Movies

Guardians of the Galaxy

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Movies

Beauty and the Beast


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Kong, Skull Island Trailer

Kong, Skull Island Trailer


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UFOs

UFOs The True Story of Flying Saucers, 1956

This was posted by Carl Slaughter on on File 770.

By Carl Slaughter: On July 29, 1952, the Pentagon held a press conference about flying saucers.

Whether or not you believe in UFOs, this documentary is an excellent history of the UFO phenomenon.

The flying saucer phenomenon began on June 24, 1947, after Kenneth Arnold reported to his airport tower sighting nine saucer-shaped vessels flying at extremely fast speed in echelon formation over the mountains of Washington state. When Arnold landed, the local media was waiting for him. The wire services picked up the story. Within 24 hours, newspapers all over the country ran front page headlines about the Arnold report. Suddenly more and more people claimed flying saucer sightings. UFOs had entered American culture.

On January 7, 1948, Kentucky Air National Guard pilot Captain Thomas Mantell crashed and died while in pursuit of a UFO. The public and the military began to take flying saucer sightings much more seriously because Mantell’s death indicated a possible alien hostile presence on Earth. (Another concern was that the vessels might be Soviet. This was at the beginning of the Cold War.) On October 1, 1948, North Dakota Air National Guard second lieutenant George Gorman engaged in an extended chase with a UFO that had speed and maneuverability far beyond any human vessel at the time.

In response to these and other UFO encounters, the Pentagon launched Project Bluebook and other investigation projects. The CIA launched the Robertson Panel and Congress launched the Condon Committee. Project Bluebook was finally shut down in 1970.

Whether or not you believe in UFOs, this documentary is an excellent history of the UFO phenomenon.

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Reading

WHEN ODIN MET SANDMAN

In his book Norse Mythology, author Neil Gaiman breathes new life into some old, familiar characters

  • Montreal Gazette  ZANE SCHWARTZ
In his new work of fiction, Neil Gaiman traces the Norse myths from the beginning of the world to the final battle that ends the world. Gaiman includes the story of Odin, who was portrayed by Anthony Hopkins in Marvel’s Thor: The Dark World.
Norse Mythology has been resurgent in popular culture these past few years, not least because Thor and Loki appeared in several blockbuster Marvel movies. But books focusing on the original myths are still far from a surefire bet for a publisher.

Unless, of course, the author of the book in question is Neil Gaiman. Gaiman well deserves his status as one of a handful of authors who could publish literally anything and a few hundred thousand people would rush out and buy it. Partly, that’s because Gaiman is a brilliant writer and performs wonders with archetypes. In Norse Mythology, he takes characters that are twodimensional in myth (Odin is wise but cruel, Loki is tricky but sadistic, Thor is bellicose but dim-witted) and makes them complex and captivating. Mostly though, it’s because Gaiman has built a fiercely loyal following, as willing to read a book about a boy raised by ghosts (The Graveyard Book) as one about a magical London beneath the streets of the mundane one (Neverwhere).

There are political undertones in Norse Mythology if you want them. Odin builds a wall to protect Asgard (well, actually it’s built by a giant, whom Thor kills once the work is largely done).

But for the most part these stories hold remarkably true to ancient texts such as the Volospa, the Prose Edda, and the Volsunga Saga. This book’s more modern ancestor is Roger Lancelyn Green’s 1960 collection Myths of the Norsemen (which Gaiman read as a child), and both Green and Gaiman trace the Norse myths from the beginning of the world to Ragnorak, the final battle that ends the world.

Green was a member of the Oxford literary group the Inklings, whose other members include C.S. Lewis and J.R.R. Tolkien. In many ways Norse Mythology plays a similar role in understanding the Gaiman canon as the Silmarillion does in understanding Tolkien’s The Lord of the Rings universe. The Norse gods are everywhere in Gaiman’s other works: one of the key characters in American Gods (which will première as a television show on Starz in April) is a god named Mr. Wednesday, who, it is quickly revealed, is actually Odin. Loki appears several times in the Sandman graphic novels, often while trying to trick Odin and Thor. Core themes that animate many of Gaiman’s stories are present in these myths. For instance, Gaiman likes to write about parallel worlds, with particular focus on the edges where the magical seeps into the mundane. In Norse Mythology the nine worlds are connected by Yggdrasil, the world-tree, and the gods flit between them with relative ease. In Gaiman’s other books the portals are more commonplace — e.g. bricked up doors, sewer grates, a wall on the edge of town — but the fascination with hopping between worlds is always there. Many of his characters seem modelled from gods in Norse myth: they are flawed, self-interested and wholly relatable.

