За сканы спасибо
Кристине  Von Dutch

Скачать PDF файл со сканами

@темы: Скрипты, QAF

Спасибо за рассказ и фотографию toto_too514

Not much new to add in the way off actual info, but I can say that it was another fabulous QWAN show. Matt Wilkas was not present as he was busy filming a new pilot show out in CA. Phillip Taratula did a great job taking over Matt's "Winona Ryder," in SWAN!!! Then in NOTES!!! Matt's part was portrayed by a - puppet! When talking to Jenn after the show she said the puppet was named Louis, and had actually been a gift from her Mom in 2nd grade. No one can really replace Matt, but watching the masterful way Jenn worked that puppet was tons of fun!

Sight-lines in the theater were not great so although I had a great view of Randy during NOTES! he was pretty much blocked for most of SWAN! I can tell you that watching Randy's graceful movement around the stage, dressed in grey tights, a thin grey tank top and short sweater, as they warmed up for SWAN! was a beautiful sight indeed! Oh, and the underwear report - during the flirting scene, where the guys drop their pants to flirt with the director - bright royal blue. ;p

All the actors came out to vistit with fans who were waiting and every last one was happy and gracious taking pictures and signing autographs.
Randy came out with Phillip and after signing and taking pics the two went back into the theater. So they essentially came just to meet fans. Randy even spoke French to one of the fans there and that was just lovely to hear!

Mom & Randy

@темы: Театр, QAF

Источник

@темы: Театр, Фотографии, QAF

Источник

Это самодельные программы Red Bull Theatre Company, 8 страниц.

RED BULL THEATRE
REVELATION READINGS
Shakespeare and the Sonnets
by John Wolfson
with Byron Jennings and
Randy Harrison
Lucille Lortel Theatre,
off-Broadway
New York City
Playbill
March 25, 2013

читать дальшеThis is an Playbill from the one night only Revelation Reading of Shakespeare and the Sonnets by John Wolfson, featuring Byron Jennings and Randy Harrison (Queer as Folk).

This is a self-made program by the Red Bull Theatre company, 8 pages long. It is very simple, there are no biographies or photos of the participants.

@темы: Театр, EBAY, QAF

Поздравляю  Oulun
Танюш, желаю тебе здоровья, счастья и семейного благополучия!

@темы: Поздравления

Лоуренс Дейн, сыгравший в QAF Джека Кинни (отца Брайана) любезно согласился ответить на несколько вопросов, которые я ему задала на фейсбуке в личном сообщении от лица нашего фэндома. Надеюсь, что вам будет любопытно прочитать его ответы )

За перевод вопросов с русского на английский
и перевод ответов с английского на русский
спасибо Кристине  Von Dutch

Мое письмо

Здравствуйте, Lawrence!
Меня зовут Татьяна и я состою в фэндоме сериала Queer as Folk. Я живу в России.
Я хочу вас поблагодарить за ваш талант, за то, как достоверно и с душой вы воплотили в жизнь персонаж "Джек Кинни".
Могу я задать вам несколько вопросов от поклонников сериала?
Заранее прошу прощения, если моя просьба некорректна.

1. Расскажите, пожалуйста, как вы узнали о сериале и о том, что вам предлагают роль?
2. Чем вас заинтересовал персонаж? Почему вы решили сыграть его? Расскажите немного о кастинге - это всегда интересно непосвященным.
3. Что было самым сложным в этой роли, может быть вы вспомните какой-то особенно эмоционально сложный момент?
4. Пришлось ли вам для понимания персонажа представлять себе его жизнь до событий в сериале? Молодость Джека, его отношение с детьми подростками и с женой?
5. Как вы считаете, почему Джек так холоден к своему сыну Брайану? Может быть он мстит ему за свои собственные ошибки, или он просто не способен на любовь?
6. Как вы думаете, перед смертью от рака, когда Джек пришел к сыну, он хотел прощения, или хотел сказать о своей любви к сыну? Как вы понимаете эту сцену?
7. Может быть есть какие-то забавные и смешные моменты, которые запомнились вам со съемок?
8. И последний вопрос, который всегда интересует поклонников, смотрели ли вы сами QAF? Если да, то какое впечатление произвел на вас сериал, как на зрителя?

