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    Gordon Franklin Terry Sr Last Login: 5/22/13

    http://www.rottentomatoes.com/member/gordonfranklinterrysr
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    Gordon Franklin Terry Sr
    • Doctor Who's REAL NAME!
    • Some Guy, For Whatever Reason, Poured Acid over his wife and daughter.
    • Il Signore è mia luce e salvezza
    • Molto meglio di Jaws. . . infatti Jaws 3 è un rip-off di L'ULTIMO SQUALO!  BETTER THAN JAWS . . . in fact JAWS 3 RIPS OFF L'ULTIMO SQUALO!!!!
    See All Pictures

    PROFILE STATS

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    ABOUT

    Member Since
    July 2009
    Current Location
    CONTACT INFO: S.P.A.C.E. (Starlight Peer Advocacy Center for Empowerment) 301 Geneva Streret, Ithaca, New York 14850 USA
    Hometown
    Newtown Square (Radnor Township), Pennsylvania USA
    Movie Character You Most Identify With
    Robert Neville "The Omega Man;"
    Favorite Line From A Movie
    RISKY BUSINESS: "Princeton needs a guy like Joel; congratulations son, you're as good as 'in' I always knew you could do it; haven't I said 'say "what the heck" take some chances' I'm proud of you, son"//OMEGA MAN: This is my home, this is where I live
    Favorite Scene From A Movie
    The Omega Man--entire movie; Django Unchained-Entire movie; Risky Business-Entire Movie
    Favorite Movie
    THE OMEGA MAN; DJANGO UNCHAINED; INGLORIOUS BASTERDS- fantasy; JAWS; KING KONG 1933; DINO De LAURENTIIS' KING KONG (4-Hour TV Version); ZOMBIE (Fulci); NIGHT OF THE LIVING DEAD; DAWN OF THE DEAD; ET; JAWS 2; POLTERGEIST; KRAMER VS KRAMER; STAR WARS; EMPI
    Favorite Actor
    Charlton Heston; Sandra Bullock; Dwane Johnson; Robert Downy, Jr; Asia Argento (a cutie-pie), LINDSAY LOHAN IS "MISS AWESOME," Sally Field; Halle Barry; Denzel Washington; Bruce Lee; Sylvester Stallone; Roy Schieder; Clint Eastwood, Drew Barrymore, Jennif
    Favorite Director
    JJ ABRAMS; QUENTIN TARANTINO!!!!!; Lucio Fulci (FULCI LIVES!); Sergio Leone; Dario Argento; Mario Bava; John Carpenter; David Cronenberg; John Casavetes; James Cameron; George Lucas; Werner Herzog; Francis Coppola
    Celebrity Crush
    Despite numerous faults and shortcomings, like we all experience, LINDSAY LOHAN is a FIGHTER and WINNER! Society's whipping horse; Lindsay is never knocked-down for the count; she gets back up every time; I admire her RESILIENCE, STRENGTH, and BRILLIANCE
    Favorite Genre
    Horror;Science Fiction; Drama; Comedy
    Favorite Critic
    Lenard Maltin, Roger Ebert; JOHN SIMON; Harlan Ellison;Pauline Kael;
    Best Movie Seat
    front
    Favorite Movie Watching Snack
    LARGE POPCORN with EXTRA BUTTER
    Favorite Movie Watching Drink
    LARGE COKE
    When I'm not watching movies, I'm...
    writing, making music,photo-editing; playing video games
    Fresh or Rotten
    fresh

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    stuff i wrote today

    Posted on 05/22/13 05:32 AM | Last edited on 05/22/13 05:32 AM


    . . . stereotypes are bad because they usually portray negative perceived traits of a culture; not all black people eat watermelon . . . I'm black and I don't enjoy eating watermelon, a stereotype for black people . . .in America, more white people eat watermelon than black people by default because we black people are the minority.



    In fact me calling me black is my stereotyping myself because I'm tan. . . .but my hair is curly.



    the bottom line: stereotypes reinforce negative generalizations made about a culture or race of people.



    "All gay people love Liza Menelli" (that's a generalized stereotype too . . . )



    Remembering those 94 or 51 or 24 or 17 people killed in Oklahoma.



    (the media can't get it right . . .did anyone die in Oklahoma? the media keeps changing the number)



     



    in response to . . .



    THE WRAP.COM (MY FAVORITE ONLINE JOURNAL)




    'Modern Family's' Sofia Vergara: 'I Don't Know Why People Think Stereotypes Are So Terrible'


    The actress has embraced her boisterous sitcom character -- and seized business opportunities






    Peter Hurley



    Published: May 21, 2013 @ 7:46 pm



     


    It was an adventure that somehow turned into a career.



    When Sofia Vergara got a call to audition for a Barry Sonnenfeld movie called "Big Trouble" back in 2001, the 29-year-old Colombian wasn’t an aspiring actress. She was a TV hostess on the Spanish-language Univision network, a former dental student who’d fallen into modeling and then hosting for the Latin market.



    She had dreams of fame and fortune, to be sure, but most of them didn’t focus on the United States, and they certainly didn’t include acting.



    Peter Hurley



    “I really had no interest in being an actress,” Vergara told TheWrap [4]. “But I wanted to see what happened. I got the part and I liked it and said, ‘Maybe I can do this. I’ll stay here six months, one year, and see what happens.’



    “Twelve years later, I haven’t left.”



    Also read: The Wit & Wisdom of Gloria Delgado-Pritchett [5]



    Not only is she still here -- still in the U.S. and still acting -- but Vergara is fairly ubiquitous. She’s a core cast member of "Modern Family", which has won the Emmy as TV’s best comedy series for three years in a row; she’s a three-time Emmy nominee herself, losing to her castmate Julie Bowen twice.



    And as Gloria Delgado-Pritchett, the younger wife of family patriarch Jay Pritchett (played with wry aplomb by Ed O’Neill), she’s TV’s reigning bombshell, embracing the tight dresses and dishing out the fractured English with gusto and volume.



    See photos: 10 Outtakes from Sofia Vergara's EmmyWrap Cover Shoot [6]



    For Vergara, who’d begun her unplanned move into acting less than two years after being diagnosed with (and recovering from) thyroid cancer, the success still comes as something of a shock.





    “I don’t know what I’m doing, definitely,” she insisted. “I knew I could be funny, because I was always making my friends laugh. But I didn’t think I was going to be in a super-successful sitcom being funny.”



