Tuesday, February 3, 2009

Jokes February 2009

ABOUT THE WRITER - Dave Barry is a Pulitzer Prize-winning humor columnist for the Miami Herald……………………...

I called my friend Andy Sable, a gastroenterologist, to make an appointment for a colonoscopy. A few days later, in his office, Andy showed me a color diagram of the colon, a lengthy organ that appears to go all over the place, at one point passing briefly through Minneapolis. Then Andy explained the colonoscopy procedure to me in a thorough, reassuring and patient manner. I nodded thoughtfully, but I didn't really hear anything he said, because my brain was shrieking, quote, 'HE'S GOING TO STICK A TUBE 17,000 FEET UP YOUR BEHIND!'

I left Andy's office with some written instructions, and a prescription for a product called 'MoviPrep,' which comes in a box large enough to hold a microwave oven. I will discuss MoviPrep in detail later; for now suffice it to say that we must never allow it to fall into the hands of America’s enemies. I spent the next several days productively sitting around being nervous. Then, on the day before my colonoscopy, I began my preparation. In accordance with my instructions, I didn't eat any solid food that day; all I had was chicken broth, which is basically water, only with less flavor.

Then, in the evening, I took the MoviPrep. You mix two packets of powder together in a one-liter plastic jug, and then you fill it with lukewarm water. (For those unfamiliar with the metric system, a liter is about 32 gallons.) Then you have to drink the whole jug. This takes about an hour, because MoviPrep tastes - and here I am being kind - like a mixture of goat spit and urinal cleanser, with just a hint of lemon. The instructions for MoviPrep, clearly written by somebody with a great sense of humor, state that after you drink it, 'a loose, watery bowel movement may result.' This is kind of like saying that after you jump off your roof, you may experience contact with the ground.

MoviPrep is a nuclear laxative. I don't want to be too graphic, here, but: Have you ever seen a space-shuttle launch? This is pretty much the MoviPrep experience, with you as the shuttle. There are times when you wish the commode had a seat belt. You spend several hours pretty much confined to the bathroom, spurting violently. You eliminate everything. And then, when you figure you must be totally empty, you have to drink another liter of MoviPrep, at which point, as far as I can tell, your bowels travel into the future and start eliminating food that you have not even eaten yet. After an action-packed evening, I finally got to sleep.

The next morning my wife drove me to the clinic. I was very nervous. Not only was I worried about the procedure, but I had been experiencing occasional return bouts of MoviPrep spurtage. I was thinking, 'What if I spurt on Andy?' How do you apologize to a friend for something like that? Flowers would not be enough.
At the clinic I had to sign many forms acknowledging that I understood and totally agreed with whatever the heck the forms said. Then they led me to a room full of other colonoscopy people, where I went inside a little curtained space and took off my clothes and put on one of those hospital garments designed by sadist perverts, the kind that, when you put it on, makes you feel even more naked than when you are actually naked. Then a nurse named Eddie put a little needle in a vein in my left hand. Ordinarily I would have fainted, but Eddie was very good, and I was already lying down. Eddie also told me that some people put vodka in their MoviPrep. At first I was ticked off that I hadn't thought of this is, but then I pondered what would happen if you got yourself too tipsy to make it to the bathroom, so you were staggering around in full Fire Hose Mode. You would have no choice but to burn your house.

When everything was ready, Eddie wheeled me into the procedure room, where Andy was waiting with a nurse and an anesthesiologist. I did not see the 17,000-foot tube, but I knew Andy had it hidden around there somewhere. I was seriously nervous at this point. Andy had me roll over on my left side, and the anesthesiologist began hooking something up to the needle in my hand. There was music playing in the room, and I realized that the song was 'Dancing Queen' by ABBA. I remarked to Andy that, of all the songs that could be playing during this particular procedure, 'Dancing Queen' had to be the least appropriate. 'You want me to turn it up?' said Andy, from somewhere behind me. 'Ha ha,' I said.

And then it was time, the moment I had been dreading for more than a decade. If you are squeamish, prepare yourself, because I am going to tell you, in explicit detail, exactly what it was like. I have no idea. Really. I slept through it. One moment, ABBA was yelling 'Dancing Queen, feel the beat of the tambourine,' and the next moment, I was back in the other room, waking up in a very mellow mood.

Andy was looking down at me and asking me how I felt. I felt excellent. I felt even more excellent when Andy told me that it was all over, and that my colon had passed with flying colors. I have never been prouder of an internal organ.
ON THE SUBJECT OF COLONOSCOPIES… Colonoscopies really are no joke, but these comments during the exam were quite humorous..... A physician claimed that the following are actual comments made by his patients (predominately male) while he was performing their colonoscopies:
'Take it easy, Doc. You're boldly going where no man has gone before!
'Can you hear me NOW?'
'Are we there yet? Are we there yet? Are we there yet?'
'You know, in Arkansas, we're now legally married.'
'Hey Doc, let me know if you find my dignity.'
'Could you write a note for my wife saying that my head is NOT up there?'

