How, as a layperson, do you know if an entertainment attorney is actually good at what they do?

What types of services should we expect to receive from an entertainment attorney?

What range of pricing should we expect for someone to represent us? 

What types of arrangements are possible?

Should an entertainment attorney set up general liability insurance for the production or should this be set up directly with the entertainment insurance agent?

What protects you better – LLC, Incorporation, etc.?

What things could place me, as an individual in charge, at personal financial risk on a production?

If the production has posted a “Notice of Filming” on location and someone walks by – does this automatically give you permission to include his or her image?  Is there a different standard for web content?

How many languages does the “Notice of Filming” need to be posted in?

How long can you show background people without having a signature for release in a documentary / reality TV format?  Is there a different standard for web content?

How long can you show backgrounds without having a signature for release in a documentary / reality TV format?  Example – retail storefronts, automobiles, license plates, etc.  Is there a different standard for web content?  

How long can you show background logos without having a signature for release in a documentary / reality TV format?  Example – someone in the background walks past camera in a Nike shirt.  Is there a different standard for web content?  

When filming activities in a public place like an outdoor fish market with permission from the organizer, do I need individuals to comply as well if they are not talking to the camera but conducting their business?  Is there a different standard for web content?  

If filming overseas, do the laws for filming people change based on where the film is shot?   Where the film is shown?  Example – filming drunken American college kids in Mexico.  Is there a different standard for web content?  

How many seconds of popular music can you include in a production without clearance?  Example – shooting a documentary, someone drives by with music blaring on the radio. What if it is live music without copyright?  Is there a different standard for web content?

What permissions are needed for skylines and landscapes?  Example – we have a permit to shoot on a street with recognizable landmarks, do we need permission from each building or business owner to use those shots?  Is there a different standard for web content?  

What if you have permission to film in a gallery – do you then need to obtain permission from each artist whose work hangs in this gallery?

Do production companies operate under different permission standards and guidelines?  Example - one standard for feature films, one for reporting, another for documentary, another for PSA, commercial, etc.?

If someone is caught on camera but has not explicitly given permission to the production for use of their image, what are their rights to sue?  What are the associated risks and potential damages to the production company?  Example – filming in a bar with “Notice of Filming” posted, person accidentally caught on camera sees finished production and wishes their image removed.  Are they able to sue for damages?  Is there a different standard for web content?   

You see run and gun crews making documentaries - some are even controversial and in your face – what are their permission protocols?

What is a good rule of thumb for permissions when it comes to producing a travel documentary?

IF what you are doing is not for profit - does it change things under the DMCA (digital millennium copyright act)?  

Please speak about the DMCA and how it impacts productions.

When and how can a production use parody without risk?

The nature of a travel show is different than a movie - it is more reality / documentary in nature showing the places and sites through the eyes of the host.  What ability, if any, exists to just experience and capture everything in the scene? 

Under what circumstances can a production portray a likeness of someone without permissions?  Is there a different standard for web content?  

Under what circumstances can a production portray a famous individual quoting his or her own material without permissions?  Example – Albert Einstein quoting himself.

Can you reference someone of notable fame in a production without permission?  Example – the current film “Contraband,” is centered on a famous artist.  The work is never shown, but the artist is talked about throughout the film and mentioned by name.

How many words of material with a copyright can be used, word for word, before you are in copyright infringement?

How many notes of a song can you sample before you are in copyright infringement?

If using something that is not public domain – can any part be used without permission or must permission be in place for use of any kind?  Example – Martin L. King’s “I have a dream” – that phrase is synonymous with MLK – do I need permission to say or to even reference it on film?

When filming a narrative created as historical fiction, what life rights, if any, are required for creating the film?  Example – a film about the childhood experiences of Amy Carter during her years in the Carter Whitehouse.  Do the rules change if the parties involved are deceased?

Is the law black and white or grey on any of the above issues?

Can you site any examples where folks have come under attack for not getting the proper approval to help understand the financial risk?  Can you give an example of a smaller production and a lager perhaps more famous case?

We need to know where we should really spend the effort to get permission, where it would be nice but probably not a big risk, and where the risk is zero or very minor.  

Development of Film Expression

2010 Colorado Film School – Dirk Olson

The nature and structure of film/video expression, concentrating on the ways directors, editors and cinematographers use visual techniques to serve the narrative.  Analysis in lighting, composition, camera position, movement, lens, depth of field, use of screen space, placement of performers, sound design and editing techniques.

