JAWS is a film that still holds up pretty well to repeated viewing and it's being rereleased again. It's a petty Spielberg didn't take a close look at the script of Jaws when making "War Of The Worlds" The acting is uniformly good all round. Tom Cruise is not his usual smug self assured self. He does the best he can with what is a badly written character. I say badly written in the sense that he is not the Hero rather a pedestrian character that events happen to. He never drives the story and as an audience we never connect with him. Dakota Fanning is excellent if a little annoying as his daughter. I was very disappointed she wasn't eaten by the Martians early on.

The original story was written by H.G.Wells and set back in Victorian times. In the nineteen thirties a little know theatre company, called' The Mercury Theatre' run by a certain Orson Wells, no relation, staged a production of "War Of The Worlds for radio. The story was updated to then present day America. It was done in the form of, on the scene news bulletins, a kind of as it was happing with news coming in from all round the Country. People, who missed the opening, where you were told this is the play of the week, thought they were really being invaded by Aliens from another planet. It created such a sensation at the time. It also made Orson Wells a household name. He was called the boy genius at the time, a title also given to a young Stephen Spielberg some years later. He went to have a chequered career in Hollywood, starting at the top. His first film is considered one of the best movies ever made "Citizen Kane. On showing the finished film to a friend, the friend quipped " well it"s all downhill from here Orson'.

In nineteen fifty two Producer George Pal made the first big screen version of War Of The Worlds' and in my book his version is superior. The acting may be a little wooden and the Special Effects a little dated and even if you can see the strings holding up the beautifully designed Alien Space Ships it still works. If you haven't seen it, rent, it or buy a copy from your local video store. You will be well rewarded. Gene Barry played Dr. Clayton Forrester, so early on he is cast as a man of Intelligence and a man of action. For the audience we have our Hero someone we can depend on, in real life I wouldn't trust a doctor as far as I could throw him, but in the cinema we are allowed to suspend disbelief. Today we can't have Hero's anymore without them having some ambiguity attached to them. I just want a clean cut Hero in my SI-FI... What the hell is so wrong with that? One thing is for sure, people will still be watching the George Pall Version of War Of The Worlds 10 years from now....but Spielberg's for all it special effects wizardry, I doubt it.

Horror movies are another source for Hollywood to dip into for the dreaded remake. Lately we have seen I don't know how many Dracula/ Vampire films. They range from the sublime [Dracula, the 1957 Hammer version] to the ridiculous [Dracula, dead and loving it] and a whole lot of rubbish in between. The Original "Dracula" was made in 1930[Nouferatu, a German made silent version and so much has been written about it deserves a whole story on its own, is credited as the first version of Bram Stoker novel, but was not allowed to use the name, DRACULA and the name is everything] by Universal and starred Bela Lugosi. It's a strange dream like film and while in no way scary it is well worth a look at, especially for any serious movie lover. They then made Frankenstein in 1931. And so started the first great Gothic Horror cycle. Universal made a lot of sequels most of them inferior. By the mid forties Horror films were all but washed up.....'Abbott and Costello meet Frankenstein' putting the final nail in the coffin.

It wasn't until Hammer film productions, a small budget film company based in England, started making horror films in the mid fifties that we finally got a glimpse at what a Horror film should look like. In Colour.....They started remaking all the old Universal Horror films of the thirties, starting with Frankenstein. On reflection not the best idea as Boris Karloff was without a doubt the best Frankenstein's Monster ever in the original 1931 Universal version of Mary Shelly's "Frankenstein". A true classic and the follow up "Bride Of Frankenstein" in 1935 is arguably the best horror film ever. A rare case of the sequel being better than the original. The 1956 Hammer film starred two of filmdom's greatest horror icons Peter Cushing and Christopher Lee. Lee played the Monster and Cushing played Baron Frankenstein. I mention this as a lot of people still seem to mix up the name of Frankenstein, who created the Monster and the Monster himself, who didn't have a name The film was a huge success with audiences but not with the film critics, but they don't count anyway.

With a hit on their hands Hammer went on to make what I, and a lot of other people, consider the best version of Dracula put on film. It may not be completely faithful to Bram Stoker's book but then how many films are. What it does have is two first rate performances by the films leads. Cushing has never been better and brings the character of Van Helsing to life, giving the part an air of quiet authority and rigid determination. Hugh Jackman claimed that his "Van Helsing" would be more of an action hero and not a stuffy old Englishman, well that seems to have backfired a bit, at least Cushing could act and when the action does come there is a reason for it. The finale where Cushing dashes across the table and jumps on curtains pulling them down allowing the light in that finally kills Dracula is far more convincing than anything that happens in "Van Helsing".. Jackman is also more wooden than the stakes he was using. Christopher lee as Count Dracula is the epitome of Evil, while at the same time he exudes sensuality than is palpable. When he is on screen it's hard to take your eyes off him such is the power of his performance.