    She said this while sitting in a photo studio in New York’s fashion district, where she’d just finished posing for TheWrap's EmmyWrap magazine. On camera, she switched on the sass and attitude with ease. Slightly de-glammed in a white T-shirt afterwards, she told her story in a rush. (To get the real flavor of Vergara you should probably just eliminate all the punctuation and read fast.)



    New York is Vergara’s home base when she’s not shooting "Modern Family" in Los Angeles, a job that takes three weeks a month and eight months a year. On the East Coast, she can relax and be near her 20-year-old son, who’s in school in Boston, and also oversee a business empire that includes a clothing line for Kmart and a number of endorsement deals, Cover Girl and Pepsi among them.



    Also read: Sofia Vergara Tops Forbes List of Highest Paid TV Actresses [7]



    Last year she became the highest-paid woman in television with $19 million in earnings in 12 months, according to Forbes. ("Modern Family" accounts for less than $5 million of that.) And unlike some artistes who shy away from talk of their riches, she admitted that it was part of the plan.



    “My brain, it’s always thinking of how I could make a business out of it,” she said. “I have to say, honestly, that this was not about the art of acting for me. It was always, I want to make money off my image and do what I can do because I have a son, I have a family, I want to have money. I love the business part of my career.”



    "Modern Family" not only made Vergara a star and made those business deals possible, but also fixed her persona in the public mind: glamorous, expressive (“Shouting With Sofia Vergara” was a popular YouTube compilation), a little ditzy and, oh yeah, sexy.



    Creators Steve Levitan and Christopher Lloyd tailored the role for her, she said. “They had meetings with me at the beginning and they would ask me things, because the character has a lot of similarities with my real life. I am an immigrant in this country, I have an accent, I’m Colombian, I have a child from a previous marriage. So it was created around me. But now they have Google so they don’t really need to ask me, ‘What is a Colombian dish or a Colombian hat?’ They just go and Google it.”



    And if Gloria comes across as a supercharged stereotype of the hot, fiery Latina -- well, that doesn’t bother Vergara in the slightest.



    “I don’t know why people think stereotypes are so terrible,” she said. “I am Gloria, my mother is Gloria, my aunts are Gloria. I mean, it’s not like I’m putting on a fake bra with big prosthetics, you know. It might be a stereotype, but I think the character is fantastic. She’s colorful, she’s honest, she’s out there, she cares about people. She’s loud, but I am loud. She’s crazy, but I am crazy. It’s not a problem.”



    Initially, though, she had second thoughts about what viewers would think of her character. “I was worried, because I thought nobody was going to like a hot-looking Latin woman married to the older guy,” she said. “It was totally like the description of the gold-digger. But after we shot the pilot, I realized that I had chemistry with Ed. I think everybody completely believed that Gloria and Jay belonged together.”



    "Modern Family" won praise from the start. It became an anchor on ABC’s schedule, picked up three Golden Globe nominations (including one for Vergara) after only four months on the air, and it ended its inaugural season by landing eight Emmy nominations and winning the award for Outstanding Comedy Series. 



    By its third season, the show had been sold for syndication and had become the year’s 10th highest revenue-generating show. It also reflected the continuing maturation of the TV-comedy family, depicting three couples representing three kinds of families: a typical sitcom pairing (Ty Burrell and Julie Bowen), a multi-racial older-man/younger-woman coupling (Vergara and O’Neill) and a committed same-sex relationship (Eric Stonestreet and Jesse Tyler Ferguson). (See sidebar, page 24.)



    Its success also jump-started Vergara, Inc., in the U.S. market. “The things I do outside of 'Modern Family' are all things that I’ve been planning for a long time,” she said. “I wanted to be a household name to be able to do all these other things, and I have totally achieved it. I’ve been working for 22 years in the Latin market mainly, but with 'Modern Family' I was able to really do everything.”



    Everything will soon include a few more film roles, including parts in Robert Rodriguez’s "Machete Kills," in actor/director John Turturro’s "Fading Gigolo" with Woody Allen and Sharon Stone, in "Heat" with Jason Statham and in "The Smurfs 2."



    And it may include a producer credit on a television series called "Killer Woman," which she, her manager Luis Balaguer and Ben Silverman developed from the Argentinian series "Mujeres Asesinas". It is waiting for a pickup from ABC.



    She knows she’s become a role model of sorts for young Latinas -- “I try to be myself, because there’s a lot of people that are watching” -- but she shies away from using that as a soapbox to address the hot-button issue of immigration.



    “Whatever my ideas and my opinions are, I try not to do that,” she said. “Only thing I can tell you is that for us as immigrants to be in a country like this, we should all be grateful that we have the opportunity, because only in a country like this that has opened the doors for us we can do so many things. So we should follow their laws.”



    In other words, don’t expect her to get up onstage at the Emmys and make any political speeches. Then again, she never figured she’d be anywhere near the stage at any awards show.



    “It didn’t even occur to me that I was going to be nominated for anything,” she said. “The day my publicist called me and said, ‘You’ve been nominated for a Golden Globe,’ I was like, ‘What are you talking about?’”



    And now she’s been nominated for three Globes and three SAG Awards and three Emmys, as part of a show that has completely dominated the Emmy supporting categories. In its first year, all six of the major cast members -- Vergara, O’Neill, Bowen, Burrell, Stonestreet and Ferguson - -opted to enter themselves in the supporting category rather than singling out anyone as lead, and everyone but O’Neill was nominated.



    The next two years, all six have landed nods, monopolizing two of the six Supporting Actress spots and four of the six Supporting Actor spaces. Over the three years, "Modern Family" has not only won the three Comedy Series awards, but its cast has taken home five of the six available supporting trophies: two each for Bowen and Stonestreet and one for Burrell.



    Vergara said that she has no problem losing to Bowen -- “what I care is that the show keeps going on and is successful no matter who wins” -- but she nodded when asked if she ever feels like telling her castmate, “You’ve won twice, how about giving me a turn?”



    “I already told her, but she doesn’t care,” she said with a laugh. “I think she’s going to win again.”

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    verse of the day

    Posted on 05/20/13 05:34 AM | Last edited on 05/20/13 05:34 AM

    Bible Verse Of The Day


     



    Monday, May 20, 2013



    __________________________





    — John 13:34-35 —




    "A new command I give you: Love one another. As I have loved you, so you must love one another. By this everyone will know that you are my disciples, if you love one another."