Заранее спасибо и всего вам наилучшего.

Ответ Лоуренса Дейна

Скриншот

За помощь в переводе спасибо
Лиде  umka_

Роль Джека Кинни мне предложили продюсеры сериала.
Этот персонаж был интересен для меня, поскольку ему, имевшему, как и многие люди его поколения, очень консервативные взгляды на гомосексуализм, был брошен вызов, когда он узнаёт историю своего собственного сына.
Джек испытывает чувство вины за то, что живет за счет успешного сына, что не был отцом, на которого можно положиться, но в то же время ему стыдно, что его сын - гей.
Я не первый день в профессии, и эта роль была сложной, но материал очень хорош. Поэтому мне было легко играть.
Джек приходит к сыну за прощением.
Я не смотрел весь сериал целиком, но то, что видел, было великолепно.
Надеюсь, я ответил на некоторые из ваших вопросов.

@темы: QAF, QAF каст, Интервью

Поздравляю  МАМОЧКА69
Нина, желаю тебе счастья, здоровья и оптимизма!

@темы: Поздравления

Фото Pilar Wally Rey
Коктейль, почти все столики, видно наших девчонок
кликабельно

тоже ее фоточка, зал перед панелью, опять же видно нас

читать дальше

@темы: Фотографии, События

Линн Дерагон записала новую песню "Drown in My Own Tears"
и добавила ее в свою музыкальную коллекцию

@темы: книги, QAF каст

Источник
Ссылка на это интервью изначально
была на оф.сайте Wake,
сейчас оттуда она ведет на пустую страницу.
Поэтому сохранила в дневнике.

A Family Affair on the Maine Coast
Posted on Saturday, February 3rd, 2007 at 1:55 pm.
Written by Jennifer M. Wood

Blake Gibbons and first-time writer-director Finch discuss a scene in Wake.
Credit: Matthew Clark

Текст на английском языке

Like any other industry—and perhaps even more so—it’s tough to catch a break in show business without something to back it up. Whether it’s a spec sсript or a short film, producers don’t want to take a chance on—or give their money to—an “unproven” moviemaker.

So what’s a first-timer to do when all he’s got to show for himself is a great idea and a burning desire to make movies? If you’re Roy Finch, writer-director of the DV feature Wake, you assemble a stellar cast of actors, grab a digital camera, fly off to the coast of Maine and make your dream happen! In an interview with MM, Finch goes behind the scenes of the making of the movie, discusses the role digital technology played in the picture and talks about the benefits of keeping it all in the family.

Jennifer Wood (MM): How did the idea of Wake come to you in the first place?

Roy Finch (RF): I had written a sсript called Sleepwalking and intended to direct it. It's a rather ambitious project that deals with a son's journey across the country to visit his estranged father. But as my wife (producer Susie Landau Finch) and I took the project around Hollywood, it became clear that, although people were impressed with the sсript and cast that Susie had assembled, in order to put up the money we’d need, people had to see samples of my previous work. The problem was I didn't have any samples. In fact, I didn't have any previous work. This was to be my first film as writer-director. So I came up with the idea to write and shoot a small, intimate piece in a very short amount of time.

MM: Wake was very much a family affair for you. With your wife, Susan, handled producing and casting, and your father-in-law, Martin Landau, starred. While it may seem that he was an easy choice for this role—or that it wouldn’t be hard for his daughter to cast him—this is only the second time they’ve ever worked together. Did it take a lot of convincing to get him to agree to this role, or was the role written specifically with him in mind?

