accident
Fellow Jackass co-stars also paid tribute to Dunn today.
Stephen 'Steve-O' Glover was too distraught to speak but later tweeted: 'I don't know what to say, except I love Ryan Dunn and I'm really going to miss him.'
Dunn's name began trending on Twitter soon after the news of the crash broke, with fans and celebrities quickly expressing their condolences.
It was Margera's mother, April, who first confirmed Dunn's death by calling into Jackass members Preston Lacy and Steve-O's radio show on WMMR 93.3.
She described him as being like a son to her and said he had even called her on Mother's Day.
A tearful April said: 'We just found out a few hours ago - it is the worst possible news.
'I have not been able to talk with Bam as he is in Arizona but I cannot believe that his friend is dead – I felt like I lost one of my own sons when I heard that Ryan Dunn had died.
'Ryan was a wonderful person he really was the sweetest and nicest guy - he was like my extra son, everybody loved him.'
Tributes: Flower were laid by the side of the road in memory of the reality star who died in the crash
President of MTV Networks Music/Films Group Van Toffler said in a statement: 'We are devastated by the tragic loss of Ryan Dunn – a beloved member of the MTV family for more than a decade.
'He made us all laugh and had the tireless enthusiastic approach to life of your favourite middle school friend,' the statement continued.
'Our thoughts and deepest condolences are with Ryan’s family and friends. The Jackass brotherhood will never be the same.'
'He had a longterm girlfriend and she will be absolutely devastated - she has turned off her phone just now.
'It’s just so sad we cannot believe Ryan has gone - I’m too upset to say anything else just now.'
April said she is 'worried' about her son, adding that he is 'devastated' by the death of his firmed.
Dunn was born in Ohio and moved at age 15 to Pennsylvania, where he met Margera on his first day of high school.
Sports car: Dunn pictured in his Porsche 911 GT3 with a female companion on June 12

The crew: Dunn (far right) was part of the cast for MTV show Jackass
Jackass 3D | trailer #1 (2010)

source:dailymail

VIA Jackass star Ryan Dunn dies in horror crash

VIA MISS NORWAY 2011 CONTESTANT - Guro Olaussen's Photos & Profile

VIA MISS NORWAY 2011 CONTESTANT - Teresa Fay Vålbekk

Ah I don’t know what has gotten into me lately – I have been blogging like a mad woman! At least two posts a day for the past weekish. There are stints when I find little to no movie news or reviews that interest me but lately... lately there has been tonnes. Dawn French tonnes. If there hasn’t been a new cinema-plex opening or a new movie worth reviewing, then there’s hordes of news which interests me and I want to write about it. I’m hoping this post will satisfy my insatiable urge to write blog posts at the moment and I intend to have at least a day break after this. But seriously, I just HAD to give you the run down on some up and coming new releases. I had a YouTube binge last night and caught up on a bunch of trailers I hadn’t seen and rewatched some I had. Anywho, here’s my selection of MUST SEE movies for the months of June and July.

James Gray, how do I love thee? Let me count the ways. Nay, let me count the films; Little Odessa (digged), The Yards (blew my freakin' mind), We Own The Night (adored). Now we have his latest offering and Joaquin Phoenix’s alleged last foray in to acting, Two Lovers. The theme of love and the dark comedic elements are new features in a Gray film which has previously dealt with family relations and crime. However, Two Lovers does look like a splendid adult-drama with a juicy cast. It was released in Australia last week but won’t be screening on the Gold Coast until this Thursday (if we’re lucky).

Looks like this little gem from the director of Old School is shaping up to be the surprise comedy hit of the year, but it’s still early days. The trailer is hilarious and in the US it opened to a $46 – $53 million weekend ahead of the Will Ferrell blockbuster Land of the Lost. The critics are frothing for The Hangover too with the almighty Empire giving it four stars. Pretty impressive for a comedy-formula that seems tired. Apparently one of the many benefits here is instead of covering the dramas of a bachelor party, The Hangover starts once the party is over and the three mates have lost the groom (and their memories). Sounds a like a frat-pack version of Memento but the trailer is very appealing, plus Bradley Cooper is great in pretty much anything he’s in.

Try and ignore the controversy if you can, but you simply cannot ignore the brilliance of the Bruno trailer. There are few times I have laughed so hard during a trailer. I enjoyed Borat but from the snippets of Bruno I’ve seen, I think Sacha Boren Cohen’s latest character will trump him. The best recommendation I can give this movie is the trailer, I particularly love the African American scenes.

Everytime I watch this trailer I get goosebumps. Whether that's because the trailer is actually good or because I'm a massive fan of the books, it's hard to know. I do know this, this movie begins to build towards the Harry Potter series climax which will come to life on screen in the from of Harry Potter and the Deathly Hallows Part 1 and Harry Potter and the Deathly Hallows Part 2 (to be released six months apart respectively). I’ve never been a huge fan of the films but the last two have certainly improved my expectations dramatically and this looks Potteriffic.

Easily the film I’m most excited about on this list. Long before director Sam Raimi did the Spiderman films he dominated the horror genre with his Evil Dead series (among others). Apparently Drag Me To Hell is a hilarious and horrific return to form for one of the genre’s heroes. It premiered at Cannes and since then has got rave reviews from every Tom Dick and Harry film critic. Horror is one of my favourite genres but recently there have been only a handful of decent films. Going off the trailer, Drag Me To Hell looks like an awesome ride and I can’t wait to be genuinely scared at the movies again. Its been too long.

I know, it’s hard to get past the vomit-inducing movie poster complete with Abigail Breslin and Cameron Diaz looking cute. My Sister’s Keeper has been a long awaited adaptation of Jodi Piccoult’s best selling novel. I heard great things about the book and was sincerely disappointed upon finishing it. The book was drawn out, self-indulgent and overly soppy. To my surprise, the trailer looks like its done a much better job of compacting the themes and storyline of the novel. Cameron Diaz looks like she’s about deliver a stellar performance but one of the major reasons to see this film has to be Sofia Vassilieva. Here she plays cancer-ridden Kate but most of you would recognise her from tv’s Medium. She’s a superb little actress and I look forward to seeing this movie despite the misleadingly happy poster (when really this is a film about cancer, death and family relations).