Understanding the Actor’s Process

2010 Colorado Film School – Galina Boulgakova

Explored the actor’s process by using acting theory, improvisation, script and character analysis, rehearsal processes and protocols, and basic terminology for actors in an on screen environment while collaborating with directors, actors and crew.

The Documentary Film

2010 Colorado Film School – Richard “Dick” Alweis

Investigated the historical development of documentary film while analyzing the use of techniques for finding story and understanding the challenges of the medium.

SCRIPT WRITING

Writing for Broadcast Media

2012 Colorado Film School – Laurel Dibble

Developing and writing for a feature screenplay / teleplay including conceptualization, genre conventions, act structure, scene construction and character development combined with summarizing and describing written work through pitch sessions and writers meetings. 

Writing the Short Script

2009 Colorado Film School – Kyle Harris

Conceptualizations, write, rewrite and polish scripts for building dynamic characters, subtext, workflow, script writing techniques and construction.

Short Script Analysis

2009 Colorado Film School – Aaron Burns

Critical thinking analysis for story, technique and subtext behind the writers work in a short script format with coverage analysis. 

PRE-PRODUCTION

Film / Video Business

2012 Colorado Film School – Kent Youngblood

Basic principles of business and how they apply to the motion picture industry; new venture creation, intellectual property, accounting and finance.

Producing the Independent Film

2012 Colorado Film School – Kent Youngblood

Measuring, analyzing and assessing the industry, box office, markets and risk factors to create a business plan for marketing, financing and distribution of a feature film.

Production Management

2011 Colorado Film School – Nevelyn Black

Prepared script arrangement and division to predict, calculate and estimate for insurance, unions, guilds, and etc. for effectively scheduling a production.  Used EP Scheduling and Budgeting software to plan, schedule and budget a feature length film / television pilot. 

Directing Workshop

2010 Colorado Film School – Frederic Lahey

The groundwork for understanding script dynamics and interpretation, script and scene breakdowns for shooting and for properly planning shot selections, rehearsals, blocking for camera and for understanding how to offer playable direction to actors.

PRODUCTION

Camera Techniques

2011 Colorado Film School – Scott VanOrdstrand

Examination of film camera’s V/S video cameras, how they work, narrative importance of different camera angles, movement and focal planes for the acquisition of images.

Introduction to Film Production / Video Production II

2010 Colorado Film School – Tony Pfau

Applied both the creative and technical aspects of cinematography for understanding film stock considerations, laboratory, processing, telecine, crew positions, responsibilities, audio, lighting and exposure.

Video Production I

2009 Colorado Film School – Tony Pfau

Identified the components and expressive filmic elements of visual storytelling using techniques to create emotional connections between the character and audience creating dimensional stories using a variety of camera types and lighting.

POST

Digital Editing:  Final Cut Pro Studio

2010 Colorado Film School – Jerry Hofmann

Capturing, outputting and software integration of non-linear editing using Final Cut Pro 7 for comprehension of various editing techniques, analyzing other editors works for technical merit to develop an understanding of industry standards and expectations. 

Studio Recording for Voice

2011 Colorado Film School – Margaret Norwood

Preparation and performance for song and dialogue for the screen in the studio including studio protocol, microphone techniques, ADR and voicing animated characters exploring sound and its effect on emotion and character to support the visual story.

Video Post Production II

2011 Colorado Film School – Geoffrey Chadwick

Non-linear digital editing using Final Cut Pro Studio for storytelling with an introduction to audio post production, music creation, placement and color correction. 

Video Post Production I

2009 Colorado Film School – Margaret Norwood

Non-linear editing using the Final Cut Pro Studio for enhancement of visual storytelling with emphasis on critical analysis of shot construction, motion and composition and character development.

Director:  Darren Aronofsky                                   

Cinematographer:  Matthew Libatique

The directors filmed at Purchase College in New York State on actual performance stages.  This allowed them to achieve the Lincoln Center backdrop without having to work around schedule limitations and costs associated with actually filming at Lincoln Center in New York City. 

They brought in Lorne (Lonnie) MacDougall, a veteran for both Broadway and film lighting to operate the house lights with local dimmer board operator Lloyd Rothchild who works for the State Theater at Purchase College. They admittedly had very little money to bring in extras and built contrast using crew to hold units in their hands. This allowed them to use practical lighting as much as possible, saving budget on equipment and grip electric personnel.