    __________________________




    Our culture today evidences a persistent onslaught against all our predecessors worked diligently to build into our heritage. Integrity, truth, purity and respect are carelessly replaced with tepid tolerance. You do not have to fall victim to the downward cycle. Rather than join the demolition crew, you can build up — not structures, but people, Our love is measured by our obedience to Christ's command to tenderly care for our brothers and sister.

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    How Coporate Greed KILLED JJ ABRAMS' involvemet with Star Trek from THE WRAP (my favorite online Journal)

    Posted on 05/19/13 06:54 PM | Last edited on 05/19/13 06:54 PM


    How the Battle Over 'Star Trek' Rights Killed J.J. Abrams' Grand Ambitions


    The franchise's licensing and merchandising rights are split between CBS and Paramount which created headaches for the multihyphenate's production company Bad Robot







    Published: May 15, 2013 @ 7:41 pm



     


    A struggle over the U.S.S. Enterprise's past and future helped sour J.J. Abrams on the "Star Trek" franchise and may have contributed to his decision to take on the "Star Wars" universe.



    Competing ambitions between Paramount, CBS and Abrams' production company Bad Robot over merchandising surrounding the first film in the rebooted "Star Trek" franchise led the director to curtail plans to turn the series into a multi-platform experience that spanned television, digital entertainment and comic books, according to an individual with knowledge of the dispute.



    "J.J. just threw up his hands," the individual told TheWrap [4]. "The message was, 'Why set up all this when we'll just be competing against ourselves?' The studio wanted to please Bad Robot, but it was allowing CBS to say yay or nay when it came to what was happening with the 'Star Trek' products."



    "Star Trek Into Darkness" arrives in U.S. multiplexes Thursday with tie-ins ranging from Bing to Hasbro. It is expected to gross more than $100 million at the domestic box office over the extended weekend. 



    See photos: 'Star Trek Into Darkness' Premiere: Chris Pine, Zachary Quinto, Zoe Saldana [5]



    Yet this marketing assault pales compared to the one that Abrams (above) and Bad Robot once envisioned for "Star Trek" and now plan to construct around the new "Star Wars" films.



    A major stumbling block: "Star Trek's" licensing and merchandising rights are spread over two media conglomerates with competing goals. The rights to the original television series from the 1960s remained with CBS after it split off from Paramount’s corporate parent Viacom in 2006, while the studio retained the rights to the film series. CBS also held onto the ability to create future “Star Trek” TV shows.



    Paramount must license the “Star Trek” characters from CBS Consumer Products for film merchandising.



    Much to the dismay of Bad Robot, CBS' merchandising arm continued to create memorabilia and products based on the cast of the original 1960s series and market them to Trekkies. The production company did market research and found that there was brand confusion between Abrams' rebooted Enterprise crew and the one starring William Shatner and DeForest Kelley.



    Also read: 'Star Trek Into Darkness' Eyes $100M Box-Office Opening [6]



    TheWrap has learned that Bad Robot asked CBS to stop making products featuring the original cast, but talks broke down over money. The network was making roughly $20 million a year on that merchandise and had no incentive to play nice with its former corporate brother, the individual said. In response, the company scaled back its ambitions to have "Star Trek's" storylines play out with television shows, spin-off films and online components, something Abrams had been eager to accomplish.



    Also read: 'Star Trek Into Darkness' Review: Thrilling Sequel Balances Fun with a Post-9/11 Sensibility [7]



    Paramount declined to comment for this article and a spokesperson for Bad Robot did not respond to a request to comment.



    "As the merchandising rights holder for Star Trek, CBS Consumer Products has ongoing relationships with all our partners, including Paramount," a spokesman for CBS Consumer Products said in a statement. "We have worked closely with them for the last five years to create merchandise to enhance the movies and satisfy fans. We are all looking forward to a successful opening of ‘Into Darkness.’”



    Also read: 'Star Wars' 7, 8 and 9 Are 'The Most Exciting,' Says George Lucas Biographer (Exclusive) [8]



    Despite the initial bumpy ride, it appears that Paramount, Bad Robot and CBS Consumer Products worked more harmoniously on "Star Trek Into Darkness." The parties collaborated on a Star Trek video game (left) that will feature the voices of the film's stars Chris Pine and Zachary Quinto; a graphic novel prequel to the film that was overseen by screenwriter Roberto Orci; and a novelization from Simon & Schuster (below).



    Still, Jeff Gomez, CEO of the transmedia consulting firm Starlight Runner Entertainment, says there could have been so many more lucrative tie-ins. He contends that the rebooted franchise has enormous potential outside the multiplex.



    "Right now the 'Star Trek' movies are movies," Gomez said. "There is no apparent ongoing transmedia strategy behind them, just a handful of licensing opportunities around the release of 'Into Darkness.'



    "Why would that be attractive to an artist who sees beyond the boundaries of the silver screen to envision a true multi-platform narrative all based on a global franchise?”



    Also read: Harrison Ford, Mark Hamill, Carrie Fisher Back for 'Star Wars'? George Lucas Says Yes [9]



    Abrams' ambitions to create a multi-platform film franchise will find a more natural home at Disney, analysts and industry experts tell TheWrap. As successful as "Star Trek" has been, few franchises match the profitability and cultural prominence of George Lucas' space opera, which would be difficult for any director to pass up.



    “Disney has always been oriented to multi-platform revenue stream situations,” Seth Willenson, a film library valuations expert, told TheWrap.



    Moreover, Willenson notes that Abrams, who has a deal that is believed to include creative and profit participation in "Star Wars" inspired merchandise and spin-offs, will have more control in shaping the legacy of the Skywalker clan than he would have had with developing side projects for the "Star Trek" crew. Unlike with "Star Trek," with its rights split between Paramount and CBS, Disney owns the rights to “Star Wars” outright thanks to its $4 billion purchase of Lucasfilm last year.



    "The derivative rights situation on 'Star Trek' is complicated because you’re dealing with cross-company cultures, so it makes it harder to implement a grand plan," Willenson said.



    As for Disney's grand "Star Wars" plan, it's sounding an awful lot like the one Abrams once envisioned for "Star Trek." There will be television properties, theme park rides and spin-off films all centered around the new trilogy that Abrams will oversee.



    It's a page borrowed from Disney's exploitation of the Marvel comic books and if it works out, it should make Abrams very rich indeed.



    Comment la bataille sur les droits «Star Trek» a tué JJ Grandes ambitions d'Abrams

    Les droits de licence et de merchandising de la franchise sont répartis entre CBS et Paramount qui a créé des maux de tête pour la société de production Bad Robot de la multihyphenate



    Publié le: 15 mai 2013 @ 7:41 pm



    Une lutte pour le U.S.S. Le passé et l'avenir de l'entreprise ont permis aigre J.J. Abrams sur le "Star Trek" franchise et peut-être contribué à sa décision de prendre le "Star Wars" univers.