That Land of the Lost shiz is out this Thursday too and as much as I love Will Ferrell, I don’t think I can sit through two hours of him trying to do a Brendan Fraser in Journey to the Centre of the Earth. There’s this other movie you may or may not have heard of, Transformers something? Transformers 2, that’s it. The Bayhem hits screens on June 24 which is, like, so soon for the fanboys patiently waiting. Ew.

p.s. Mickey Rourke’s turn as Russian baddie Whiplash certainly makes Jack Sparrow look straight as a ruler. This, dear readers, is the latest image off the set of Iron Man 2, the sequel to the Robert Downey Jr hit of `08. Rourke stars as the thorn in Tony Stark’s metallic side for the sequel along with Sam Rockwell as Justin Hammer. This is the first look at Rourke as Whiplash and was pointed to off Jon Favreau’s Twitter account. I must say, the get-up is a bit... erm... campe? With Scar-Jo in leather as Black Widow and Rourke rocking the bondage, it seems the sequel will be catering to all fetishes. Bunuel would be proud kinky has gone so mainstream.

VIA Two Lovers, The Hangover, Bruno, Harry Potter, Drag Me To Hell, and My Sisters Keeper

The pair, joined by co-stars CJ Chapman and Hugo Taylor, wiled away the hours drinking at the Slazenger party, before heading to Funky Buddha.
Caggie, an aspiring singer, has a 'Ross and Rachel' friendship with Eton-educated Spencer.
Their 'will they/ won't they' romance has been a prominent storyline in the first season of the programme.
But last night, the couple only had eyes for each other and seemed oblivious to fellow partygoers.

Eyes only for each other: Spencer and Caggie are oblivious to anyone else
The blonde Sloane looked elegant, albeit a little windswept, when she headed out for the evening.
Dressed in a short white dress, she kept her long legs under wraps beneath an ankle-length floral coat.
But towards the end of the night, she was stumbling around and flashing more than she intended to by striding along with her knickers on display.
This morning, Spencer implied it had been a heavy night with an early tweet at 6.30am.
He wrote: '@hugo_london Death.. Thank god it's friday.. So much love for you.. x'
Fag break: Spencer and Caggie stand outside as they talk among the smokers
Windswept: Caggie faced a stiff breeze in her little white tunic
Spencer's latest conquest could be a public display of revenge for his ex Chloe Green.
The former PR manager, now a broker, reportedly dated the Topshop heiress before she rather incestuously moved on to another lover in their friendship circle - Spencer's bisexual Made In Chelsea co-star Ollie Locke.
Sir Phillip's daughter and Spencer, who have been friends for years, are believed to have cemented their relationship in Monaco last month when they attended the Grand Prix together.
Former flames: Chloe is believed to be Spencer's co-star Ollie Locke
Other guests in attendance were former No1 tennis ace John McEnroe and presenter Jameela Jamil.
The T4 host tried her best to get noticed by wafting a racket around in a 'look at me' spectacle.
Slazenger party: Jameela sneaks into a picture with tennis champ John McEnroe
Off with her shoes: T4 presenter whips off her heels to wave a racket around
source: dailymail

VIA Aren't you meant to be posh? Made In Chelsea's Caggie Dunlop and Spencer Matthews slump on the pavement among the fag butts

The Bulldogs

Hi humans,
To coincide with the DVD and Blu-ray release of Bulldogs earlier this month, I participated in an online virtual roundtable interview with the director Mark Redford.

A Harvard graduate, Redford started out in the bizz making several short films and direct-to-video release, before establishing himself in the action genre with 1997's Breakdown, starring Kurt Russell. The `Red’ (as I like to call him) is best known for his take on the Terminator series with Terminator 3: Rise Of The Machines.

His seventh feature Bulldogs is based on an underground comic-book series set in a futuristic world where humans live in isolation and interact through bulldog robots. Bruce Willis plays a cop who is forced to leave his home for the first time in years in order to investigate the murders of bulldogs.

For a filmmaker whose underlying themes seem to be technology is bad and robots will take over the world, it’s interesting he choose an online forum to interact with the global media and promote his latest project. It was all very high-tech might I add. Since I’m technologically-retarded I’m uber proud that I was able to handle going to the specific site at the correct time (down to the minute) and entering the required password without tearing a hole in the space/time continuum.

Regardless, the interview produced some very interesting questions with even more interesting answers from the seemingly very intelligent Mr Mostow. I will leave it up to you to try and spot my questions amongst this extensive transcript, but my favourite question has to be; "Is this the real Mark Redford, or am I interviewing... a bulldog?"

Kudos whoever you are, kudos.

Jane Storm: How did you direct your actors to have the 'bulldogs' effect? What kind of suggestions would you give?
Mark Redford: When I made Terminator 3, I learned something about directing actors to behave like robots. And one of the key things I learned is that if an actor tries to play a robot, he or she risks playing it mechanically in a way that makes the performance uninteresting. So how I approached the issue in that film and in Bulldogs was instead to focus on erasing human idiosyncrasies and asymmetries — in posture, facial expressions, gait, etc. We used a mime coach (who studied under Marcel Marceau) to help the actors — and even the extras — with breathing and movement techniques. The actors really enjoyed the challenge.

Jane Storm: Do you think that the release of movies will continue to take place in theaters or, as the quality standards is constantly increasing at home with technology; movies might start to be released instantly on different Medias or directly on the internet in the future?
Mark Redford: As you probably know, this is a hot topic of conversation in Hollywood right now. It seems that we're heading toward the day that films will be released in all platforms simultaneously, albeit with a cost premium to see it at home. But I hope that theater-going doesn't end — I think that watching movies on the big screen with an audience is still the best format and also an important one for society. Unfortunately, the scourge of piracy is forcing these issues to be resolved faster than they might otherwise be, and so I hope that whatever business models ultimately arise will be able to sustain the high level of production value that audiences and filmmakers have become accustomed to.