This compounded with the decision to film in Super 16MM using ARRIFLEX 416 cameras gave them an expanded depth of field.  The depth of field was increasingly important because it was necessary to minimize the number of takes due to the physicality of the dancer choreography.  Super 16MM offers generous latitude for keeping focus.

To save money, the Rave Club scenes were done extremely low tech.  They used paparazzi strobes with magenta gels and green kinos for fill with hand held lasers pointed into the mirror balls and a few flashlights against a background made up of three walls of Mylar they shook with fans. 

They used a Canon 1D Mark 4 to film the subway scene which allowed them to operate in extremely low light with anonymity using a very small crew. 

Finally, in post, they chose to model Natalie Portman’s face replacement in 2D instead of 3D so the budget could be spent on the wings Portman’s character believes are growing during her final dance scene. 

In the words of editor Andy Weisblum, the watchword on set was “efficiency” due to a tight budget and schedule.  I think that is a good word for any set regardless of budget.



Pre-approval must be obtained from the Arizona Department of Commerce (Commerce). Commerce will transmit the pre-approval letter to the Arizona Department of Revenue (Revenue).  Production must begin within 90 days after pre-approval to maintain eligibility. Commerce cannot pre-approve tax credits that exceed $9 million in tax credits for an initial application.  The minimum investment threshold for producing a motion picture, commercial advertisement or music video for eligibility of tax credits is $250,000.

Transaction privilege tax exemption (TPT): At the time of purchase the qualified company must present to the retailer a current Revenue issued exemption certificate, to qualify for the state and county TPT exemption.

Machinery, equipment and other tangible personal property: Eligible tangible personal property sold or leased to a qualified motion picture production company and used directly in motion picture production including the storage, use or consumption in Arizona of eligible tangible personal property used directly in the production by a qualified motion picture production company.

Job printing, engraving, embossing or copying: Eligible sales to a qualified motion picture production company for job printing, engraving, embossing or copying that will be used directly in motion picture production.

The lease or rental of lodging space: Eligible leases or rentals of lodging space to a qualified motion picture production company.

Sales of catered food, drink and condiments: Eligible sales of catered food, drink and condiments to a qualified motion picture Production Company.

Construction contracts for buildings or other structures: Eligible contracts for the construction of any building, or other structure, associated with motion picture production in Arizona. An Infrastructure project does not qualify for TPT and use tax exemptions, but receives a tax credit of up to 15% of the base investment spent by the applicant for the construction of a qualified infrastructure project in Arizona subject to the following: The combined allocations for soundstage construction shall not exceed $5 million tax credits in any year.  Allocations made for support and augmentation facilities shall not exceed $3 million tax credits per project.

Income tax credits equal to 20% or 30% of the company’s investment in qualifying production costs: These tax credits can be used to offset Arizona tax liability on a dollar for dollar basis on qualifying production costs directly attributable to the production of a motion picture in Arizona. The tax credits for a qualified motion picture production company are equal to:

Credit Amount 20%: Production Costs $250,000 - $1,000,000

Credit Amount 30%:  Production Costs More than $1,000,000

The company can apply for and Commerce may issue post-approval to a company after verification that the company has met eligibility requirements during the production of the qualified production once the $250,000 investment threshold has been met.  Post-approval and an allocation of tax credits can be applied for no more than once a calendar month.

There is no limitation on the amount of TPT and use tax exemptions available to the qualified company, nor is there a limit on the total amount of TPT and use tax exemptions per calendar year.

When production is finished, the company must submit a Completion Report to Commerce. Once accepted, a priority placement number is awarded which determines the order in which Commerce allocates that calendar year’s cap. The total amount of credits pre-approved for a single application shall be applied against the calendar year cap in which pre-approval occurred. The pre-approval letter/qualification will be valid for a 24-month period.

If a calendar year’s cap is exhausted by October 31st, Commerce may accept applications, except for commercial advertisements or music videos, on or after November 1st for an allocation of tax credits from the next calendar year’s cap.

However, the pre-approval letter issued to the company will not be effective until the first business day of the next calendar year.

Five percent of each calendar year’s cap is set aside for production of commercial advertisement or music video applicants.