They followed this with another Classic "The Mummy" which was also made by Universal in the thirties again with Boris Karloff. The original movie defies description, but again it has to be seen, for its curiosity value alone, if for no other reason. The resent Universal Remake of "The Mummy" with Brendan Fraser and Rachel Weis bares more relation to Indiana Jones than anything else and suffers from the same lack of any real excitement or tension as the afore mentioned "Van Helsing", but it is a bit of fun and the actors are pleasant enough. But if you want to see how to make a real "MUMMY MOVIE" then you have to watch the 1959 Hammer version, again with Cushing and Lee. The acting is again first rate. Cushing is excellent as the archaeologist trying to get to the bottom of the mystery surrounding his father's death after coming back to England from a successful archeologically dig in Egypt. Christopher Lee is the Mummy and his performance is worthy of an Oscar as he spends most of his screen time wrapped in bandages he doesn't speak a word for the whole film. It is a testament to his acting ability that he can still convey horror, surprise, anger and even sadness all with just a look or slight gesture. Younger actors should take note.

With so little good quality films being made today you could do a lot worse than search out your local extra vision and unearth a few hidden gems and a few good old fashioned nightmares.

When unexplained happenings and connections started to come into play that affected the actors after they ended production well, someone had to ask.

Power One

When news hit that our beloved Heath Ledger was taken before his time, we were all perturbed. It was so surprising to so many people. How can these people lead such secretive lives when their working lives are so out in the open?

It was terrible to think that Ledger had some sort of disorder or conflict that led him to this point.

As time went on, information started to rear its ugly head. It was said in the news that Heath had gotten so enthralled in his role as the "Dark Knight", that he brought his work home with him. He was unable to sleep, eat, or even think coherently. Ultimately the stress of the situation led to his death. So we believe!

Power Two

Do you remember a movie by the name of "American Psycho"?

Christian Bale just happens to have been the leading role. He was a high power businessman that ruled the industry by day and murdered innocent women by night. He was said to bully the other lead actors out of playing the role because he said he was born to play it. He was sick of others saying Leonardo Dicaprio was a bigger star so he wouldn't get the part.

"I kept saying I was going to play the lead and people wondered if I was losing my mind. It reached the point where the film studio said about me, 'don't mention his name again.'

Christian Bale's acting merits ultimately led to his role in "Batman Begins" in 2005. I loved this movie. It wasn't filmed with an over exaggeration on weapons and gadgets but, the skills of the character.

However, when the second installment of the Batman movies wrapped, Christian was left with a bad taste in his mouth. There was so much attention on the recent demise of Heath Ledger that it took away some of the spotlight for him.

However, the spotlight was not skewed for long. While the movie was destroying box office records, Bale was in London, where his mother and sister reportedly leveled assault allegations against Bale.

Christian spent 4 hours in jail but, he was not charged; at least not yet.

And so the darkness surrounding "The Dark Knight" continued.

Power Three

In the 2005 installment of Batman Begins, Morgan Freeman had actually fashioned the Batman suit in this movie. It was one of his most secret inventions at the Wayne Corporation.

He was a voice of reason and a mentor to Christian while he was on the set.

Every opinion of Morgan Freemen that I have ever had has been an optimistic one. I've never heard of any antics on set or negative press associated with him.

However, after the filming of "The Dark Knight", the Academy Award winner was seriously injured in a car crash.
Freeman was traveling East on Highway 32 when his car skidded off the road and flipped several times.
Freeman was catapulted from the vehicle and then airlifted to a hospital in Memphis where he is still in serious condition.
Undisclosed accidents on the set

There were also unusual circumstances that had occurred during the filming.

A technician on the film died when the truck he was in reportedly struck a tree following a test run. It was also said that one of the actresses was set on fire as well.

I am sure there is one missing that would prove the aspect of Power of 3 but, the press has not released any information.

Another example of the Power of Three

Just the other day, I noticed that my Triond account had an odd amount of funds in it within a few hours. I was excited and skeptical at the same time.

On the same day, I lost my keys on campus and spent 2 hours looking for them. Did I mention my skirt was tucked into my red bikini underwear at the same time?

Not only did I have a humiliating day but, Triond took the money back which is what I expected.