    Ambitions concurrentes entre Paramount, CBS et la société de production Bad Robot d'Abrams sur merchandising entourant le premier film de la saga "Star Trek" franchise redémarré conduit le Directeur de limiter des plans pour transformer la série en une expérience multi-plate-forme que la télévision fractionné, divertissement numérique et bandes dessinées, selon une personne ayant connaissance du différend.



    "JJ juste leva les mains,« l'individu dit TheWrap [4]. "Le message a été:« Pourquoi mettre en place tout cela quand nous allons être en compétition contre nous-mêmes? Le studio voulait s'il vous plaît Bad Robot, mais il laissait CBS dire yay ou non quand il s'agit de ce qui se passait avec les produits de la 'Star Trek' ".



    "Star Trek Into Darkness" arrive dans les multiplexes américains jeudi avec tie-ins allant de Bing à Hasbro. On s'attend à ce brute de plus de 100 millions de dollars au box-office national au cours du week-end prolongé.



    Voir les photos: "Star Trek Into Darkness de la Première: Chris Pine, Zachary Quinto, Zoe Saldana [5]



    Pourtant, cet assaut de marketing n'est rien comparé à celui qui Abrams (ci-dessus) et Bad Robot fois envisagées pour "Star Trek" et maintenant l'intention de construire autour des nouveaux "Star Wars" films.



    Une pierre d'achoppement: les droits de licence et de merchandising "Star Trek" sont réparties sur deux conglomérats médiatiques avec des objectifs concurrents. Les droits de la série télévisée originale des années 1960 sont restés avec CBS après qu'il s'est séparée de l'entreprise mère Viacom Paramount en 2006, tandis que le studio a conservé les droits de la série de film. CBS a également tenu sur la possibilité de créer des futurs "Star Trek" émissions de télévision.



    Paramount doit autoriser les caractères "Star Trek" de CBS Consumer Products pour le merchandising du film.



    Au grand dam de Bad Robot, bras de merchandising CBS a continué à créer des souvenirs et des produits basés sur le casting de la série originale des années 1960 et de les commercialiser à Trekkies. La société de production a fait des études de marché et constaté qu'il y avait confusion entre la marque redémarré l'équipage de l'Enterprise d'Abrams et celui mettant en vedette William Shatner et DeForest Kelley.



    A lire également: "Star Trek Into Darkness 'Eyes 100M $ Box-office ouverture [6]



    TheWrap a appris que Bad Robot demandé à CBS de cesser de faire des produits mettant en vedette la distribution originale, mais les négociations ont achoppé sur l'argent. Le réseau faisait à peu près 20 millions de dollars par an sur cette marchandise et n'avait aucun intérêt à jouer gentil avec son ancien frère d'entreprise, l'individu dit. En réponse, la société a revu à la baisse ses ambitions pour avoir des histoires "Star Trek" jouent avec des émissions de télévision, films spin-off et de composants en ligne, quelque chose Abrams avait été désireux d'accomplir.



    A lire également: "Star Trek Into Darkness de l'examen: suite passionnante Soldes Fun avec un Post-9/11 Sensibility [7]



    Paramount a refusé de commenter cet article et un porte-parole de Bad Robot n'ont pas répondu à une demande de commentaire.



    «En tant que détenteur des droits de merchandising pour Star Trek, CBS Consumer Products a des relations suivies avec tous nos partenaires, y compris Paramount," un porte-parole de CBS Consumer Products a déclaré dans un communiqué. «Nous avons travaillé en étroite collaboration avec eux pour les cinq dernières années pour créer marchandises pour améliorer les films et satisfaire les fans. Nous sommes tous impatients à une ouverture réussie de 'Into Darkness».



    LIRE AUSSI: 7, 8 et 9 'Star Wars sont «le plus excitant», dit George Lucas biographe (Exclusive) [8]



    Malgré le parcours cahoteux initial, il apparaît que Paramount, Bad Robot et CBS Consumer Products ont travaillé de façon plus harmonieuse sur "Star Trek Into Darkness». Les parties ont collaboré à un jeu vidéo Star Trek (à gauche) qui mettra en vedette les voix de stars Chris Pine du film et Zachary Quinto, un roman prequel graphique pour le film qui a été supervisé par le scénariste Roberto Orci et un novelization de Simon & Schuster ( ci-dessous).



    Pourtant, Jeff Gomez, PDG de la société de conseil transmédia Starlight Runner Divertissement, affirme qu'il aurait pu être tellement plus lucratif tie-ins. Il soutient que la franchise redémarré a un potentiel énorme en dehors du multiplex.



    «En ce moment films de la« Star Trek »sont des films", a déclaré Gomez. "Il n'existe aucune stratégie transmédia en cours apparent derrière eux, juste une poignée de possibilités de licence autour de la sortie de 'Into Darkness».



    "Pourquoi cela serait-il intéressant pour un artiste qui voit au-delà des limites de l'écran d'argent pour envisager un véritable récit multi-plate-forme tout basé sur une franchise mondiale?"



    Lire aussi: Harrison Ford, Mark Hamill, Carrie Fisher Retour à «Star Wars»? George Lucas dit oui [9]



    Les ambitions Abrams pour créer une franchise de films multi-plateforme à trouver une maison plus naturel chez Disney, les analystes et experts de l'industrie disent TheWrap. Autant de succès que "Star Trek" a été, quelques franchises correspondent à la rentabilité et culturel importance de George Lucas de space opera, ce qui serait difficile pour un administrateur de laisser passer.



    "Disney a toujours été orientée vers des situations de flux recettes multi-plate-forme," Seth Willenson, un film bibliothèque valorisations expert, dit TheWrap.



    En outre, Willenson note que Abrams, qui a un accord qui est censé inclure la participation créative et de profit dans "Star Wars" marchandises ont inspiré et spin-offs, auront plus de contrôle dans l'élaboration de l'héritage du clan Skywalker qu'il aurait eue avec développer des projets secondaires pour l'équipage "Star Trek". Contrairement à «Star Trek», avec ses droits répartis entre Paramount et CBS, Disney détient les droits de "Star Wars" pure et simple grâce à l'achat de 4 milliards de dollars de Lucasfilm l'an dernier.