When the initial application is made, if sufficient cap is not available the company may either accept any remaining allocation amount and any TPT and use tax exemptions, or:

1.    Proceed with pre-approval for the application knowing the production will not receive tax credits at this time and accept any TPT and use tax exemptions. 

2.    Irrevocably decline any remaining tax credit allocation amount for that calendar year and accept any TPT and use tax exemptions

3.    Withdraw the initial application and apply in the next year when sufficient cap may be available.

Useful Websites: 

AZ Film Office: http://www.azcommerce.com/Film/

Production Incentives: http://www.azcommerce.com/Film/Incentives/Home.htm

Film Office Director: http://www.azcommerce.com/Film/Film+Office+Staff.htm



Create a folder “Your Movie Title” which contains a file called Original Media – create another folder inside the folder called “Your Movie Title” – Transcoded Media.

1.    Open FCP

a.  Select File – New Project

b.  Close tabs of any previous projects that were open

2.   Go to System Settings

a.    Set your scratch disc

b.    File Save – “Name of your Movie” in the folder you’ve created called “Your Movie Title”

3.   File Import

a.    Select “Original Media” folder (File-Import-Folder)

b.    File Save

4.   Select the imported files from the browser in FCP – (Video clips should be highlighted)

5.    File – Batch Export - an export queue window will open.  All of the clips will show up as status queued

6.   The bottom of the window has 3 buttons - select settings button

SET DESTINATION: The destination is the folder you just created called “Your Movie Title” – Transcoded Media :-).  Click that file and select choose.

FORMAT: QuickTime Movie is perfect

SETTINGS: I typically choose Apple ProRes 422 (HQ) 1920 X 1080 30p or 24p depending on frames per second shot.  This codec offers the best for quality and works well in FCP.  The downside – this codec creates large files.  If delivery is for web, a lower quality codec like LT or Proxy can be selected.  Play with it and see what is right for you.

NAMING:  Best not to EVER re-name anything.  Leave this box alone.

INCLUDE:  Audio and Video – unless there is some reason you only want one or the other.

Make sure box for make self-contained is checked and click OK.  The small window will vanish. 

7.   Go to the bottom of the export queue and click export.

8.   An export queue window will open and show you the percentage complete as the media files transcode.  This can take awhile, so plan to do something else while this does its thing.

9.   When the transcoding session is over, you’ll need to delete the original media imported into FCP and import the newly transcoded media.  Begin creating your film.

Getting to St. Barth can be an interesting experience as it’s not the easiest place to travel to, but well worth the voyage. St. Barthélemy is a tropical desert island with fantastic beaches, world class shopping and gastronomic dining. The island is small supporting a limited number of inhabitants and tourists offering exclusivity to those who are lucky enough to find themselves here.

The only way to get to St. Barth is via small aircraft, private yacht, cruise ship or ferry. Flights into St. Barthélemy (SBH) arrive from three nearby airports Guadeloupe (PTP), San Juan (SJU) and from Juliana Airport in St. Maarten (SXM) where 10-minute shuttle flights are made throughout the day. Your St. Barth adventure begins as your flight drops down between craggy mountain peaks onto the short runway landing just feet from the beach and ocean of Baie de Saint-Jean.

To make the most of your St. Barth’s visit I recommend staying awhile, renting a villa and a car. The island is steep and rugged, so 4 wheel drive is a must. It’s easy to get around St. Barth, plus the freedom when traveling by your own means offers the opportunity for discovery. Sibarth Villa Rentals and Wimco, their partners in the states is the premier agency for villa rental on St. Barth offering a vast selection to choose from and the expertise in placing individuals in the most appropriate accommodations.

If you are day tripping to the island and choose not to rent a vehicle, I’ve included approximate taxi times between Gustavia harbor to areas of interest. A rental car is still the best way to go unless you don’t plan to leave the Gustavia area.

AREA – Gustavia: Gustavia = SHOPPING! Get an amazing swimsuit at Hip Up, Black Swan or Kiwi. Find fun shoes at Kokon. Treat yourself to exclusive natural spa products from Ligne St. Barth or visit the pharmacy for interesting European body products. Check out boutiques like Made in St. Barth, Filles des Iles, Caravan, Ilena, Chic St. Barth and Lolita Jaca for unique finds. Shop Linde Gallery for vintage designer accessories and ready to wear. Based on the exchange rate, the same stores and brands could cost less stateside, therefore, save your purchases at Cartier, Hermes, Longchamp, Stuart Weitzman, etc. for home, unless there is something you absolutely know you can’t find stateside.