RF: Martin Landau attended a reading, which was the culmination of our rehearsal process in LA, with the entire cast—Gale Harold, Dihlon McManne, Blake Gibbons and Johnny Philbrick (who came in from Maine), as well as Rainer Judd and Dusty Paik. Our executive producer, Michael Donaldson, was also there, along with Ramsay Midwood, Nic Harcourt, Patrick Kelly, Susie, SzuSza Megyesi and Matthew Clark—almost the entire team thus far. Michael suggested that Martin do the role, and the idea was born. The rest unfolded actually on Martin's birthday and on his 50th anniversary of beginning his acting career in summer stock on Peak's Island, Maine!

MM: Originally, you had set the screenplay for Wake in Mexico, but changed it to Bath, Maine all because of one house. What was it about the location that inspired you to rework the sсript? And how did the location change alter the tone—or feel—of the sсript?

RF: I was writing a play set in this funky, old, early ’60s "distressed Rat Pack" house in Baja, California. Once we saw the house in Bath, Maine, I realized that it would be an amazing set for the film. I reworked that play into the screenplay for Wake.

I love Maine and have spent a great deal of time there, starting from age six, so the tone is something that I’m quite familar with. Having said that, it was also my intention to create a film that wasn't site or time-specific. I wanted the Riven brothers to be American, of course, but not tied to any one specific region.

MM: In what way did the setting inspire you to alter the story, as it related to aspects other than setting—character development, plot points, etc.?

RF: After I “borrowed” the main characters from my other play and morphed them into a more rural bunch of brothers, I started to draw upon a longer-term project I had been working on, one based on the life of my uncle, the painter Fritz Rockwell and his two brothers. They all lived in Maine, not too far from where we shot, as a matter of fact. They were the age of the Wake brothers in the 1940s, well before I was born, so I had to use my imagination a lot.

Then, to top it all off, having been introduced to Gale Harold through Susie, I set about writing the role of the youngest Riven brother for him and that was the final inspiration. The Riven family was born!

MM: What was the writing process like for you? I assume you wrote this sсript with the intention that nobody other than you would direct it?

RF: Yes, the sсript was written with the intention that I’d direct. Our initial intention was to make Wake in a very short period of time, so the sсript was written in six months, and then we went right into rehearsals.

MM: At what point did it become clear that you would be using digital technology to shoot the film?

RF: Right from the start we knew we’d shoot on DV. Given the fact that this was to be a micro-budget project, funded with credit cards and a few small loans, that seemed like the best way to go. In fact, the sсript was tailor-made for DV.

MM: What kind of camera did you use?

RF: Once Patrick Kelly, our cinematographer, came on board, he introduced the possibility of using the Sony DSR-500WS and increasing our overall quality.

We shot on a PAL camera (25p) and posted the project in PAL, using Final Cut Pro and Pro Tools HD, so we never went up to the NTSC video frame rate of 29.98. Once the final editing was completed, we did what's known in Europe as a PAL slow-down, basically slowing down the frame rate to 24p and maintaining a one-to-one frame rate with our original edit.

MM: I hear that the weather didn’t necessarily agree with you on the first day of shooting. And with a tight shooting schedule of just over two weeks, taking the day off was not an option. Do you think it would have been possible to keep things moving as quickly had you shot Wake on film as opposed to digital?

RF: It was pouring. I remember the sound guys running for cover. We ordered lots of rain ponchos, socks and cans of chicken soup (which weren't in the budget) so we were already over budget on the first day!

Shooting on digital helped us a great deal. If we had chosen film, I doubt that we would have been able to pull this off in the way that we did. Yes, we moved quickly, but this format also enabled us to shoot longer takes and that, I think, helped us by increasing our options in the editing room.

MM: I understand that the three of you—you, Susan and Martin—are now working on getting Sleepwalking finally made?

RF: We actually have two films altogether, The Lucky Day and Sleepwalking. In The Lucky Day, Martin owns a bookstore in... Maine? (We hope.) And in Sleepwalking he plays a composer who is estranged from his long-lost son. We hope to work with Gale Harold on one of these and I am actually writing a new screenplay with Blake Gibbons in mind. We have a lot irons in the fire.

@темы: Гейл Харольд, Интервью