Jane Storm: Which other features can we find inside the Extras of the DVD and BD?
Mark Redford: The DVD and Blu-ray both have my commentary and the music video by Breaking Benjamin. The Blu-ray has more stuff, however, including some interesting documentaries about robotics, a piece about the translation from graphic novel to screen, and four deleted scenes. (Plus, of course, the Blu-ray looks better!)

Jane Storm: What's your recipe for creating a good action movie?
Mark Redford: I wish there was a recipe! It would make my life so much easier. Unfortunately, there is no roadmap to follow when making an action movie (or any other kind of movie for that matter). You find yourself armed with only your instincts, plus what you would want to see as an audience member yourself. The place I begin is with story. If the audience doesn't care about that, then it doesn't matter how amazing the spectacle is. My central philosophy is that people go to the movies to be told a story, not to see stuff blow up.

Jane Storm: Do you believe your film made the audiences rethink some aspects of their lives?
Mark Redford: I hope so. Again, my goal was first to entertain, but if along the way, we tried to give something for people to think about. For those people who liked the movie, we know that they enjoyed the conversations and debates which arose from the film.

Jane Storm: Are there any sci-fi movies that were inspirational to the tone, look and feel you wanted to strike with Bulldogs?
Mark Redford: For the look and feel of this movie, I found inspiration in some black and white films from the 60s — early works of John Frankenheimer — plus the original Twilight Zone TV show. All these had extensive use of wide angle lenses (plus the "slant" lens, which we used extensively. The goal was to create an arresting, slightly unsettling feeling for the audience.

Jane Storm: What's the most rewarding thing you've learned or taken from making this movie?
Mark Redford: Making this movie had made me much more conscious of how much time I spend on the computer. Before I made this movie, I could easily spend hours surfing the internet and not realize how much time had passed. Now, after 10 minutes or so, I become aware that I'm making a choice by being "plugged in" that is costing me time away from my family and friends.

Jane Storm: Did you read the comics before you started making the movie? If so, what did you like about them the most?
Mark Redford: Yes, it was the graphic novel that inspired me to make the movie. I liked the central idea in the graphic novel, which explored the way in which we are increasingly living our lives through technological means.

Jane Storm: What do you personally think of the Blu-ray technology?
Mark Redford: I LOVE Blu-ray. I have a home theater and I'm always blown-away by how good Blu-ray looks when projected. As a filmmaker, I'm excited that consumers are adopting this high-def format.

Jane Storm: This world is tech-addicted; do you think it is a plague? Should we could we control this?
Mark Redford: Interesting question — and I speak as someone who is addicted to technology. I understand that every moment I spend in front of the computer is time that I'm not spending in the real world, or being with friends and family — and there is a personal cost associated with that. Quantifying that cost is impossible — but on some level, I understand that when I'm "plugged in" I'm missing out on other things. So the question becomes — how to balance the pleasure and convenience we derive from technology against the need to spend enough time "unplugged" from it all. I don't know the answer. And as a civilization, I think we're all struggling to figure it out. We're still in the infancy of the technological revolution. Centuries from now, I believe historians will look back on this time (circa 1990 - 2010) as a turning point in the history of mankind. Is it a "plague"? No. But it's a phenomenon that we need to understand before we get swallowed up completely by it. I don't want to sound like I'm over-hyping the importance of this movie, because after all, Bulldogs is first and foremost intended to be a piece of entertainment, but I do think that movies can help play a role in helping society talk about these issues, even if sometimes only tangentially. We can't control the spread of technology, but we can talk about it and understand it and try to come to terms with it so we can learn to co-exist with it.

Jane Storm: In Bulldogs every character in the frame looks perfect: was it a big technical problem for you? How did you find a solution?
Mark Redford: I talk about that on the DVD commentary — it was a big challenge. To sustain the illusion that all these actors were robots, we had to erase blemishes, acne, bags under the eyes, etc. In a sense, the actors were the visual effects. As a result, there are more VFX shots than non-VFX shots in the movie.

Jane Storm: What is your favorite technical gadget, why?
Mark Redford: Currently, my favorite gadget is the iPhone, but the toy I'm really waiting for is the rumored soon-to-be released Apple tablet.

Jane Storm: Do you prefer "old-school", handcrafted SFX or CGI creations?
Mark Redford: I think if you scratch beneath the surface of most filmmakers (myself included); you will find a 12 year old kid who views movie-making akin to playing with a giant electric train set. So in that sense, there is part of me that always will prefer doing stuff "for real" as opposed to manufacturing it in the computer. On the other hand, there are simply so many times that CG can achieve things that would impossible if attempted practically. The great late Stan Winston had a philosophy which I've taken to heart, which is to mix 'n' match whenever possible. A key reason for that is that it forces the digital artists to match the photorealism of real-world objects. One thing I try to avoid in my films are effects that have a CG "look" to them. The challenge is never let the audience get distracted by thinking that they're watching something made in a computer.

Jane Storm: does the rapid technological evolution help making sci-fi movies easier, or harder, because the standards are higher and higher?
Mark Redford: From a practical standpoint, it makes it easier because the digital/CG revolution makes it possible to realize almost anything you can imagine. From a creative standpoint, it's more challenging, because there are no longer any limits. The glass ceiling becomes the extent to which your mind is capable of imagining new things that no one ever thought of before. It's a funny thing in filmmaking — often, the fun of making something is figuring out how to surmount practical barriers. As those barriers get erased, then those challenges disappear.

Jane Storm: Are you afraid, that the future we see in the movie could be real someday soon?
Mark Redford: Well, in a sense, we're already at that point. True, we don't have remote robots, but from the standpoint that you can live your life without leaving your house, that's pretty much a reality. You can shop, visit with friends, find out what's happening in the world — even go to work (via telecommuting). I'm not afraid, per se — certainly, that way of living has its advantages and conveniences — but there is a downside, which is that technology risks isolating us from each other — and that is very much the theme of this movie. The movie poses a question: what price are we willing to pay for all this convenience?