Dining in Gustavia – try Le Bistro for delicious Carpaccio, fresh fish and Italian pastas. They are located along the waterfront at the harbor, past the little park with large anchor and rotunda separating the sides of the harbor, near the post office on Quai de la Retrocession / Rue Samuel Fahlberg. Another fun spot is Le Select, a mainstay outdoor beer and burger joint, (think Cheeseburger in Paradise) stay for a drink and you just might stay for the burger as well, on Rue de la Guadeloupe and General de Gaulle.

Stroll through Gustavia, wandering leisurely to Anse de Grands Galets / Shell Beach – (Shell is not nice for swimming, but this little cove is full of beautiful seashells and a great place for taking unique photographs). This is a pleasant way to spend the day discovering the Gustavia neighborhood of St. Barth and once you’ve reached Shell Beach, stop for lunch or a sunset cocktail at Do Brazil Restaurant. Taxis can easily be arranged for your 5-minute return to Gustavia Harbor from this location.

Many of the excursion companies are located on the city hall side of Gustavia Harbor, waterfront on Rue Jeanne D’Arc. Here you can join Jet Ski tours, go out on a catamaran, rent a fishing boat or discover the island by sailboat.

For a more personal experience, discovering St. Barth by small sailboat might be an option for you. Lil’E St. Barth is a small sailboat skippered and managed by Mowgli. He offers various trips at 1 ½ hours, 2 hours, 4 hours and 8 hours and can also personally train you in the art of sailing; limited to 3 guests plus the captain. www.lilestbarth.com

AREA – Baie de Saint-Jean: 8 minute Taxi from Gustavia to Baie de Saint-Jean. This calm, white sand beach has a broad shallow base, allowing you to wade a good distance and is my favorite beach on St. Barth. Bring your snorkel gear to see the marvelous fish and sea turtles around the rocks of the Eden Rock Hotel; you’ll be glad you did! If you get hungry, enjoy lunch with your feet in the sand at “The Sand Bar” restaurant located at world famous Eden Rock Hotel. You could also enjoy fine dining in “On The Rocks” for an unforgettable meal, though you probably wouldn’t want to show up in your swimsuit.

From Baie de Saint-Jean, you can watch the dramatic airport landings of Winair, St. Barth Commuter and Air Caraibes flights as they drop down onto the short runway that ends just feet from the beach and ocean. Sign’s warn you not to cross the beach when aircraft are landing, better look before crossing the beach!!!!

Across the street from the Eden Rock Hotel and Nikki Beach next door is a secondary Mecca for St. Barth shopping. It’s smaller than that of Gustavia but it’s just as fun! Ligne St. Barth is located near here. Taxis can easily be arranged for your return to Gustavia Harbor from this location.

AREA – Anse de Gouverneur / Governors Beach: 15-minute taxi from Gustavia to Anse de Gouverneur / Governors Beach (tied for my second favorite beach) unspoiled; pristine white sand, bigger waves and the ability to swim with suit or au natural ☺ bring a picnic lunch and your snorkel gear, though be cautious of the surge!!! Taxis must be pre-arranged for pick up, there are no services on or around this beach.

AREA – Anse de Grande Saline / Grande Saline Beach: 20 minute taxi from Gustavia to Anse de Grande Saline / Grande Saline Beach (tied for my second favorite beach) close to the wild coast of St. Barth with golden brown sand, swimming with suit or au natural and Le Grain de Sel Restaurant nearby for lunch. Bring good shoes for the walk through the dunes to the beach (Keen’s are perfect!). This beach has the strongest surge with heavy undertow and is not recommended for weak swimmers.

If making the drive to Anse de Grande Saline, take the long way (30 to 40 minutes depending on time spent at viewpoints). You’ll see most of the St. Barth coast this way. Trek past the airport, by Baie de Saint-Jean, then ask to see the dramatic views from Pointe Milou, pass grand cul de sac and the hotel Le Toiny or stop here for lunch at Le Gaiac for unforgettable views and service. Allow time for a leisurely meal if dining at this gastronomic restaurant.