If you put the humorousness aside about my story, you would realize that there were 3 dreadful things that happened to me that day.

This goes to show you that the Power of 3 is alive and affecting others all over the world.

 

An obvious moment didn't need to be elaborated on. While Chris was in the taxi, the audience didn't need to see the inside of his wallet. His facial expression and the shot on the meter were clear indications of his financial struggles. Before that moment, he fought about money and experienced problems with paying for past taxes and rent. Showing the money in wallet interrupted the focus. I guess it works for audiences that need a bit more to understand the scene. In regards to the moment, it was like too much exposition that was already revealed.

The wife, Linda, weighed Gardner down like an anchor. He tried to keep the family together, but she didn't care. She worked, so you can give her that much credit. Linda was a fictional character that's negativity was holding Chris back from succeeding in life.

The real Chris Gardner worked harder. Imagine the movie son and then think that he was really a baby. Gardner didn't have anyone to discuss his problems with. Gardner battled his struggles alone.

Gardner was never selfish. He did everything to make his son happy. A touching moment would've been for Chris to give his son a present. The best gift could've been that action figure that was dropped on the street. This gesture would've showed the kid experiencing the happiness. Underneath all of the struggles, his dad didn't forget about him.

The struggles in the film were worth the final payoff. Everyone knew that Gardner was going to get the job. The partners liked him from the beginning. Gardner was always around to assist in a time of need (donut and coffee runs for manager, $5 bill for partner, Rubik's cube expertise, etc.) The expression on Gardner's face makes any strenuous goal relieving. When one battles through impossible obstacles and succeeds, it makes them feel a sense of accomplishment. The audience felt his happiness in each tear.

Demonstrating his strengths was brilliantly highlighted. In the Rubik's cube news report, only one person, a professor at UCSF, was able to solve the cube riddle in 30 minutes. Gardner performed his cube miracle in a taxi ride, which was less than 30 minutes. The number and focus game of the stock market was revealed when Gardner had to remember the phone number while Wayne distracted him with the Lakers score. The most successful stockbrokers' are able to maintain focus without losing concentration.

The film contained the problems of homelessness. San Francisco hadn't adopted a homeless housing plan until 1988. Shelters could only assist a select few. Homeless people had it tough on the cold streets of San Francisco. Glide Memorial Church served a number of homeless victims. They helped these unfortunate members believe.

Gardner couldn't get a waiter, janitorial and other job. He needed to focus on the main prize. Any other way, he would've not been able to make the dream possibility. If anyone has worked those jobs, one doesn't receive much respect. In addition, these positions are unappreciated and degrading. If Gardner had worked 6 months in one of those jobs, they would be continue be homeless. It takes a lot more than a few dollars to get out of the homeless problem. Sacrificing prepares one for their future. The happiness was a dual dream. The mother was selfish to leave. Chris reassured his son throughout the film that he would take care of him. The bond was strong and one can see how they were related in real life.

Gardner didn't make his son stay on the street for 24 hours. The kid stayed in Day Care during the day. When they failed to obtain homeless shelter in the evening, they found an alternate substitution. People don't notice that when things go wrong, others don't care. Society doesn't care about other people's problems. They only focus on their own wants and desires. You have to separate yourself from the competition. While a candidate may appear to be better on paper with degrees, experience and skills, others that demonstrate more passion tend to accomplish more success. Companies don't want a robot, but an honest, positive and driven person to represent their company. Many companies make mistakes when they turn down the perfect applicant to hire a person that appears more qualified. In the end, the qualified person sends their negativity throughout the workplace.

One would rather sacrifice 6 months of struggles than a lifetime of pain. Success demands struggle. Struggle strengthens the core of any soul. A person that contains discipline excels above the rest. Too many people give up on little things. It takes a special person to continue on the path to success. Life throws us many curve balls and sooner or later, we'll hit one out of the park. Gardner was an example of the top 1% of the richest Americans. He knew not to share his problems with others. He didn't tell all of his tailgating friends about his struggles with his homelessness, his wife leaving and trying to take a chance on success. The strength of the film relied on his ability to avoid sharing problems.

I was at home preparing breakfast one Saturday morning when the telephone rang. I picked up the receiver and the voice on the other end of the line said, “This is Tony Hopkins, you wrote to me…”

I should explain that my husband is a talent agent and he had made a few discreet calls, trying to contact Anthony Hopkins "at home". Obviously it had paid off. I must have sounded puzzled. “Who?” I asked, “I don't know a Tony…” The voice on the other end cut in, “I'm Anthony Hopkins, the actor.”

