Friday, September 29, 2006

no pussyfooting


"i suggest – no, i insist that it is you mr. president, you are a traitor..."

hi, this is richard speziale…it’s been happening to me past couple weeks – someone will say: ‘did you see whatzisface on msnbc? you hear what he said about bush?’
and i say ‘no. did he call the president a liar? did he accuse the prisident of treason?’
the answer is always, well, no he just stopped short of that…he came this close… he all but said...
here at dvtv, we don’t ‘stop short’. we don’t ‘come close’. we don’t ‘all but say’. we don’t ‘allude’. we don’t infer, we don’t imply. we don’t ‘insinuate’ or ‘intimate’- we don’t ‘suggest’
at dvtv, we don’t ‘beat around the bush’. for instance:
a common piece of advice for talk-show hosts like myself is to be angry – to hit the airwaves with a shaking fist an unmistakable sense of outrage and indignation about some injustice done to the public.
the outrages have been coming so fast and furious – the injustices so frequent – that it’s difficult to maintain a sense of anger from week to week. the outraegous acts of the bush administration have been so widespread that many of us – myself included – become merely cynical. therefore we have become complacent and even accepting of these injustices as business as usual – another day in bush’s america. we are not surprised that such things are happening in the country we love. we risk becoming resigned to the obvious demise and loss of the land of the free and home of the brave. even as i say it those expressions seem – quaint – almost nostolgic. the principles of american democracy seem to be a long lost hope firmly in our past.
and so, my anger this week is somewhat of a delayed reaction to an expression used by president bush on tuesday. that’s when bush accused critics of war in iraq of giving comfort to the enemy. this is a direct reference to article 3, section 3 of the constitution of the united states. article 3, section 3 defines treason. bush all but accused those who speak out against the war of being traitors.
as i have been an outspoken and consistant critic of the war on terror since its inception in september of 2001, i am, by his definition, a traitor. like tens of millions of patriotic american citizens who question bush’s wreckless and dangerous warmaking policies, i am guilty of treason, by his definition.
so my angry reaction to this ridiculous and unfounded assertation by the president is this:
i suggest – no, i insist that it is you mr. president, you are a traitor.
every time a law abiding citizen is arrested or harrassed or even questioned for exercizing their first amendment rights it is you who give aid and comfort to the terrorists.
every time a phone call is monitored by a government agency, every time an email is intercepted, that’s a victory for al-quida.
every vote you steal, every dirty dollar you add to your obscenely bloated campaign accounts, every election you fix and every dirty trick you pull to advance your party’s agenda, aids and comforts the enemy.
every poor person you let die of hunger and thirst in the streets of new orleans – those mr. prersident are acts of treason.
every day osama bin laden wakes up and reads the headlines, he laughs so much that he soils his caftan.
if you want to see the enemies of the united states, mr. president, don’t look to the streets where your critics gather. don’t look to the lawmakers who seek to limit your dictatorial powers you regularly abuse. if you want to see treason, mr president, look around the white house, look to your corrupt administration, and your evil vice president. if you want to see a traitor, mr. president, look in the mirror – look to yourself.
i firmly believe that history will show that you have bungled every action you have taken since september 11th. history will showthat you have perverted the considerable power of your office, you have killed hundreds of thousands of innocent people, killed thousands of members of our own armed forces, and maimed tens of thousands more in your sick power grab in iraq. history will show that you were opportunistic when the worst terror attack on the united states occurred, and you took the trust of the american people, a sacred trust afforded to very few presidents, and you arrogantly wiped your ass with that sacred trust.
i can’t find adequate words to describe my anger at your policies. my anger is only offset by a sense of tragedy. this was once a great country – not perfect, but idealistic and hopeful. it seems we are hopeful no more. the united states was admired and even envied by virtually every other nation on the planet. it can be a great country again, but george w. bush and company have ruined it for now. i am angry and profoundly saddened by the realization that it may take another generation ffor this great country to fully recover from the administration currentlyin power.
a great patriot once said that the price of liberty is eternal vigilance. he was talking about vigilance against tyranny, and specifically tyrants like those in the bush administration.
i say to all patriots: now is the most important time for vigilance – watch what this tyrant bush does and listen to what he says.

Monday, September 25, 2006

IRAQ WAR RAISES TERROR THREAT - WSJ

NO SHIT, SHERLOCK!



IRAQ WAR RAISES TERROR THREAT: it took "16 disparate spy services inside government" (AP) to make that utterly brilliant assessment?

sixteen of these alleged "intelligence" agencies?

what, they gathered the brightest and best of these sixteen agencies and sent these brainiacs on a retreat, they brainstorm and huddle and break off into small groups and come to the earthshattering conclusion: jeez, it WAS a BAD IDEA to invade and occupy the WRONG FUCKING COUNTRY?!

early in 2003, three-quarter of a million people took to the streets in manhattan, and millions more around the world marched, screaming to the world exactly what this National Intelligence Estimate concludes: Iraq was, is and ever will be a bad idea.

i smell sulfer...

too late

pills...
where are my PILLS?

the doctor said...

if i don't take my PILLS -

i'll go MAD!!!