Continue your trek passing Anse de Grand Fond and the wild coast. This is a fun spot for a photo op with areas to pull over; you’ll know them when you see them. For the return to Gustavia, travel the roads through Morne Lurin, through Lurin and into Gustavia from the backside, (20 minutes). *Either pre-arrange your taxi for the return to Gustavia or call from Le Grain de Sel restaurant, if dining there.

AREA – Anse de Colombier / Colombier Beach: 20 Minute taxi from Gustavia to Anse de Colombier / Colombier Beach (drop off area). If you feel up to a hike, bring your snorkel gear and head to Colombier Beach. Park at the viewpoint located at the end of the road, trek down the craggy hillside with picnic lunch, lots of water and your favorite pair of Keens. The trek down to Colombier Beach takes roughly 25 minutes and a little longer going back up. If being dropped off, be certain to arrange for a pick up, as there are no services on or near this beach.

It is pretty cool though :-)

Since the origin of Actualities first created by the Lumiere Brothers, people have been fascinated with this art form called film.  Though Actualities were static and ordinary, they captivated audiences. These films were shot with a stationary MOS camera and depicted life in a series of black and white frames filmed in real time.  They contained no editing, no sound and were purely visual art relating to an event or action without story.

The birth of editing was the next progression where cutting the film and gluing the cut to another portion of the reel allowed the filmmaker to tell a narrative story.  The movement of the camera to capture different shots helped tell this narrative.  Animation techniques allowed for slates and subtitles to move a story forward with text accompanying the visuals on film.

With the advent of sound, each film could now have a soundtrack of speech, music and sound effects.  Cinema became an experience through a series of selected shots combined with camera movement and multiple camera angles.  In 1929 the filmmaker Jorvis Ivens uses the film Rain / Regen to capture the life of this seemingly dismal weather by animating it through the use of sound and carefully selected visuals. The rain becomes interesting and poetic as it falls on Amsterdam.  The tranquility turns to frenzy as the rain energizes through the progression of the storm and its ever-rising musical score and back again.  This world, Ivens world, is lovelier with the rain than it is without it.

The visual approach, camera angles, special effects, sound, color and series of selected shots of film have become the language of film.  A filmmaker could now create a perception of power, weakness, stasis, movement, suspicion, impending danger, etc., with the manipulation of the camera and effective use of sound. This created a powerful ability to influence people.  Leni Riefenstahl took full advantage of this when making her 1935 Nazi propaganda film, Triumph of the Will for Adolf Hitler and is largely responsible for many of the camera angles we use today in using the language of film.

The evolution of transforming film from black and white to vivid color added yet another layer of dimension to film. The desire to replicate what the eyes and brain process has gone beyond color and into 3D

In today’s world of film, technology and progress is an ever-changing beast with something new on a monthly basis.  Computers have led to the advancement of animated film, speeding up the process of individually producing each frame.  File formats let us share and view our films over the Internet.  Advancements in more affordable cinema equipment like the digital video Red cameras; Epic, Scarlet, Red One and Red Ray make it easier for independent filmmakers to produce a quality picture without having to leap the hurdle in costs for professional film equipment and stock.   

Story continues to be the driving force in an audiences desire to spend money to view a filmmaker’s work, so weather it’s a big budget film from a Hollywood studio or an indie film produced without financing or distribution, story is still the name of the game. 

Fog of War by Errol Morris – 2003

In Fog of War, a documentary about Robert S. McNamara, the filmmaker, Errol Morris uses first-person narration with voice over interview for the voice of his film.  The story of this historical Secretary of Defense begins with archival footage and tense music while credits roll on black that is interlaced with imagery of torpedo’s loading, gun boat crews, planning room sessions, troop deployment and a warning that “One mistake will destroy nations.”

The train of the film is moved forward with McNamara’s 10 Lessons and a sea of dominos that fall and reverse topple as the train moves forward. 

Errol Morris uses camera language to allow the audience in on specific thoughts about power and truth.  The use of high, low and Dutch angles is appropriate and effective in his edits. 

McNamara is out and no one knows what might have been, the fallen dominoes return upright.  This exposition is an interesting way to beg the question that the world will never receive an answer to. 

Errol Morris ends his film with McNamara’s refusal to respond to a question, which he responds to by saying, “You’re dammed if you do and dammed if you don’t, I’d prefer to be dammed if I don’t.”

In the end, we are treated to the marvelous insight of TS Elliott. “We shall start exploring and once we return, we shall know the place from which we started – for the first time.”  I loved this film!