    "La situation des droits dérivés sur 'Star Trek' est compliqué parce que vous avez affaire à des cultures inter-entreprises, il est donc plus difficile à mettre en œuvre un grand plan", a déclaré Willenson.



    En ce qui concerne le plan grandiose "Star Wars" de Disney, c'est sonnant beaucoup comme l'une Abrams fois envisagé pour "Star Trek". Il y aura des propriétés de télévision, visites de parcs thématiques et des films spin-off tous centrés autour de la nouvelle trilogie qui supervisera Abrams.



    C'est une page emprunté à l'exploitation de Disney des bandes dessinées Marvel et si ça marche, il faut faire Abrams très riche en effet.

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    so true (this epitomizes my experience on Rotten Tomatoes)

    Posted on 05/18/13 05:51 AM | Last edited on 05/18/13 05:51 AM


    “Once you start to speak,

    people will yell at you.

    They will interrupt you,

    put you down,

    suggest it’s personal and

    the world won’t end.

    And the speaking will get easier and easier.

    And you will find you have fallen in love with your own vision, which you may never have realized you had.

    And you will lose friends and lovers and realize you won’t even miss them. And new ones will find you and cherish you.

    And you will still flirt and paint your nails, dress up and party.

    And at last, you’ll know with surpassing certainty that one thing is more frightening than speaking your truth.



    And that is not speaking.”



    ~ Audre Lorde

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    from THE WRAP . . . synoptic view of Picasso

    Posted on 05/17/13 04:48 AM | Last edited on 05/17/13 04:48 AM


    Why Did I Write My Book 'Picasso's Ghost'? To Defend Picasso

    [1]


    Media [2]


    « On 'Les Miz,' Paris and the Picassos: Pablo, Paloma and My Then-Fiancé Claude [3] Cheering Up Peter Sellers Wasn't as Easy as Chaplin Cheering Up Picasso » [4]



    Why Did I Write My Book 'Picasso's Ghost'? To Defend Picasso


    A story of money, wronged love and suicide, centered around the famous painter and his illegitimate son





    Published: February 20, 2013 @ 1:26 pm



     


     



    Why did I write my new book, “Picasso’s Ghost”?



    Norman Mailer taught me that good writing is bold writing. Norman also said to write about what I know -- and I know the Picasso family. And I finally felt it was time someone defended Pablo Picasso from his reputation of being a tyrant and abusing his family.



    My connection with the Picassos began one night in 1971 when Pablo’s illegitimate son Claude – with Francoise Gilot -- and I danced to Gloria Gaynor's “I Will Survive” in a Manhattan disco, at a party given by Diane Von Furstenberg.



    We fell in love. A successful cover girl, I supported us because Claude made little money as a photojournalist and at times would wear not just my ex-husband’s clothing, but my own. (His favorite piece of clothing of mine was the Romanian blouse I wore on my cover of Newsweek.)



    There was no hope that he would inherit Picasso's fortune since Pablo was superstitious and would not leave a will, and French law refused to recognize an illegitimate wife or children.



    So Francoise sued, and in 1974, she won a massive lawsuit against Picasso's estate, on behalf of the children. She became a billionaire on paper, but due to legal red tape Claude could not immediately access his money, so we continued to live on my savings.



    In 1975, he jilted me. But more on that later.



    Francoise always claimed she left Picasso because he was being unfaithful to her; yet after her affair with Picasso had ended, she married Dr. Jonas Salk – demanding that he sign a contract allowing her to be unfaithful. She had a small apartment in Paris that she frequented several months a year -- sans Salk.



    Her hypocrisy in claiming to have left Picasso for his womanizing but then insisting on a life of infidelity while married to Salk infuriated Claude and Paloma, his sister via Francoise. In fact, the last person to receive a formal wedding invitation to Paloma's enormous wedding was her own mother.



    Because Picasso married Jacqueline Roque instead of their mother, Claude and Paloma were raised to hold Jacqueline, a potter’s daughter, in contempt. Claude told me one night he punched his stepmother in the face in jest and practically knocked her out while watching a boxing match on television with her and his father. He claimed Picasso laughed about this.



    In “Picasso’s Ghost”, I write about Claude recalling this evening with a macabre sense of glee. Not long after the incident, Claude, Paloma and Francoise were banned from all of Picasso’s homes: the villas, residences and chateaux.



    The world has had sympathy for Claude because of Picasso's exiling his own son from his life, but Claude's violence towards his stepmother has remained undisclosed.



    Claude would try to see his father but was repeatedly told by the guards that his father was not in. One night, when Claude scaled the gates of Notre Dames Des Villes, Picasso's villa in the south of France, Picasso had his own son arrested for trespassing.



    There are other reasons Picasso exiled Paloma, Francoise and Claude, but the bottom line is he was old. He needed his energy to paint. People stood in the way of his creativity, and that included his own family, including not just Claude and Paloma but Francoise. All of these people belittled Jacqueline Roque, who had become his designated caregiver. I heard these unkind words.



    Because of the bad blood between Jacqueline and Francoise, when Picasso died, his children were unwelcome at the Chateau des Vauvenargues to view his body. So it was that, a few nights after Picasso’s death in 1973, while Claude and I were in the chateau’s moonlit graveyard, looking for his father’s coffin, Claude asked me to marry him.



    In 1977, four years later, Jacqueline shot herself in the head in her villa in Mougins.



    My engagement to Claude lasted less than three years. While Francoise's lawsuit against Picasso’s estate was being settled, she bought me a wedding dress. A year later, when he refused to answer the question, “When are we getting married?" I left him.



    So today Francoise, Claude and Paloma have all of Pablo’s wealth and art while Claude has become the court-appointed administrator of the estate. As such, he sold the Picasso name and signature to PSA Peugeot-Citroen for use by the French automaker, according to the New York Times. A family compact,



    The Citroen Xsara Picasso, was put on the European market, featuring ugliest design in the world. It was so bad that Marina Picasso, the artist's granddaughter and Claude's niece, challenged the deal in court.



    ''I cannot tolerate that the name of my grandfather be used to sell something as banal as a car,'' she told a French newspaper. ''He was a genius who is now being exploited outrageously. His name, his very soul, should not be used for any ends other than his art.''



    Meanwhile, Paloma’s jewelry is sold at Tiffany under the name Picasso – though not as such in France because the French feel both she and Tiffany are exploiting Picasso’s name.



    Did Picasso, in refusing to leave a will, know what was to come: that Claude would sell his father’s name while Paloma would exploit it. Did either of them ever respect Pablo, or did they just value him for his possessions?