Norse Mythology itself is 15 distinct stories covering everything from how Thor got his hammer (Loki tricked some dwarfs into making it) to how Fenrir, the wolf who will swallow the world, learned to hate the gods (they shackled him up, laughed when he couldn’t escape, then left him to rot). Gaiman adds some subtle modern twists to the stories, such as a feminist undertone in the depiction of goddesses as more autonomous and powerful compared with their typical role of overly sexualized bit-players. On several occasions gods try to marry Freya off without asking her first: At one point Thor’s hammer is stolen and he agrees to marry her to the thief in exchange for its safe return. When Freya finds out she says: “Do you think I’m that foolish? That disposable? That I’m someone who would actually marry an ogre just to get you out of trouble?” In another story Hymir, the mighty king of the giants who owns a cauldron three miles deep, is easily controlled by his wife. Despite his bombast she brings him up short with sardonic comments like “Are you finished breaking things?”

There are limits, though, in that most of the stories focus on Thor or Loki, and female characters are typically mentioned in relation to a male protagonist (e.g. wife, daughter, sister). This is the reality of the surviving myths, as many that focused on female gods were lost and those that did survive tend not to feature them. There are broader flaws in the myths as well, which we tend to accept as an inheritance.

It is unclear why Odin, who knows that Fenrir will try to destroy the world, simply chains him instead of killing him. It is unclear why Loki, typically several steps ahead when other gods try to trap him, turns himself into a salmon and waits nearby, resulting in his capture and imprisonment. These oddities, though bothersome, are possibly explained by parts of stories lost to time and certainly no failing of Gaiman’s. Ultimately, this is a careful and rather lovely retelling of stories that have underpinned Western literature since at least the 13th century. The prose is lively, the details are vivid, and the characters — well, there’s a reason we’re still retelling their stories after 800 years.

In Norse Mythology, he takes characters that are two dimensional in myth and makes them complex and captivating.

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Movies

Quebec crew could win big for Arrival

Denis Villeneuve’s sci-fi hit heads into Sunday’s Academy Awards gala with eight nominations, including several that recognize local crew members from the Montreal-area shoot. T’Cha Dunlevy discusses the craft behind one of 2016’s most acclaimed films wit
  • Montreal Gazette
  • T’CHA DUNLEVY tdunlevy@postmedia.com twitter.com/TChaDunlevy

LINK TO THE GAZETTE ARTICLE WITH PHOTOS

JAN THIJS/PARAMOUNT PICTURES Denis Villeneuve, right, wanted the audience to be connected to Amy Adams’s character in Arrival. “I made room around her voice so we would feel close to her,” says sound mixer Bernard Gariépy Strobl, one of several Quebec crew members nominated for an Academy Award at this Sunday’s gala.

Denis Villeneuve likes to share. The Quebec director is one of the hottest commodities in Hollywood at the moment, but for his latest film, Arrival, he brought the production home, shooting in and around Montreal and showcasing Quebec’s thriving film industry by hiring local talent in many technical categories.

Now Arrival is nominated for eight Academy Awards, including best picture and best director, with members of Villeneuve’s Quebec team up for best production design (Patrice Vermette and Paul Hotte), best sound editing (Sylvain Bellemare) and best sound mixing (Bernard Gariépy Strobl and Claude La Haye). The film is also nominated for best cinematography, best editing and best adapted screenplay.

In preparation for Sunday’s Oscars ceremony, the Montreal Gazette sat down with the Quebec nominees to talk about their trades, and the visionary filmmaker who brought them along on Arrival’s charmed journey.

PATRICE VERMETTE (PRODUCTION DESIGNER)