Saturday, September 23, 2006

O.B.L (U.B.L.): dead? sick? stubbed toe?


with Bush under attack from Chavez and Ahmadinejad at the UN this week, his cuddly press conference with "honor bound to Simon and Schuster" Musharraf, and with Clinton due to set the record straight by "going ballistic" on Fox News tom'w, could the timing be more perfect?
psy-ops are de-rigeur during a war (esp. this permanent one) and our intel people are known to plant stories in foreign, not domestic newspapers. French PM Chirac has already stated "nothing at all confirms the information" leaked to a regional French newspaper, L'Est Republicain, and he is calling for an investigation of the leak. (there have been dozens of these reports since 2001.)
if it turns out that he really is dead, expect to see reports surface early next week about a heroic effort by one of our boys, or a friendly Pak operative, to "poison the well" with typhoid. (is that possible?)
so, perhaps Rove leaked the october surprise early out of desperation, though i still think that bomb-bomb-bomb-bomb-bomb-Iran will be the pre-election kicker.
of course, Pak intel reports are already saying that reports of his death are highly exaggerated.
shit, i must be really paranoid.

Monday, September 18, 2006

never happen here

from the BBC:
"Police in the Hungarian capital, Budapest, have used tear gas and water cannon against protesters who threw bottles and stones and set cars alight.
Thousands of demonstrators had gathered in the city, demanding the resignation of Prime Minister Ferenc Gyurcsany.
The protests follow Mr Gyurcsany's admission that his socialist government told lies to win a general election."
of course, our prez has never told a lie, so thousands would never gather to demand his resignation. Only that nutcase Buchannon.

Sunday, September 17, 2006

POPE: THIS’LL MOLLIFIY THE FILTHY MUZZIES

You’d think this guy would have better handlers.
You’d think they’d know that if you’re quoting something that you don’t want anybody to get the impression that you agree with the sentiment of the quote, you clearly state that you don’t agree with the sentiment expressed in the quote, and you clearly state that you don’t agree in the sentence immediately before the quote and in the sentence immediately following the quote in question.
Esp. if you’re speech tells like, two billion people that their prophet “brought the world only evil and inhuman things”.

Esp. if like, the faith and heritage you represent had a little outing known as the crusades.
Esp. if your friends who run the world are currently unleashing death, ruin and chaos in a few key muslim countries.
Jeez, this Ratzinger guy is about as sensitive as a lousy nazi.

"I hope this serves to appease hearts and to clarify the true meaning of my address…”

Thesaurus
appease |əˈpēz| verb

conciliate, placate, pacify, mollify.
ANTONYM provoke, inflame.

'"It's kind of weird how he said he was sorry for the reaction and not because of what he said," said Elkhansaa Farhane, a 15-year-old Muslim student from Brooklyn.'
-New York Daily News, "N.Y.ers forgive pontiff - mostly", September 18th, 2006
http://www.nydailynews.com/news/local/story/453417p-381586c.html

Sunday, September 10, 2006

location video production checklist

*best* location shoot checklist on the internets


Location... Location... Location...

Any film or video production can be a logistical challenge- the more ambitious the project, the tighter the budget, the shorter the schedule, the more challenging it will get. The key is to be prepared, to know your priorities, and be flexible.
Location shoots- those outside the walls of a controlled studio environment- are usually the most challenging. Fate has a way of throwing up obstacles. These obstacles can often ruin a shot or scene, sour the mood of the talent and crew, and- at worst- cripple your artistic vision, which will seem more and more elusive as the obstacles mount.
On location, reality happens. Your crew is human, your equipment is fallible, and the real world is harsh and unforgiving, not to mention noisy.
Production is hard work in the best of circumstances- it can be hell in the worst. The better prepared you are to deal with reality, the smoother your production will go- and the better your finished product will be.

Particularly with low or no budget shoots, efficiency is the key to shooting- and ultimately, to completing a project. Your talent and crew, who you are probably paying little or nothing, need to know that they are part of a successful venture. (Volunteers have a way of evaporating when they sense that they are on a sinking ship.)
What follows is an incomplete checklist for dealing with some of the common obstacles you are likely to encounter in the field. Some of these items may seem superfluous- until, of course, you need them. Remember: that setup that was supposed to take five minutes can take you to the early morning hours.

NOTE: These tips are designed for a dramatic, narrative short or feature, but are just as valid and useful for a documentary, informational, or episodic television production. Yeah, even a music video. Them too.