    I wonder if Pablo Picasso is crying in his grave.


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    Peter Sellers sad???? (FROM THE WRAP my FAVORITE ONLINE JOURNAL

    Posted on 05/17/13 04:39 AM | Last edited on 05/17/13 04:39 AM


    Cheering Up Peter Sellers Wasn't as Easy as Chaplin Cheering Up Picasso

    [1]


    Movies [2]


    « Why Did I Write My Book 'Picasso's Ghost'? To Defend Picasso [3] A Stepford Wife Remembers Her Director, Bryan Forbes » [4]



    Cheering Up Peter Sellers Wasn't as Easy as Chaplin Cheering Up Picasso


    Guest blog: Every morning as Pablo lathered his face for shaving, he would trace with his finger in the billowing cream the enormous lips, the path of tears oozing out of each eye -- the stigmata of the professional clown





    Published: March 18, 2013 @ 5:52 pm



     


     



    Peter Sellers was sad a lot of the time, and I tried to make him smile. I felt I could make Peter feel better about himself. I had been trying to do this for Claude Picasso, too, because his father had been so cruel to him.



    It never worked. I couldn’t rescue Peter, who wanted to be someone else.



    Peter and Claude, to whom I was once engaged, reminded me of each other. I felt both suffered from depression and sought relief through laughter. Maybe we all do, but we can’t all create humor as Peter could. Claude also tried to be funny by imitating Charlie Chaplin in his movements -- because his father had emulated Chaplin. Claude enjoyed making hand gestures like Chaplin, mimicking his performances in silent films.



    As I portray in my new book, "Picasso's Ghost [5]," Pablo had admired Chaplin and had identified in a symbolic way with circus performers in that they, too, were often solitary performers, like artists: the acrobats and tumblers he etched in the Saltimbanques series, or the matadors whose struggles he made his own and whose drama he seemed to carry over into almost every phase of his life and his art.



    The clown, too, was one of the most tragic yet heroic figures in the circus. Claude would tell me that almost every morning as Pablo lathered his face for shaving, he would trace with his finger in the billowing cream the enormous caricatured lips, the suggestions of question marks over the eyebrows and the path of tears oozing out of each eye -- the stigmata of the professional clown.



    “Why do you do that, Papa?” Claude would ask as Pablo would begin to gesticulate and grimace with an intensity that showed this was not only a game but his attempt to imitate Chaplin.



    “I loved being my father’s audience and watching him in front of the mirror as he talked to himself made up like a clown,” Claude said.



    Like Claude listening to his father, I would sit in the kitchen of Peter's home and be his audience as he rehearsed his lines, using funny expressions for my teacup poodle, Tutu, and me. Unlike Claude, I did not laugh but remained quiet so as not to disturb Peter’s concentration.



    Claude continued to talk about Pablo. “My father had been an avid fan of Chaplin during the silent film days, but when the talkies came along my father lost all interest in movies. When “Monsieur Verdoux” was announced, he could not contain his excitement. For my father, Chaplin’s art was the embodiment of the physical stylization of his ‘little man ‘role.’”



    It has been written that Pablo cherished those scenes in “Verdoux” where Chaplin relied on mime to produce his effects. Those scenes, where Chaplin flipped through the pages of the telephone directory and over and over again counted money, were responsible for the way Picasso counted or miscounted money. The direct force of the film image seemed to duplicate the kind of shock that comes when one looks at a painting, Picasso said.



    “It’s the same thing, to the extent that you work on the senses to convey your meaning,” Picasso is said to have noted about Chaplin. “Mime is the exact equivalent of the gesture in painting by which you transmit directly a state of mind -- no description, no analysis, no words.”



    Picasso had wanted to meet Chaplin because, he said, “He’s a man who like me has suffered a great deal at the hands of women.” Chaplin had serious relationships with 13 women.



    I believed Sellers, who also had a complicated history with women, would have enjoyed talking to Picasso about this. And what about Norman Mailer, who decapitated women in his fiction, stabbed them in real life and had a total of six wives. How wonderful it would have been to have interviewed Charlie Chaplin, Peter Sellers and Norman Mailer about women!



    Claude went on to tell me that in 1952, Pable finally did have the opportunity to meet Chaplin -- after the French premiere of “Limelight.” They met in Pablo’s studio in the Rue des Grand Augustins, but Chaplin did not speak French and Pable did not speak English. Interpreters were hired, but they proved to be in the way.



    Then Pablo had the idea to take Chaplin upstairs away from the crowd so that they could be alone and establish some kind of communication. “I took Chaplin upstairs to my painting studio and showed him the pictures I had been working on,” Pablo told his longtime mistress Françoise Gilot.



    “When I finished, I gave him a bow and a flourish to let him know it was his turn. He understood at once. He went into the bathroom and gave me the most wonderful pantomime of a man washing and shaving, with every one of those little involuntary reflexes like blowing the soapsuds out of his nose and digging them out of his ears. When he had finished that routine, he picked up two toothbrushes and performed that marvelous dance with the rolls, from the New Year’s Eve dinner in ‘The Gold Rush.’”



    But Pablo objected to the sentimentality of “Limelight.” “I don’t like that maudlin, sentimentalizing side of Chaplin,” he said, “That’s for shop girls, when Chaplin starts reaching for the heart strings. Maybe Chaplin impresses Chagall, but it doesn’t go down with me. It’s just bad literature.”



    I wondered what Pablo would have thought of Peter Sellers’ performance in the classic “Being There.” So many people felt Peter deserved the Oscar for his performance in this award-winning film. Or would Pablo have found this tale about a humble gardener sentimental?



    For Pablo, “Limelight” also had meaning in terms of the physical changes time had wrought in Chaplin and how these had modified the entire nature of his art.



    “The real tragedy,” Pablo went on to tell Françoise, “lies in the fact that Chaplin can no longer assume the physical appearance of the clown because he’s no longer slender, no longer young and no longer has the face and expression of his ‘little man’ but that of a man who’s grown old. His body isn’t really him anymore. Time has conquered him and turned him into another person. And now he’s a lost soul -- just another actor in search of his individuality. And he won’t be able to make anybody laugh."