And that was my first conversation with the great man himself. We arranged to meet a week later at the elegantly restored Langham Hilton Hotel in London where we would record the interview.

It was a bright slightly crisp sunny day when my husband Robert and I met the two camera men, lighting man, and the sound engineer on the pavement outside the hotel. We introduced ourselves at reception and the hotel manager escorted us to the Royal Suite on the third floor. When the hotel was built in 1865 it faced directly onto Regent's Park. The development of London has taken its toll over the years and now the park can just be seen in the distance.

The Royal Suite is a good-sized room with large windows that faced directly onto Portland Place. It was stylishly decorated with large comfy armchairs.

The film crew were still in the preparation stage when Anthony Hopkins walked in. He told us he had had a very pleasant walk through Regent's Park, chatting occasionally with passers-by and with gardeners who were busy with their unending work maintaining the park, one of London's premier attractions.

 

Pots of tea were ordered and after sound and lighting checks, we were ready to begin. Sir Anthony had already familiarised himself with the names of the crew, insisting that they call him Tony and asking the make-up artist for tips on keeping his weight in check.

A few minutes later the recording had started and we were talking about his childhood. He told me that he suffered during his school years as he was dyslexic (though the term was not in use then) so to cover the problems he became the class clown. He was a natural mimic and he said he often imitated the teachers' voices so he could make the other kids laugh.

His father was the one who got him started as an actor. Anthony explained that as a child he was very shy and used to play dirges on the piano at home after school, he played the piano well and was a good artist. One day his father suggested he get out of the house.

“Do something with your life. Join the YMCA and meet people.”

So at seventeen he joined a local acting group run by Cyril James in Port Talbot near to his home in Wales. Richard Burton was from the same town and young Anthony was very impressed with what the actor had accomplished. When he was fifteen he went and knocked on Richard Burton's door to ask for his autograph, Richard was home from Hollywood with his wife Sybil.

Q: Were you impressed with Richard Burton?

A: After giving me the autograph, Richard was going to the big rugby match in Cardiff with Sybil and his brother. As I was walking back home down the hill, I watched him drive by in his Jaguar, thinking, I've got to get out of this life of mine. I've got to get out of this environment of my own mind. I've got to do something with my life.

Q: How did you get into acting?

A: I joined this little acting group and then I got a scholarship to the Cardiff College of Music and Drama. Then I went into the military service, National Service, and when I came out I made a decision to follow an acting career.”

Q: How did you feel when you discovered that this was something you were good at?

A: I look back on my life and I still see myself as a lucky amateur who just got away with it. I don't really feel that comfortable in ensemble companies. This business has given me a very good living.

Q: How do you prepare for a role?

A: I simply learn the lines and show up. I get the script, and I read it over and over again, going over the part until I let the character play me.

Q: Do you believe in destiny?

A: I'm a fatalist. I believe that if we relax and let go, then extraordinary things begin to happen. You can't really control your destiny.

Q: I was really interested in the story you told me about meeting Katherine Hepburn, during the filming of "The Lion in Winter".

A: It was my first film. There were three young actors in it, John Castle, Timothy Dalton (who went on to do the Bond Films), Nigel Terry and myself. Hepburn used to help us, she'd say to me,

“Don't act so much. Don't use so much voice. Let the camera do all the work. Watch Spencer Tracey, he was the best.”

She was tough and she was generous. I remember one day she said “What a wonderful life. Here we are in the South of France in February in a castle, being paid for what we do, never forget that.”

“And I never have. That's why I love making films. I travel all over the world, do what I want to do, and at the end of the day I'm surprised they pay me for it.”

Q: What about directors you have worked with?

A: I've had a bit of a stormy reputation in the past with directors. Now I've come to peace with myself and directors. Actually, I did something for George Martin, in "Under Milk Wood" and I was directing a lot of actors and I suddenly realised the enormous pressure directors are under. And sometimes I know why they get bad tempered and dictatorial, because of fear. The best directors I've worked with are James Ivory and Jonathan Demme in "Silence of the Lambs". Director David Hare and of course Francis Ford Coppola, not the easiest person to work with, he's a creative giant, a very kind and generous man. I thing those directors are terrific they are the ones who are easy to work with.”

Anthony's advice to young people wanting to be actors was,

“Don't just talk about it, go out and do it. Opportunities are there, so find them.”

He seemed ready to converse on any topic. He expressed his surprise at getting an Oscar for "Silence of the Lambs", he forgot to thank the usual people and thanked his mother!

The time had rushed by and I needed to close the interview. I asked how he would like to be remembered.

He replied “Mr Nice Guy!”

And he is.