Job description: “The production designer takes care of the whole visual envelope of a film. They create the ambience, the design, they supervise the rentals, draw the sets and create the visual harmony of a film.” Specifically speaking: “Before we went into production, Denis and I had a few months to discuss ideas and make sketches — we had the luxury of time. We developed the esthetic and the shell of the spaceship. We decided that the ship wouldn’t land, that it would hover 28 feet over the Earth, because humans must make the last effort (to reach it). We analyzed different countrysides, to find the right look for the big field (where the ship appears). We had the idea for the orange suits (the humans wear); that gravity would shift inside the ship; and that (the entry) shaft would turn into a hallway. We decided that the camp of scientists would be further away. We developed the whole concept of the mise-en-scène.” Getting connected: “We created these esthetic links between the spaceship, (Amy Adams’s character) Louise’s house, the university (shot at Montreal’s HEC), Place des Arts (where Adams’s character meets a Chinese general late in the film) and the hospital. The texture of the ship is stone, representing the history of civilization. You find that motif in the architecture of the university classroom; then in the spaceship’s interview chamber, which is like a classroom with its big white screen. In the house, there is a big white window with a hazy view of the lake, looking out at the future into infinity. In the university classroom, the board is white, not black or green. The interior of the ship is like a temple, dark and calm, in contrast to the wires and the chaos of the military camp. I like working on different levels — not just esthetically.” The aliens’ language: “At the beginning, we didn’t want the audience to know it’s a language. We wanted people to be surprised and wonder what it is, kind of like the ship. The esthetic is attractive, but danger can be attractive. We wanted the language to be a starting point.” On all the Oscar love: “C’est un beau cadeau de la vie. It’s a nice bit of recognition by my peers — the designers who voted. I was walking on air for a week. I think (they appreciated) the fact it’s a bit different, and surprising, esthetically. This film is a great example of teamwork. We all embraced the story and were inspired by it.”

PAUL HOTTE (SET DECORATOR)

Job description: “My job is to break down the elements of the decor that we see in the film. I had 10 days with Patrice before we were swarmed by our team. We were able to think and talk about things. He had already met with Denis, so he knew what he wanted.” Specifically speaking: “We found this company on the West Coast, this kind of army surplus place that specializes in military equipment. We were able to buy all our tents and equipment from them. We had six tents, 20 by 60 feet, with hallways connecting them. In one of the main tents, there was the command centre, which was where everything converged. In there we put these big tables, computers, lights, all together as in a crisis situation — fast, nothing fancy.

“There was the spy tent, the medical tent, the barracks, the cafeteria, the science tent for Louise and Ian (Jeremy Renner’s character), and the cryptography tent. That was my biggest challenge, the biggest piece of the puzzle in terms of budget and preparation, which took up most of the time of our team.

“At the same time, I worked with other decorators on the decor of Louise’s home, the university and the hospital. I had four decorators working with me; each had a part of the decor they were responsible for, and their research was done based on discussions we had, which were based on discussions I had with Patrice.” On all the Oscar love: “I see it more as (a recognition of ) the ensemble, not just the production design. Denis Villeneuve has his own cinematic language particular to him, like a writer or a novelist has his own way of explaining life.”

SYLVAIN BELLEMARE (SOUND EDITOR)

Job description: “On the whole, we use the term ‘conception’ or ‘construction’ — it’s the writing of the sonic language of the film. There are more naturalistic films, but Arrival was a work of construction. We received the finished visual edit and then we added all kinds of sounds that didn’t exist at the time of the visual edit.

“It’s really a group effort, and I’m the spokesperson. I’ve got a big gang behind me. There’s the sound technician, getting the raw sounds; the foley people (who match sound effects with visuals after the shoot); the (general) sound effects people. Many things were shot in the studio using a green screen, so we had to create all those sounds — of the spaceship, the heptapods’ voices and movements.” Approach: “I always said to myself I just had to follow Amy Adams. I wanted the sound to accompany her. She’s in a state of non-temporality; from the beginning of the film, she’s not comfortable. She has to help the army, but she doesn’t like these people. She quickly falls into delirium and has visions from who knows where. So I wanted the sound to be kind of trippy and nebulous, like she’s a little stoned.” Case in point: “After Louise Banks meets Costello (one of the aliens), alone in the ship, when she comes out she has just understood: she has seen the future. She runs toward the base and the military people are running to meet her; then the ship moves. At that point, any director from Hollywood would have inserted music. But Denis said, ‘No, no, no, no music. The ship is coming toward her — that’s what I want to hear. I don’t want any cream on top.’ That’s him. He was guiding us, and it’s thanks to him if the film is great. He has very strong instincts, and he listens to his instincts.”