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    From The Wrap (My FAVORITE ONLINE JOURNAL) . . . Listening,

    Posted on 05/17/13 04:32 AM | Last edited on 05/17/13 04:32 AM

    A Stepford Wife Remembers Her Director, Bryan Forbes

    [1]


    Movies [2]


    « Cheering Up Peter Sellers Wasn't as Easy as Chaplin Cheering Up Picasso [3]



    A Stepford Wife Remembers Her Director, Bryan Forbes


    Guest blog: Bryan Forbes taught this actress the importance of listening





    Published: May 16, 2013 @ 4:40 pm



     


    With Bryan Forbes passing, I was reminded of what a good director he was.



    He taught me the importance of listening. Oh, I had taken acting classes with Wyn Handman, who directed the American Place Theatre with classmates the likes of Richard Gere and Brad Davis, and filmed many commercials as a spokesperson, but "Stepford Wives" was my first major motion picture. It was the 1975 Ira Levin thriller in which women are turned into docile electronic incarnations of themselves.



    The scene I recall his talented direction was the following: All we wives were seated in a group therapy session when the topic turned to how our husbands were forcing us to do intense housework and we were rebelling. But instead of objecting to the masculine brow beating, eager to please any male when the topic was cleaning, I said, “It took me so long to get my upstairs floor to shine, I didn’t have any time to bake.”



    Also read: Notable Celebrity Deaths of 2013 [4]



    "Have you ever tried Easy Off?" my girlfriend asked.



    "Is it really that good?" I replied. Bryan wanted me to think about a life and death situation and the gravity this would imply. 



    "Listen to Toni, Carole. You’re not listening to her," Bryan yelled.



    And he was right. The music became chime-like and eerie and the audience was given a clue that I was dead. That all the wives were dead. We were servants to our husbands. Slaves. Zombies in house dresses. Not wives. Loving wives.



    This was a pivotal scene and Bryan made it work because he watched our performances like a myopic hawk and was forceful in his direction. We all listened to him, especially when he yelled, which wasn’t often.



    "Stepford Wives" drew mixed reviews and endures as a cult film and a quasi-feminist document. It helped make the phrase Stepford wife, describing any woman who seems vapid and compliant, an enduring part of the lexicon.



    In 2004 Bryan Forbes was named a Commander of the British Empire. But for all his accomplishments, Bryan remained remembered almost exclusively for “The Stepford Wives,” and sometimes found himself having to defend the film against misinterpretation. 



    In an interview in 2004, he recounted having been accosted by an umbrella-wielding woman at a press screening. “I remember saying to this particular savagely disturbed woman, 'You’ve missed the whole point,'" he recalled. "A, it’s a fantasy; B, if anybody looks stupid, it’s the men.  It’s not an attack on women. It’s an attack on women being exploited by men."

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    Bible Verse of the Day

    Posted on 05/17/13 04:28 AM | Last edited on 05/17/13 04:28 AM

    Bible Verse Of The Day


     



    Friday, May 17, 2013



    __________________________





    — John 12:44-48 —




    Then Jesus cried out, "When a man believes in me, he does not believe in me only, but in the one who sent me. When he looks at me, he sees the one who sent me. I have come into the world as a light, so that no one who believes in me should stay in darkness."



    "As for the person who hears my words but does not keep them, I do not judge him. For I did not come to judge the world, but to save it. There is a judge for the one who rejects me and does not accept my words; that very word which I spoke will condemn him at the last day."


    __________________________




    The purpose of Jesus' first mission on earth was not to judge people, but to show them the way to find salvation and eternal life. When he comes again, one of his main purposes will be to judge people for how they lived on earth. Christ's words that we would not accept and obey will condemn us. On the day of judgement, those who accepted Jesus and lived his way will be raised to eternal life (1 Corinthians 15:51-57), and those who reject Jesus and live any way they please will face eternal punishment (Revelation 20:11-15). Decide today which side you'll be on, for the consequences of your decision last forever.

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    NBC The Enemy is ourselves

    Posted on 05/17/13 04:16 AM | Last edited on 05/17/13 04:16 AM

    Soldier sentenced to life without parole for killing 5 at combat stress clinic in Iraq



    Jessica Rinaldi / Russell family via Reuters, file




    Sgt. John Russell was sentenced to life in prison without parole for killing five fellow service members at a base in Iraq in 2009.





    An Army sergeant was sentenced Thursday to life in prison without parole for the 2009 killings of five fellow service members at a combat stress clinic in Iraq.



    A military judge, Army Col. David Conn, found Sgt. John Russell guilty of premeditated murder on Monday and imposed the sentence Thursday morning. The only other possible penalty for Russell would have been life in prison with the possibility of release.



    Russell will be transferred within the next several days to Fort Leavenworth in Kansas, Army spokesman Lt. Col. Gary Dangerfield said late Thursday.



    The 14-year veteran from Sherman, Texas, had previously pleaded guilty to unpremeditated murder in exchange for prosecutors taking the death penalty off the table. Under the agreement, prosecutors were allowed to try to prove to an Army judge at Joint Base Lewis-McChord in Washington state that the killings were premeditated. A streamlined court-martial ended Saturday.








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    The shooting was one of the worst instances of soldier-on-soldier violence in the Iraq war and raised questions about the mental stresses of serving repeated tours of duty.



    Killed in the 2009 shooting in Baghdad were Navy Cmdr. Charles Springle, of Wilmington, N.C., and four Army personnel: Pfc. Michael Edward Yates Jr., of Federalsburg, Md.; Dr. Matthew Houseal, of Amarillo, Texas; Sgt. Christian E. Bueno-Galdos, of Paterson, N.J.; and Spc. Jacob D. Barton, of Lenox, Mo.



    Russell's lawyers argued that he was deluded by depression and despair at the time. An Army mental health board found that Russell suffered from severe depression with psychotic features and post-combat stress.



    Russell had long sought help with sleep troubles and was stammering and crying for help in the days before the shooting. His commanders were so alarmed that they disarmed him and sent him for repeated visits to mental health clinics, said attorney James Culp.



    However, prosecutors argued that Russell was trying to paint himself as mentally ill in an attempt to win early retirement — just as he was facing a sexual harassment complaint that could derail his career and his benefits.



    The day before the killings, psychiatrist Michael Jones told him that a mental disability retirement would require "some kind of suicidal psychotic crisis," Maj. Daniel Mazzone said during closing arguments, according to the Los Angeles Times.



    But when Russell saw Jones again the next day, the psychiatrist said he had no intention of giving him "a golden ticket" out of the Army.



    When Russell returned about an hour later, prosecutors say, he was looking for Jones, but wound up killing two patients, a bystander and two other mental health workers, including Navy Cmdr. Springle, who had also briefly treated Russell in the days before the shootings. Jones escaped injury by jumping out a window.