PRE-PRODUCTION BRIEF:
* Buy fresh film or tape stock, and plenty of fresh batteries. Buy from an outlet that sells tons of the stuff (easy in Manhattan). Not only will you pay less, but you will ensure that you don't get tapes that have been sitting in a hot warehouse all summer. (The local appliance store is NOT where you should buy the camera original tapes for your masterpiece.)
* If shooting on the street or in other public places, it is a good idea to get a film permit from the Mayor's Office of Film, Theater, and Broadcasting. (www.ci.nyc.ny.us/html/filmcom/home.html) Though the police are sometimes tolerant, they don't have to be, and will either tell you to pack up, or they can confiscate your gear- particularly if you're blocking the sidewalk. The insurance necessary to get the permit will protect you from any idiot on the street from suing you. HINT- a camera on a monopod doesn't count as putting gear on the street, it's still technically a hand held camera- it's good for quick scenes without prior arrangements; BUT: if an officer asks you to move on, by all means, graciously do so.
* Go over the script carefully with all involved- make sure your intent is clear. (If not, you may end up with a production team that is making several different films!)
* Know the script better than the talent. If they have questions, you, the director, will need to have an answer.
* Storyboard every setup and scene- this will communicate to cast and crew what they are expected to produce visually, and saves gobs of time and lots of explaining on the set. You will need your voice for other matters. (Can't draw a storyboard? Get somebody who can. If you can't get it on a piece of paper, how do you expect to get it in the camera?)
* Rehearse in the space that you will be shooting in, with camera, sound, and lighting people present. This is more for your benefit than for the talent's.
* Test ALL equipment, including cables, before you take it to the location. (I promise you will have plenty of surprises when you get there, and you don't need one involving a vital piece of gear.)
* Have money in the bank, or a good credit card. There's always something that will cost, and you, the director, will have to lay out for it. (You didn't think this was going to be cheap, did you?)
* Get the number of a local deli or restaurant and find out how late they will deliver. Find out if anyone on the set is a vegetarian or vegan, and accommodate him or her. Don't expect your crew to perform late into the day on chicken McNuggets and warm cola...
* Have the number of a local car service or two. Never send your people to the subway at 2a.m - especially if you want them back on the set later that morning. Make arrangements clear to all ahead of time
* Type up a sheet with everybody's number, and the director or producer's cell phone that will be on the set, and make several copies.

* Never make assumptions about power on location. Will the outlets you expect to use handle the lights? If you're not sure, get someone who has experience with electricity! If the fuses or breakers blow, do you have access to them? Do you have spare fuses? If you need to run the camera on batteries, how long can you expect to run it? It pays to have answers to these questions before you show up.
* Have plenty of grounded extension cords, and don't overload them. (See Above.)
* Bring extra XLR cables for microphones.
* Batteries for camera, batteries for mixers, mics, cell phones, everything. You always need more batteries.
* Bring several pairs of work gloves.
* Always, always monitor the sound with comfortable headphones. (ADR- dialog replacement- is only possible in a studio designed for this purpose, and can cost more than re-shooting the entire scene!)
* Magic Markers, Sharpies, pens, pads, clipboards, and Post-Its.
* A cell phone that everybody on the crew has the number of, and of course an extra battery and a charger. Some phones can double as walkie-talkies; these can be very handy! (Don't forget to mute all phones when shooting.)
* Large Zip lock baggies.
* A Polaroid camera (or digital camera and printer) is essential for continuity, even on one-day shoots. Never rewind a master tape to see how a curtain was placed- takes too long, and adds wear and tear to a tape that took hours of trouble to shoot. (Continuity is somewhat overrated, but when you ignore it, you run the risk of unintended comedy on the screen.)
* Hair spray and/ or frosting spray for dulling chrome objects that reflect too much light.
* Are there windows at the location? Bring large enough 'tungsten' gels to balance the daylight coming in to the lights you bring (or conversely, 'daylight' filters for the lights. Use this method if there are big windows and lots of natural light.)
* Assortments of different colored gels always prove useful, and are nothing to carry.
* Wooden clothespins to clamp the gels to the 'barn doors' on the lights.
* Of course, a fresh roll of gaffer tape and/or even sandbags to secure those hot, dangerous lights.
* Gaffer tape, black drafting tape, strong two-sided adhesive tape.
* A phone card and a credit card.
* A roll of quarters for the pay phone.
* A large flashlight, one or more small 'tech' flashlights.
* A small bag with the following: Safety pins (different sizes), cloth surgical tape (for attaching mic cables to a jacket or the talent's skin), light plastic surgical tape (for attaching mic cables to a delicate silk blouse - test it first!), deluxe 'Leatherman' all-in-one tool (pliers, screwdriver, etc), metal binder clips (different sizes - don't use these on lights, unless you like getting blisters), a sharp knife, an exacto knife, strong black thread, strong, non-rigid picture hanging wire, and a mini sewing kit: these are some of the items that you would find in a prop person's 'bag of tricks'; any of these could save a scene- and could take hours to track down when you need one.)
* A basic first aid kit. Uncontrolled bleeding can bring an entire production to a standstill.
Got everything? Good. Break your legs.

©2006 Richard Speziale All Rights Reserved. All of them.
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