CLAUDE LA HAYE (SOUND RECORDIST)

Job description: “On set, my job is to record the dialogue, first and foremost, and the background ambience if I get the opportunity.” Case in point: “In Arrival, many scenes involved the actors wearing spacesuits. My job was to ensure the communications. At first nobody could hear anyone else. I had to make sure everyone could hear everyone and that their voices were at the right level. Each actor had a microphone and headphones in their suit. Denis had to be able to communicate with people, and they had to hear Denis and the first assistant director.” Approach: “Recording sound is about capturing the real performance of the actors, so the director can take off from there and create something else. It’s about placing the microphone and working with the lighting (setup) and the decor, and noises you don’t want to hear. Getting all those things right is not easy.” On all the Oscar love: “We’re riding the Denis Villeneuve wave.”

BERNARD GARIÉPY STROBL (SOUND MIXER)

Job description: “The sound for a film starts on set, in this case with Claude La Haye. Then there’s the visual edit. During that time, the foleying and the sound editing starts; and then there are all the sound effects. The creation of the voices of the heptapods started in New Zealand with David Whitehead and his wife, Michelle Child. The foleying was done in Paris with Nicolas Becker, and we had a whole big team here with Sylvain Bellemare at the head. Olivier Calvert was in charge of the sounds of the spaceship and the ambience inside. The job of the mixer is to mix all those sounds together and create a final atmosphere. My job is to make sure Denis Villeneuve’s ideas for sound are clearly realized.” Approach: “Denis wanted to be close to Louise Banks. I made room around her voice so we would feel close to her. If he needed a feeling of anxiety — like at the beginning where she arrives at the military base — in the mix, I played the sounds around her loud, to make it chaotic and nerve-racking. Or when she comes out of the tent to go toward the spaceship, there’s an interior point of view from inside her suit, which feels claustrophobic. I toyed around to make it sound like she was inside a bubble, and brought the music in softly. That’s all the job of the mixer — to sculpt all the sounds to provide the sonic ambience of the film.

“Denis wanted it to be as naturalistic as possible. He didn’t want the cliché of a big action film, with this big sonic mass. He wanted it to be delicate, and you can feel that in the film. He insisted the spaceship have no motor or other sci-fi effects. So when the ship moves, which is the only moment it makes sound, you hear rock and ice, morphed together — natural sources so that we feel like the Earth is grumbling. When humans are around the ship, the alien presence is felt through static in their communication. And there’s this strange wind sound, which is based on all kinds of wind, mixed together. In the mix, we went for subtlety and poetry over effects and sonic pressure.” On all the Oscar love: “I think it’s the colour that Denis brings to American cinema. It’s a different way of doing things that is felt on every level. He offered us this platform and we were able to accompany him well.”

Denis Villeneuve has his own cinematic language particular to him, like a writer or a novelist has his own way of explaining life.

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Fanzines

Fanzine: Tightbeam from

Lots of interesting reviews of books, movies, and fanzines.

TIGHTBEAM 276

A surprisingly negative review of The Fifth Season by George Philies which starts with:
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For reasons best understood by its supporters, The Fifth Season, a novel by N. K. Jemison, published by Orbit Books, was the 2016 Hugo Award winner. The writing is, all things considered, abysmal. The author appears to have identified a set of major stylistic conventions, seemingly only so that she could trample them under foot. One could say that the writing style was ‘experimental’, but if so the experiment should be viewed as a write-off. There are so many problems with the work that it is difficult to choose where to begin.

TIGHTBEAM is produced on a bi-monthly basis by the N3F –The National Fantasy Fan Federation, a world-wide club for fans of science fiction/fantasy and related subjects.

Movies, Upcoming meeting

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For advance screening of LIFE, a Sci-Fi Thriller will be drawn at the March 12th meeting.

We were better off alone!

Life tells the story of the six-member crew of the International Space Station that is on the cutting edge of one of the most important discoveries in human history: the first evidence of extraterrestrial life on Mars. As the crew begins to conduct research and their methods end up having unintended consequences, the life form proves more intelligent than anyone ever expected.

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MonSFFA Website

Bram Stocker Awards Short list

The Horror Writers Association has the most fabulous trophy! It’s a little house. to see it from all four sides click here, and scroll down. It’s worth clicking the individual images to see the details. You open the front door to see the winner’s name.

To view the short list of winners for 2016 click here.
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Astronomy News

7 potentially habitable worlds around TRAPPIST-1

First the news that Proxima Centauri (4.2 light years from Sol) had a planet in the Goldilocks zone, now the discovery of 7 in the TRAPPIST-1 system.

Read more:  http://www.planetary.org/blogs/guest-blogs/2017/20170222-trappist-1-potentially-habitable-worlds.html
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Montreal Science Fiction and Fantasy Association