    The Associated Press

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    NBC . . . KILLING BY REMOTE CONTROL and getting bored of it . . . sick

    Posted on 05/17/13 04:12 AM | Last edited on 05/17/13 04:12 AM


    Drone pilot burnout triggers call for recruiting overhaul


    Nidhi Subbaraman NBC News





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    2 hours ago



    MQ-1B Predator unmanned aerial vehicles sit in a clamshell at night at Kandahar Airfield, Afghanistan, July 31, 2011.

    U.S. Air Force


    MQ-1B Predator unmanned aerial vehicles sit in a clamshell at night at Kandahar Airfield, Afghanistan, July 31, 2011.



    Driving a war drone is a stressful business. Shifts up to 12 hours long are stretches of dullness, watching and waiting, interrupted by flashes of intense activity in which pilots must make life-or-death decisions. Not their own life or death, however.



    Pilots may be thousands of miles away from the flying weapons system they're operating. They often head home at the end of the day, as if returning from any other office job, maybe picking up milk on the way. But while at work, their drones' onboard cameras put them in a unique position to watch people being killed and injured as a direct result of their actions.



    As psychologists learn more about the mental scarring warfare leaves on drone pilots — caused by long shift hours, isolation, witnessing casualties and those Jekyll-and-Hyde days split between battlefield and home — experts from within the U.S. Air Force are calling for a review of drone pilot selection.



    Brad Hoagland, an Air Force colonel and visiting researcher at the Brookings Institution, and a fighter-jet pilot and operations commander of 23 years himself, believes that drone pilots could be picked better, and that existing selection techniques are due to be updated now that the service has accumulated almost a decade of research into the psychological characteristics of drone pilots.



    "The thrill of taking off from a runway, flying a mission and then coming back and landing at the end of the mission — that’s very exciting," he told NBC News. "But I think that’s a different type of person who can do that, than someone who is maybe wired to fly an unmanned system from a console 7,000 miles away. It’s a different psychological makeup requirement to execute the mission."



    Right stuff, wrong stuff

    "I think we are still trying to figure out exactly what the 'right stuff' is," Wayne Chappelle, a clinical psychologist consulting for Air Force Medical at Wright Patterson Air Force Base in Dayton, Ohio, told NBC News. "We have a general idea ... but I certainly think we're probably more aware of what the wrong stuff is versus the right stuff."



    The trouble is that spotting the known positive attributes in up-and-coming drone pilots is harder than spotting the negative attributes. To begin with, Chappelle drew up a portrait of the ideal drone pilot from the recorded testimony of 82 drone pilots and their supervisors in a 2011 report.



    Good drone pilots, according to Chappelle's findings, have excellent memory for pictures and sounds. They are bombarded with sounds and images from multiple screens through their long shifts, but parse that data quickly, cutting through the noise. They're multitaskers and collaborators.



    "These guys are very smart, very bright in a wide range of areas. They are emotionally resilient and highly stress tolerant and very motivated," Chappelle said.



    People who have a history of abuse or dependence on alcohol, drugs or other substances, anxiety or depression, and cognitive impairments such as learning disabilities tend to make bad drone pilots.



    Although the strengths of a drone pilot differ from the strengths of a manned fighter pilot, Chappelle said the psychological screening protocol for both is the same — and hasn't changed in a decade. "We're still looking at ways to improve and expand upon the screening procedures."



    In his research, Hoagland has found that washout rates among undergraduate pilot trainees headed to crafts like the F-16 are traditionally about 10 to 15 percent. But drone pilot trainees exit at 30 percent (though that's down from 45 percent a few years ago). Pilots may drop out, but more often, they fail to meet some flight or academic criteria along the way, Hoagland said.



    And when they do graduate, they receive mental health diagnoses at a rate on par with pilots who fly in aircraft, and at much higher rates than other non-pilot Air Force personnel, according to a February 2013 report by the Armed Forces Health Surveillance Center.



    NBC News has requested to interview a pilot or pilot instructor at the Holloman Air Force Base in New Mexico, where drone pilots are trained, but to date the Air Force has declined the request without further explanation.



    pilot trainee flies an MQ-1 Predator simulator mission at Holloman Air Force Base in New Mexico

    U.S. Air Force


    A pilot trainee flies an MQ-1 Predator simulator mission at Holloman Air Force Base in New Mexico on Feb. 8, 2012.



    Testing, testing

    In an upcoming report headed to the Pentagon, Hoagland will suggest some fixes for his higher-ups to consider.



    For one, though the Air Force has a test called the Pilot Candidate Scoring Method, not all pilot candidates — of drones or manned craft — are given the exam. (The Air Force Academy, for example, only recently started administering it, and only on an "experimental" basis.)



    "I can't believe we as an Air Force haven't standardized this," Hoagland says. Once everyone's taking the test, and baseline scores are set, those scores can be mined for indicators as to who might be better suited to fly an F-16 and who might be destined for a drone. "It's a common sense approach."



    Also, though it's been standard procedure to assess concentration, attention, psychomotor skills as part of the Medical Flight Screening-Neurosychiatric test in pre-screened pilots-to-be, that information is not used in the selection process. Tests do weed out the medically and psychologically unfit — Hoagland thinks it would be an easy next step to ask: "Is this person suited for an unmanned or manned system?"



    The coming swarm

    As the Air Force's drone program grows, so does the importance of pilot selection. What started in 2004 as five drone combat patrols — four aircraft each — will to swell to 65 patrols by 2014. By 2010, Predators had logged more than a million combat hours, more than any other military bird. And today's population of 1,300 combat drone pilots will be joined by 500 more in the next few years.



    And as autonomous systems evolve, the capabilities of unmanned craft will, too. The Air Force will shift to a system with multiple vehicles flown in tandem, answering to a single pilot. These "swarm" handlers will have more complex tasks heaped on them earlier in their career.



    "In terms of who we need to have, I think we're on a learning curve there," Anthony Tvaryanas, a doctor of aerospace medicine and technical advisor with the 711th Human Systems Integration Directorate at Wright Patterson Air Force Base in Dayton, Ohio, told NBC News.



    "If [a pilot is] operating a swarm, what are you looking for in that person? I don't think anyone's looking into those concepts," Tvaryanas said.



    "As we get from a pilot in an airplane to a pilot outside the airplane to a pilot controlling 100 airplanes, I think we're approaching the limits of what [prior experience and studies] can inform us. There's a need to look back at training," he added.


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