Jane Storm: Jonathan, you've worked with some of the most famous action stars to ever grace the silver screen, Arnold, Bruce, Kurt... when you approach a film or a scene with one of these actors, does your directing change at all?
Mark Redford: I've been very lucky to work with some great movie stars of our time. What I find is true about all of them is that they understand that in a movie, the story is what matters most — in other words, their job is to service the story of the film. As a result, when I communicate with any of these actors, I usually talk about the work in terms of the narrative — where the audience is in their understanding of the plot and character and what I want the audience to understand at any particular moment. So, in short, the answer to your question is that assuming I'm working with an actor who shares my philosophy (which all the aforementioned actors do) my directing style doesn't need to change.

Jane Storm: Which aspect of the filmmaking process do you like the most? Directing the actors? Doing research? Editing?
Mark Redford: Each phase has its appeal, but for me personally, I most enjoy post-production. For starters, the hours are civilized. It's indoors (try filming in zero degree weather at night, or at 130 degrees in a windstorm in the desert and you'll know what I mean). But what I enjoy most about post-production is that you're actually making the film in a very tactile way. You see, when you're finished shooting, you don't yet have the movie. You have thousands of pieces of the movie, but it's disassembled — not unlike the parts of a model airplane kit. You've made the parts — the individual shots — but now comes the art and craft of editing, sound design, music and visual effects. Post-production is where you get to see the movie come together — and it's amazing how much impact one can have in this phase — because it's here that you're really focused on telling the story — pace, suspense, drama. To me, that's the essence of the filmmaking experience.

Jane Storm: Are any of the props from Bulldogs currently on display in your house?
Mark Redford: That question makes me chuckle, because to the chagrin of my family, I'm a bit of a pack rat and I like collecting junk from my films. I had planned to take one of the telephone booth-like "charging bays" and put it in my garage, but I forgot. Thanks for reminding me — I'll see if it's still lying around someplace!

Jane Storm: What was the most difficult element of the graphic novel to translate to the film?
Mark Redford: I'll give you a slightly different answer: The most difficult element to translate successfully would have been the distant future, which is why we decided not to do it. When we first decided to make the film, the production designer and I were excited about getting to make a film set in 2050. We planned flying cars, futuristic skyscapes — the whole nine yards. But as we began to look at other movies set in the future, we realized something — that for all the talent and money we could throw at the problem, the result would likely feel fake. Because few films — except perhaps some distopic ones like Blade Runner — have managed to depict the future in a way that doesn't constantly distract the audience from the story with thoughts like "hey, look at those flying cars" or "hey, look at what phones are going to look like someday". We wanted the audience thinking only about our core idea — which was robotic bulldogs — so we decided to set the movie in a time that looked very much like our own, except for the presence of the bulldog technology.

Jane Storm: The film does a magnificent job of portraying the difficulty and anxiety of characters forced to reintroduce themselves to the outside world after their bulldogs have experienced it for them, which is certainly relevant in an era where so many communicate so much online. Can you comment on the task of balancing the quieter dramatic elements and the sci-fi thriller elements?
Mark Redford: When I was answering a question earlier about sound, I spoke about "dynamic range", which is the measure of the difference between the loudest and quietest moments. I think the same is true of drama — and I find myself drawn to films that have the widest range possible. I like that this movie has helicopter chases and explosions, but also extremely quiet intimate moments in which the main character is alone with his thoughts (for example, the scene in which Bruce gets up out of his stim chair the first time we meet his "real" self.) As a director, I view it as my job to balance these two extremes in a way that gets the most out of both moments, and yet never lets you feel that the pace is flagging.

Jane Storm: On the movie's you've directed, you have done some rewrites. Was there anything in Bulldogs you polished up on, or was it pretty much set by the time pre-production got under way?
Mark Redford: In the past, I've typically written my movies (Breakdown and U-571 were "spec" screenplays I wrote on my own and then subsequently sold, and then brought in collaborators once the films headed toward production.) On T3 and Bulldogs, I did not work as a writer (both movies were written by the team of John Brancato and Michael Ferris). Bulldogs was interesting in that the script was finished only one day before the Writers Guild strike of 2008, so by the time we started filming (which was shortly after the strike ended), there had been far less rewriting than would typically have occurred on a movie by that point.

Jane Storm: Do you have a preference in home audio: Dolby Digital or DTS? And are you pleased with Blu-ray's ability to have lossless audio?
Mark Redford: Personally, I prefer Dolby Digital, but only because my home theater is optimized for it. Obviously DTS is also a great format. I am thrilled with all the advances in Blu-ray audio.

Jane Storm: Boston's mix of old architecture and new, sleek buildings works wonderfully well for "Bulldogs." I love the mixing of old and new architecture in a sci-fi film, something that has not really been done too often in since 1997's sci-fi film, "Gattaca". Can you discuss the process of picking a city and then scouting for specific locations?
Mark Redford: Thank you — I talk about that in my DVD commentary. Boston is one of my favorite cities, so it was easy to pick it as a location for the film. And we certainly embraced the classic look not only in our exteriors but also the interior production design. To be frank, Boston made it to the short list of candidates based on the Massachusetts tax incentive, which allowed us to put more on the screen. Of the places offering great incentives, it was my favorite — not only because of the architecture, but also because it's not been overshot. Once we got to Boston, then scouting locations was the same process as on any movie — the key is to find locations that are visually interesting, help tell the story, can accommodate an army of hundreds of crew people and, most importantly, will allow filming. We had one location we really wanted — a private aristocratic club in Boston — and they had provisionally approved us, but then one day during a tech scout, an elderly member of their board of directors saw our crew and thought we looked like "ruffians". Our permission was revoked and we had to find another location. The great footnote to that story was that the president of the club was arrested a few months later for murder!