AND FINALLY…. A TRUE STORY ABOUT MY DAD!.... Whilst having his prostate checked a few years ago my Father (always looking for a cheap laugh!) suggested to his Doctor that perhaps he should stick another finger in and get a second opinion!!
My mom was a ventriloquist and she always was throwing her voice………………
For ten years I thought the dog was telling me to kill my father.

Paddy was walking home late at night and sees a woman in the shadows.
“Twenty quid” she whispers.
He’d never been with a hooker before, but he decides what the heck, its only twenty quid. So they hide in the bushes. They're going 'at it' for a couple of minutes when all of a sudden a light flashes on them………., it's a police officer.
What’s going on here, people?' asks the officer.
‘I’m making love to my wife,' Paddy answers indignantly.
'Oh, I’m sorry,' says the cop, 'I didn’t know.'
‘Well,’ Paddy says, 'neither did I, until you shined that light in her face.

A golfer asked his friend, "Why are you so late?"
The friend replied, "It's Sunday. I had to toss a coin between going to church or playing golf and it took 25 tosses to get it right!"

Doctor Dave had sex with one of his patients and felt guilty all day long. No matter how much he tried to forget about it, he couldn't. The guilt and sense of betrayal was overwhelming. But every once in a while he'd hear an internal, reassuring voice that said, "Dave, don't worry about it. You aren't the first doctor to sleep with one of their patients and you won't be the last. And besides, you're single. Just let it go”………………….Invariably another voice would bring him back to reality whispering…………………..
But Dave…………………………….. you're a vet . . ."

More Buttons

Some films were simply waiting to be made. They were just waiting for the right time, the right circumstances in which to be born. The idea of them keeps coming around but they’re too difficult, too problematic, too impossible, too fantastical to leap from faith into reality. And then events collide. Stars align or coincidence intervenes or someone says the right thing to somebody else and suddenly……….. After 86 unsudden years……….. The light is green” The Curious Case of Benjamin Button.

I already spoke last edition about the film itself but I would like to make note of the great achievement of the DP Claudio Miranda. As I am sure you are all aware the movie (like “Zodiac”) was shot and recorded digitally using a combination of Thomson Viper and Sony F23 (the Sony was used for all the hospital scenes with Cate Blanchett and Julia Ormond while the Viper was used for almost every other part of the film - please note that 35mm Film was used for some of the MOS traveling footage but everything else was pure digital)

Claudio Miranda proves once and for all that shooting uncompressed digital images (even on a 2/3” camera) can produce the kind of gorgeous, rich, warm and heartfelt pictures worthy of Oscar and ASC type recognition. (Claudio has indeed been nominated for Outstanding Achievement in a Feature Film by the ASC and by BAFTA and now by The Academy!) Claudio has rendered the issues of film vs. digital vs. sensor type mute. He has truly embraced the digital way and in my opinion there is no DP out there right now that knows or can do more than Claudio; his digital plate runneth over!

Of course one has to recognize that the Production Design, Costume Design, Set Decoration and Make-up Design all have an profound influence on the visual results and life of the movie and enormous kudos must go to Donald Graham Burt (“Joy Luck Club”, “White Oleander” & “Zodiac”); Jacqueline West (“League of Extraordinary Gentlemen” & “Invasion”); Victor Zolvo (“Mr & Mrs Smith” & Zodiac”) and Gregg Cannom (Pirates………”Curse of The Black Pearl”, & “Watchmen”) respectively…………….

Also the groundbreaking Visual FX played a huge role in CCBB and hats off to Eric Barba and his amazing team at Digital Domain. Brilliant! It was a feast of VFX and an enormous challenge on many levels: The Post-Supervising fell squarely on the broad shoulders of Peter Mavromates (“Fight Club”, “Kill Bill 1 & 2 and “Zodiac”) The scope and complexity of the post was enormous and to actually bring it all together was an amazing achievement. There are several other people I could mention (not least of whom is Producer Cean Chaffin who I could go on about for days!) but as with any great film CCBB was a true and wonderful collaboration.

Claudio is currently beginning work on “Tron” a remake of the 1982 sci-fi cult classic starringJeff Bridges. “Tron” is being directed by Joe Kazinsky. “and is shooting digitally and in 3D (Cameras - Sony F23, Record/Workflow - Codex)

Industry Profile -- Director/DP Jason Lehel

Jason started making films in 1977, commencing the journey in the cutting rooms, working on such films as Omen 3. He was an assistant editor for two years before moving to the camera department, where he had the privilege to work on two films with the great Ossie Morris. Jason continued to work his way up through the grades on some twenty features, including such films as CRY FREEDOM and GORILLAS IN THE MIST. On the latter he got his first break as director of photography shooting additional material for Michael Apted.



In 1988 Jason shot his first short film as director of photography, which was nominated for an Oscar, his second winning a best short BAFTA. His versatility lead him to become busy in features, commercials and music videos, shooting consistently for the UK’s top directors and companies such as RSA & Spots and for bands like U2, Guns N’ Roses and even Frank Sinatra. Jason was making a name for himself as one of the leading young DP's in the UK and was quickly taken on by ICM.