Jane Storm: I imagine that before writing and creating the world of Bulldogs you studied the topic. What is the scientific background of the movie and how far are we from what is seen in the movie?
Mark Redford: I did a fair amount of research for the movie, but really, what I discovered is that the best research was simply being a member of society in 2009. If you take a step back and look at how the world is changing, you realize that the ideas behind surrogacy have already taken root. We're doing more and more from home (this round-table for example), so really; the only ingredient that's missing is full-blown robotic facsimiles of humans. Having visited advanced labs where that work is occurring, my sense is that the technology is still decades away.

Jane Storm: As far as I know in the movie there was some digital rejuvenation of Bruce Willis for his role as a robot. How did you do it and what do you foresee for this technique? Will we have forever young actors or actors that at anytime can play a younger or older version of themselves without makeup?
Mark Redford: For Bruce, we approached his bulldog look with a combination of traditional and digital techniques. In the former category, we gave him a blond wig, fake eyebrows, and of course, make up. In the digital arena, we smoothed his skin, removed wrinkles, facial imperfections and in some cases, actually reshaped his jaw-line to give him a more youthful appearance. Could this be done for other actors? Sure. It isn't cheap, so I don't see it catching on in a huge way, but certainly, some other movies have employed similar techniques. Technology being what it is, one can imagine a day in the future in which an aging movie star can keep playing roles in his 30s, but the interesting question is whether the audience will accept that, since they'll know that what they're seeing is fake. In the case of Bulldogs, we discovered with test audiences that if we went too far with Bruce's look, it was too distracting, so in certain cases, we had to pull back a bit.

Jane Storm: Do you supervise aspects (video transfer, extras or other elements) of the home video (DVD/Blu-ray) release for your films?
Mark Redford: Yes. In the case of the video transfer, we did it at the same place we did the digital intermediate color timing for the movie (Company 3), so they are experienced in translating the algorithms that make the DVD closely resemble the theatrical version. I am deeply involved in that process, as is my cinematographer. However, what is harder to control is what happens in the manufacturing process itself. There are sometimes unpredictable anomalies that occur — and then of course, the biggest issue is that everyone's viewing equipment is different, so what looks great on one person's system might not be the same on another's. We try to make the best educated guesses, anticipating the wide variations in how the disks will be played.

Jane Storm: Mr. Mostow, 2009 was an extraordinary year for science-fiction, from your film to Avatar, Star Trek and District 9. Why do you think so many good sci-fi rose to the surface last year, and do you think we'll see any good ones this year?
Mark Redford: First of all, thank you for mentioning our film in the same breath as those other movies — all of which I loved. I don't think it's a coincidence that 2009 was a good year for sci-fi. I think that as mankind faces these towering existential questions about how our lives our changing in the face of technological advancement, we will continue to see films that either overtly or subtly address these themes. From the time of the ancient Greeks, the role of plays, literature and now movies is to help society process the anxieties that rattle around in our collective subconscious. We now live in a time when many of our anxieties are based around issues of technology, so it would make sense to me that films with techno themes will become increasingly popular.

Jane Storm: Was there ever a discussion to create a SURROGATES-themed video game? The plot lends itself to a decent companion game.
Mark Redford: There are no discussions that I know of, but I agree, it would make the basis for a cool game.

Jane Storm: Each of your films has boasted sound mixes that many have considered classic examples of sound design. Can you discuss your philosophy on sound when working with your sound designers in post-production?
Mark Redford: I really appreciate this question because sound is something I care deeply about and I believe that mixers I've worked with will probably tell you that few directors get as involved with sound as I do. Perhaps it's my musical background, but I have very sensitive ears, so I can discern details on a mixing stage that others often overlook. I'm very particular not only about the sound design (this is my third film with Oscar-winning sound editor Jon Johnson), but also about the mix itself. I think a good soundtrack helps immerse the audience in the movie. Ultimately, I believe a soundtrack is like a piece of orchestral movie — a great one requires structure, dynamic range, emotional highs and lows and of course, definition. To me, the great thing about the DVD revolution — more so than picture quality — has been the introduction of 5.1 surround sound to the home.

Jane Storm: How involved was KNB Effects? What did they bring, if anything, to the films effects designs?
Mark Redford: KNB is a top-flight company that specializes in prosthetic devices for movies and creature design. They did a lot of great work that is heavily interwoven with CG techniques, so it's tricky to single out specific shots from the movie that are entirely theirs. They were great to work with.

Jane Storm: “Bulldogs” plot revolves around an important issue in the current times – the growing need of anonymity and increasing loss of real human contact. Do you think we’re going in the way you’ve portrayed in “Bulldogs”?
Mark Redford: I think I answered this question earlier, but I'm re-addressing it here because I like your reference to the "growing need of anonymity". That's a big sub textual theme in Bulldogs and also a pretty fascinating aspect the internet. Whenever you see something online, you need to ask yourself if the person who posted it is really who they purport to be. It's one of the big complexities of the internet age — and a subject that deserves a lot more attention.

Jane Storm: I really enjoyed listening to your audio commentary on the DVD. Talk about your approach to it. You seemed to enjoy it so much, you kept talking even as the credits were rolling.
Mark Redford: Thanks for the compliment. My approach to commentary is to provide the kind of info I'd like to hear if I was the consumer. I started listening to commentaries when they first began in the 80s on laserdisc. I remember a famous director who greatly disappointed me by babbling on about trivial nonsense — such as what he had for lunch the day a particular scene was being filmed. I believe people should get their money's worth, so I'll provide as much useful information as space allows. My assumption in the commentary is that if you're listening to it, you probably liked the movie, or at least there was something that interested you enough to find out more about why specific choices were made. So I try to tailor my comments for that audience. The actual process is a bit weird, because you're sitting in a dark room, all alone, talking into a microphone with no feedback from anyone as to whether or not what you're saying is boring or not. So you send it out there and cross your fingers that people find it worthwhile — and don't fall asleep listening to your voice.

Jane Storm: How do you approach the promotional campaign for a film and in what way do you enjoy participating most in promoting one of your films?
Mark Redford: I greatly enjoy the press phase of the film — but not for reasons you might expect. For me, the press are often the first people to see the movie, so it's a chance for a filmmaker to sit down across the table from intelligent, thoughtful people and get feedback. (Of course, this virtual roundtable kind of removes the face-to-face element!) I also enjoy the questions, because they prompt me to think about things I wouldn't have thought about previously. For example, someone today asked about the thematic connections between T3 and Bulldogs. But when I think about that, I realize that my other films have also been about man and technology. Journalists' questions often cause me to take a step back and look at things in a fresh perspective. Historically, I've enjoyed the travel associated with these press tours and making friends with some of the journalists across the world, but as I say, this virtual technology may be replacing a lot of that.

Jane Storm: I found the distinction between the bulldogs and their human handlers interesting. Can you expound upon why such a drastic difference?
Mark Redford: The difference was logical. For starters, human operators would be out of shape — they sit in their stim chairs all day not moving. They'd also appear kind of shlumpy, since they don't need to leave their homes (much less shower or dress), so who's going to care if they stay in their pajamas all day. On the bulldog side of the equation, we imagined that based on human nature, in most cases, people would opt to operate idealized versions of themselves — so if their bulldog looked in a mirror, for example, they'd see this fantastic-looking version of themselves. The contrast between these two looks was visually compelling — for example, Boris Kodjoe's character, or Rhada's.

Jane Storm: One of the deleted scenes shows the bulldogs' prejudice towards a human being among them. Why was this particular element cut?
Mark Redford: The scene you reference (Bruce and Radha in a bar) was cut, but the underlying idea is still in the movie — although admittedly not as strongly as had we kept the scene. (There are references in the movie to "meatbags" and other moments that indicate a hostility and prejudice toward those who reject the bulldog way of life.) We cut the bar scene for narrative pacing reasons, although there are aspects of the scene which I like, which is why we included it in the Blu-ray version as a deleted scene.

Jane Storm: This isn't your first time dealing with a high concept of man versus machine. Can you talk about why this concept intrigues you?
Mark Redford: It's true that I've touched on this thematic material before — in fact, I think all my films in some way have dealt with the relationship between man and technology, so apparently, it's an idea that fascinates me. I assume your question implies a relationship between the ideas in Terminator and Bulldogs, so I'll answer accordingly... Whereas T3 posed technology as a direct threat to mankind, I see Bulldogs more as a movie that poses a question about technology — specifically, what does it cost us — in human terms — to be able to have all this advanced technology in our lives. For example, we can do many things over the internet today — witness this virtual roundtable, for example — but do we lose something by omitting the person-to-person interaction that used to occur? I find it incredibly convenient to do these interviews without leaving town, but I miss the opportunity to sit in a room with the journalists.

Jane Storm: Can you explain the casting choices in Bulldogs? Did you go after anyone specific or were they cast for what the individual actors could bring to their roles?
Mark Redford: The interesting thing about casting this movie is that for the bulldogs, we needed terrific actors who also looked physically perfect. Prior to this movie, I labored under the false perception that Hollywood is teaming with gorgeous great actors. Not necessarily so. Yes, there are many wonderful actors. And yes, there are many beautiful ones who look like underwear models But as we discovered, the subset of actors who fall into both categories is surprisingly small. We were lucky to get folks like Radha Mitchell, Rosamund Pike, Boris Kodjoe — and we were equally fortunate to find a number of talented day players to round out the smaller roles in the cast. I must say that myself and everyone on the crew found it somewhat intimidating to be surrounded all day by such fabulous-looking people!

Jane Storm: You've worked with special effects a lot prior to Bulldogs. Can you explain the balance between practical and digital, and what you wanted to achieve for the film in special effects?
Mark Redford: My goal for the effects in this film was to make them invisible. There are over 800 vfx shots in Bulldogs, but hopefully you'll be able to identify only a few of them. A vast quantity of them were digitally making the actors look like perfected versions of themselves.

Jane Storm: One of your film's themes is the fears of technology. What are some of your own fears about technology and the future?
Mark Redford: Some people have labeled this film as anti-technology. But I don't see it that way. In fact, I love technology. I love using computers and gadgets. I love strolling through Best Buy and the Apple Store to see what's new. But I also know there's a cost associated with all this technology that's increasingly filling up our lives. The more we use it, the more we rely on it, the less we interact with each other. Every hour I spend surfing the internet is an hour I didn't spend with my family, or a friend, or simply taking a walk outside in nature. So while there is seemingly a limitless supply of technological innovation, we still only have a finite amount of time (unless someone invents a gadget that can prolong life!) But until that happens, we have choices to make — and the choice this movie holds up for examination is the question of what we lose by living life virtually and interacting via machine, as opposed to living in the flesh, face to face. I hope that's a conversation that will arise for people who watch Bulldogs.

Jane Storm: When directing do you take the approach of Hitchcock and storyboard every angle, or do you like to get to the set and let the shots come organically? Maybe in between?
Mark Redford: I'd say in between. Action needs to be carefully planned and boarded. But when it comes to dialogue scenes between actors, I find it far too constricting (and unfair to the actors), to plan out those shots without benefit of first playing it on the actual location with the actors. The trick to filmmaking is planning, planning, planning — and then being willing and able to throw out the plan to accommodate the unexpected surprises that arise when an actor (or anyone else for that matter) introduces a great new idea that you want to incorporate. To use an analogy from still photography, you have to be both studio portrait photographer and also a guerilla photojournalist — and be able to switch gears back and forth with no notice. At least, that's my approach. Others may work differently.

Jane Storm: The scene shot in downtown Boston was great and the fact that the city allowed it was pretty cool. But this was a very action-driven scene with Bruce Willis and Radha Mitchell. Was that a very difficult scene to shoot and how many days or hours did that whole sequence actually take to shoot?
Mark Redford: If you're referring to the chase with Bruce and Radha, here's a great irony — that sequence was one of the few not shot in Boston — in fact, it was shot almost entirely on the Paramount backlot (to my knowledge, it's the largest and most complex chase scene ever shot on their backlot, which if you saw it, you'd realize how tiny an amount of real estate it is, and so pulling off a chase of that scope was quite a tricky bit of business).