Jason’s all round abilities not only made him a sort after DP, it also lead one of the UK’s ”A” list production companies, to offer Jason a chance to direct. In 1993 he joined Rose Hackney and went on to direct some 50 commercials in two years and winning several awards, including his powerful anti domestic violence spot, starring Dougray Scott.

By 1996 Jason had set up his own production company, Open Eye Productions and had won awards on every short film he directed, produced and on commercials he directed & produced for other directors.

Jason also won a Grierson best documentary award, for the controversial documentary, “2 Hours from London” which he produced for the BBC.

In 2007 Jason moved to Los Angeles. He works as DP, Director and Producer, shooting mainly in the US and Europe. Jason also set up W.A.I.F. a successful facility production company in Los Angeles, producing & servicing commercials from all over the world. The first commercial he produced and shot through W.A.I.F. has picked up no less than four international advertising awards.

There are two consistent aspects to Jason’s career thus far. firstly, his versatility as an accomplished Producer, Director and DP, and secondly, his willingness to take risks in his choice of projects and style and his desire to continually push the boundaries of the art.

Jason just finished directing & shooting his first feature film, “Gaia”, shot entirely on the Native Indian reservations south east of Phoenix, AZ.

Jason is represented by Innovative, LA.

Industry Profile -- Cinematographer Claudio Miranda

Cinematographer and inventive lighting guru Claudio Miranda; the man behind the gorgeous images in The Curious Case of Benjamin Button.



Miranda has known Fincher since 1985. From his first jobs as a stage manager, electrician and best boy, he moved on to gaff Fincher’s The Game, followed by watershed feature Fight Club in 1999. At the production wrap party for The Curious Case of Benjamin Button, Miranda earned the (tongue-in-cheek) “Longevity Award” for his enduring relationship with the director. He also gaffed Tony Scott’s Crimson Tide, The Fan and Enemy of the State.

Faultless practicality and technical know-how have propelled Miranda towards his current status as an in-demand cinematographer. The 2005 Sundance Film Festival hit A Thousand Roads, directed by Chris Eyre, provided Miranda’s first feature cinematography credit and cemented his reputation as a DP to watch.

After honing his lighting chops on tent-pole action flicks, Miranda began picking up Best Cinematography awards left, right and centre for his commercial and music video work. Images from the commercials he has shot stay in the mind long after they have completed their run; he has won AICP and Clio awards for the Pocari Tennis spot in 2002, a Clio for Xelebri in 2004, an AICP for Heineken in 2005, as well as an MVPA for a Beyonce (feat. Sean Paul) clip in 2004.
The son of a Chilean architect and an interior designer, Miranda began at a Los Angeles Community College but quickly realized this variety of education wasn’t for him. He didn’t want to end up in a desk job; besides, his work as a stage manager was far more interesting. His big break came in 1994, when Dariusz Wolski hired him to work as chief lighting technician on Alex Proyas’ The Crow.

Reaping the benefit of constant support from colleagues, Miranda says he has been offered many valuable leg-ups along an accelerated career path. He didn’t pick up a camera as a teenager, nor did he dream of being Spielberg. He says he is amazed his career keeps moving so quickly given the number of other talented DPs out there.

Miranda has developed a look influenced more by the natural world than conventionally cinematic stylizations. He is influenced by the imperfections appearing within a composition, often choosing to light less obvious focal points within the frame.
With his girlfriend Kelli and greatest accomplishment, daughter Sofia, Miranda lives in Los Angeles.

He is represented by Dattner Dispoto and Associates.

2009 DIGITAL PRICES SLASHED!!

So the first news I have is The Camera House has (in the spirit of the current economy etc) had some dramatic price changes/cuts on almost all our Digital Inventory. To keep pace with today's budgets as well as making our current tapeless workflows fall more in line with the “RED” tide we have slashed prices; OVER 60% in some cases!! (of course please don't forget we do RED too!)

60%?!?!?! (I hear you cry!) Are you crazy?!?!?! (I hear you scream!) Very possibly yes!

BUT……………………… we all know how the budgets have plummeted over the last two years and to help support our clients through this hard time and to drive new business through our own doors we feel this is the perfect thing and the perfect time……………… Call Mel, Caiti or me for a quote or just check out our website www.thecamerahouse.com to see the remarkable new prices for the same equipment and services we have been successfully offering for the past 4 years; the very same workflow so brilliantly employed for instance on both “Zodiac” and “The Curious Case of Benjamin Button”.

We are also carrying these new price cuts through to our post-production partnership so on the entire budget level you will see some huge incentives to use this amazing workflow and equipment. Check it out for yourselves now!

Or I will come to your house……………………. Or worse……………… send Chad!

Over the next few months we will also be introducing some amazing new equipment such as the new Sony F35, Arri D21(if I win the lottery—Hey it could happen!!), Sony EX3, Codex Portable (already available!), Codex On-Board…………….. The really fabulous new S.two on-board recorder (more info in March/April Newsletter)…………… we should also be offering the brilliant new Aerohead-Mini remote head.

So here’s to 2009, Benjamin Button, & NO STRIKES!!