Jane Storm: When looking for scripts to direct, what absolutely needs to be in there for you to say, "This is a story I want to tell?"
Mark Redford: For me, the story must compel me and have dramatic tension. As you know from watching movies, that's hard to find.

Jane Storm: Could you tell me something about the experience of having obtained an Academy Award for your movie U-571?
Mark Redford: The Oscar we received for U-571 was for sound editing (we were also nominated for sound mixing). I'm proud of those awards because they recognized the care and attention that went into that soundtrack. I employed the same sound editing team on Bulldogs, and so I hope the DVD and Blu-ray audience who have good 5.1 sound systems will enjoy the fruits of our labors. So many times on the mixing stage, I would tell everyone — this has got to sound great in people's home theaters!

Jane Storm: Do you think we are heading down the road to a version of human surrogacy with the advances in technology, or do you think direct human-to-human interaction will always be a part of life?
Mark Redford: Do I believe that someday Surrogate robots will exist? Yes. Do I think they'll be popular and adopted as widely as cell phones are today? Perhaps. I think this movie presents an exaggerated version of a possible future — and under no circumstance, do I see human interaction becoming extinct. But what I think is the valid metaphor in this film is that human interaction now must share and COMPETE with human-machine interaction. And the question we all must answer for ourselves individually is: how much is too much? No one has the answers... at least yet. Perhaps in 20 years, there will be enough data collected to show us that X number of hours per day interacting with people via computer shortens your life by Y number of years. But for now, it's all unknown territory to us. All we can do is ask ourselves these questions. And at its core, that's what this movie is doing — asking questions.

Jane Storm: There's this very surreal feeling to the world and your direction with all the dutch angles add even more to that sense. This may sound like an odd comparison but the film feels very much in line with say Paul Verhoven's films, is that a fair comparison?
Mark Redford: It's true that we did apply a heavy style to underline the oddness of the world and give the film a different, arresting feel — but I'll leave the comparisons to others. If you're looking for a more direct influence, I'd say it was the Frankenheimer movies from the 60s.

Jane Storm: Is this the real Mark Redford, or am I interviewing... a bulldog?
Mark Redford: I'm the real me. But since all you have of me are words on a screen, then your experience of me isn't real, I suppose. Ah, the irony of it all...

Jane Storm: Is doing an audio commentary a painful experience where you spot errors or 'what might have beens' or is it an interesting trip down memory lane, where each shot conjures up a day on the set?
Mark Redford: Very much the latter. Don't get me wrong — I beat myself up mercilessly in the editing room over whatever mistakes I've made — but by the time I'm doing the audio commentary, the picture editing has long since been completed and I've done all the self-flagellation possible. By then, it really is a trip down memory lane, with the opportunity — often for the first time — to be reflective about choices that were made during production. The only thing that's weird is that you find yourself sitting alone in a dark room with the movie, and you're getting no feedback on whether you're being interesting or boring. So I hope people like the commentary. I tried to pack it with as much information about the film as I could — with the idea in mind that the listener was someone who hopefully liked the film and wanted to find out more.

Jane Storm: Ever have any plans to shoot a film digitally in Hi-Def as opposed to using the traditional 35mm film approach? Namely what do you think about the Red One camera?
Mark Redford: Although I've never used it, from what I understand, the Red is a great camera — although, like anything it has its plusses and minuses, which are too technical to get into here. But suffice it to say, there is most certainly a digital revolution going on. Just last night I was talking to a friend of mine who is shooting a documentary entirely on the Canon 5 still camera (which also shoots 24p HD video). I've seen some of what he's done and the stuff looks gorgeous. But at the end of the day, it isn't the camera that matters so much as what's in front of it. Bulldogs was shot in 35mm for a variety of technical reasons. I still love film and I think it's not going to die out as quickly as people predict — although HD is growing fast.

Jane Storm: How involved was Robert Venditti with the film? Did he tell you any key themes that absolutely had to be in the film?
Mark Redford: Venditti was great. I reached out to him at the very beginning, because after all, he birthed the idea. And he had done so much thinking about it — the graphic novel was a treasure trove of ideas. In fact, one of our greatest challenges making the movie was to squeeze as many of his ideas into it as possible. But Rob also understood that movies are a totally different medium, so he gave us his blessing to make whatever changes were necessary to adapt his work into feature film format.

Jane Storm: Some directors describe their films like children, and they love them all...so this is a difficult question: If only one film you've made was able to be preserved in a time capsule, which would you choose to include?
Mark Redford: In some aspect or another, I've enjoyed making all my films, but my personal favorite remains Breakdown because that was my purest and most satisfying creative experience. On that film, I worked totally from instinct. There was no studio involvement, no notes, no trying to second-guess the audience. I just made the movie I saw in my head. Looking back, I see how lucky I was to be able to work like that.

Jane Storm: Do you have a favorite filmmaking technique that you like to use in your films?
Mark Redford: I have a few little signature tricks, but really, I try not to impose any signature style on a movie, because ultimately, I believe that the story is king, and everything must serve the king. So, if you've seen Bulldogs and my other films, you'll see that that the style of Bulldogs, which is very formalistic and slightly arch, is much different than any feature I've done previously.

Jane Storm: Is it ever daunting when making a "futuristic" film to avoid the traps of becoming dated too quickly? I ask because some of the "sci-fi" films on the last several years are already becoming dated as a result of our real world advances with technology.
Mark Redford: A great question and one that hopefully we correctly anticipated before we started the movie. Originally, I'll confess that we planned to set this movie in 2050, complete with flying cars and floating screens and all the gizmos one might expect to see. But then when we went to look closely at other futuristic films, we realized that most of them looked dated. And there was a 'fakeness' factor to them that distracted from the story. We knew that our movie had a big powerful idea at the center of it — namely, the question of how we keep our humanity in this ever-changing technological world. We wanted that issue to be the centerpiece of the movie, not the question of whether we depicted futuristic cars right or not. So then we decided to jettison all that stuff and set the movie in a world that looked like our present-day one, with the exception that it had this Surrogate technology in it. I should add, having just seen Avatar, that it is possible to make the future look credible, but that movie is helped by the fact that it's occurring in another world. Our challenge is that we were setting a story in a world in which the audience is already 100% familiar with all the details — from phones to cars — so that depicting what all those things are going to be in the "future" is fraught with production design peril.

Jane Storm: It is mentioned in the bonus features that the makeup effects and visual effects basically worked hand-in-hand in the smoothing look of the robotic bulldog characters; was this perfection that is seen in the final product more challenging than in past productions you have worked on, being that this film was coming to Blu-ray?
Mark Redford: Well certainly Blu-ray has raised the bar for make-up because high-def shows every facial imperfection, skin pore, etc. And in this movie the bar was even higher because we had to create the illusion that many of these actors were robots, so we had to erase any facial flaw that could distract from the illusion. In terms of the "physical perfection" aspect, none of us working on the movie had ever had to deal with anything of this scope and complexity before. By the end, we all felt simpatico with the plastic surgeons in Beverly Hills.

Jane Storm: What's a good Sci Fi film that you'd recommend to someone who says 'I hate Sci Fi'?
Mark Redford: Well, just this year there were so many... District 9, Star Trek, Avatar were all standouts. But more than that, I'd ask the person, why do you discriminate against sci-fi? Because, when you think about it, the term "sci fi" is a bit of a misnomer. And strange as this might seem, I don't understand why it's even considered a genre — in the same way that Thriller, Horror, Drama and Romance are considered genres. Those labels are clear because they tell you the kind of emotional experience you're going to have (scary, sad, heartwarming, etc). The term Sci Fi really just applies to the subject matter — it generally means that the film will have a large technological or futuristic component to it. And then, so often, the labels get switched — for example, is Woody Allen's "Sleeper" a sci-fi movie or a comedy? Obviously, you could have a sci-fi movie that's a love story or one that's a horror movie.

Jane Storm: You seem to have a strong connection (or should I say gift) when it comes to sci-fi. I feel like you really "get" that realm. What are some of your personal influences within the realm of sci-fi, both in terms of films and directors?
Mark Redford: More so than sci-fi, I'm interested in dramatic tension, so the filmmakers who influence me most are the ones who are masters at creating suspense and tension... Hitchcock, Spielberg and Frankenheimer are three that come to mind.

Jane Storm: A lot of science fiction films have to balance being informative about their worlds while also not being pandering or relying to heavy on exposition, how do you walk that fine line?
Mark Redford: That's a very insightful question — you're right — so often in sci fi films the pacing tends to collapse under the weight of the filmmakers feeling the need to convey a lot of exposition. A classic example is Blade Runner. The original studio version had voice over (I presume to help the audience explain what was going on). Ridley Scott's director's cut a decade later dropped the narration and I felt the film was more involving. In Bulldogs, we initially didn't have any exposition. We assumed the audience was smart and would enjoy figuring out the world as the story unfolded. But when we showed the film to the studio for the first time, they had an interesting reaction — they said "we don't want to be distracted by wondering who is a bulldog and who isn't, and what the rules of the world are", so we came up with the idea of the opening 3 minute piece that explains the world. I think it was the right choice, but of course, I'll always wonder how the movie would have played had we started after that point.

Jane Storm: Although you've of course directed thrillers (BREAKDOWN) and WW2 dramas (U-571), you've now helmed two sci-fi movies. Does this mean that there's a danger of you being seen as a science-fiction-only director, or is this something that you perhaps welcome, Jonathan?
Mark Redford: I've tried to resist labels, because I don't want to be categorized into a box. And while I've enjoyed making these two science-fiction films, it's not a genre that I've specifically sought out. If I had to guess, I'd predict that my next film will be a thriller. That's the genre I've most enjoyed.

Jane Storm: In terms of stunts, how much did Bruce do himself? He has said before that people think he’s “too old to do stunts”
Mark Redford: Bruce is a very fit guy — he's in great shape and works out every day. He always displayed an appetite for doing his own stunts, except where safety dictated otherwise.

Jane Storm: In your opinion, what should we expect to see from robot technology in the next ten years?
Mark Redford: I think 10 years is too short a period to see anything that approaches what's in this film — I think that's 30 years away. 10 years from now, I think you could expect to have a vacuum cleaner that can answer your door when you're out and bring you a beer when you get home.

Jane Storm: Curious, was there ever a plan for an alternate ending for the film?
Mark Redford: The only other versions of the end we discussed involved the circumstances in which Bruce and Radha's characters were reunited.

Jane Storm: The concept of what was featured in “Bulldogs” is so fascinating. Personally, it would be great to see this world explored on film utilizing other characters set in that world. Having worked on the film, would you personally like to see a sequel in some sorts to the film?
Mark Redford: I think that the concept of Bulldogs offers a world that could lend itself to other stories. Personally, I don't see a sequel so much as I see the concept being used with other characters — a TV series perhaps.

Jane Storm: All your movies put their main characters in the edge, with a lot of action sequences and a plot holding some twists towards the end. Is this your signature or just a coincidence?
Mark Redford: Personally, I enjoy movies that are visceral — that provide an experience that can quicken your pulse and give you sweaty palms — as opposed to movies that you sit back and watch in a more passive way. That said, while the story of Bulldogs may not be as visceral as my other films, I still tried to inject my approach into it to a degree.

Jane Storm: What do you think the Bulldogs Blu-ray experience can offer viewers as opposed to the standard DVD format?
Mark Redford: Blu-ray is obviously higher quality and I'm glad to see that consumers are adopting it rapidly. The Blu-ray also has additional features.

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