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[Prev]  1, 2, 3, 4, 5 ... 33, 34, 35 ... 46, 47  [Next]
Page 34 of 47   [ 691 posts ]
AuthorMessage
mickjapa108 avatar
Posted: Wed Mar 23, 2016 18:56
Author: Trusted UploaderSite FriendET loverSuperman
Hi Guys

"Brussels square covered with messages"
Here is one, The only thing Evil needs to succeed, Is for good men/women to do nothing
These people are living next door to someone,wake up & smell the Almonds.
I don't have TV so I was spared most of the details, when first heard I choked & could
not hold the tears,I'm sure it hit meny hard Nuff said.

On a lighter note Lovely Pic of the ladies of Vrindavan enjoying Holi {HoliaaAAE}
& That Bird looks like a Braja Hari Tota, (Vrindavan Parot) must have got lost LOL.
No I'm not mad!! The bird has Radharani Kum Kum under its eyes,Female, Male has black ring round its neck
Ask Abhi ??
love the thread thalestris


Pranaams.
Thalestris avatar
Posted: Thu Mar 24, 2016 18:22
Author: Turtle
mickjapa108 wrote:
Hi Guys

"Brussels square covered with messages"
Here is one, The only thing Evil needs to succeed, Is for good men/women to do nothing
These people are living next door to someone,wake up & smell the Almonds.
I don't have TV so I was spared most of the details, when first heard I choked & could
not hold the tears,I'm sure it hit meny hard Nuff said.

On a lighter note Lovely Pic of the ladies of Vrindavan enjoying Holi {HoliaaAAE}
& That Bird looks like a Braja Hari Tota, (Vrindavan Parot) must have got lost LOL.
No I'm not mad!! The bird has Radharani Kum Kum under its eyes,Female, Male has black ring round its neck
Ask Abhi ??
love the thread thalestris


Pranaams.

Hi mickjapa, thanks a lot for your feedback and you're perfectly right about the bird, it's certainly one of those numerous rose-ringed parakeets that we can see in many big cities around the world .. Yes indeed, I'm also a birdwatcher ha ha ha !

So what's up in the world well, a special hi to all our ET Iranian friends today. And I've added a few pics and some new trailers as well so let's go.

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Film-maker and two musicians face three years prison in Iran
Appeals court upholds convictions against Yousef Emadi, Mehdi Rajabian and Hossein Rajabian, despite all three having no access to lawyers during trial


A film-maker and two musicians in Iran are each facing up to three years in jail after an appeals court in Tehran upheld their conviction in connection with their artisic activities, including distribution of underground music.

In a case that highlights the plight of those tried without access to legal representation, the three Iranian artists are at risk of imminent arrest following the recent confirmation of their prison sentences. The trio are currently free as Iran celebrates Persian new year holidays, Nowruz, but fear being arrested at any time when the two-week festive period ends next week.

Brothers Mehdi and Hossein Rajabian, 26 and 31, and their friend Yousef Emadi, 35, had been found guilty of “insulting Islamic sanctities”, “spreading propaganda against the system” and “illegal audio-visual activities” in a 2015 trial that activists said lasted no longer than three minutes. They were condemned to lengthy prison sentences without having access to lawyers whilst being interrogated, nor during the course of their trial.

Prisoners of conscience in Iran, especially those held on political grounds, are routinely put on trial without access to any lawyer at all or the lawyer of their choice. Some are given lawyers but are unable to meet them until the day of their trial. Lawyers complain of being intimidated and some have themselves fallen foul of the authorities for defending their clients, including Abdolfattah Soltani, who is serving a 13-year sentence.

Rajabian brothers and Emadi shared an office in the northern Iranian city of Sari prior to their initial arrest in October 2013 when they were held in an unknown location for 18 days before being taken into solitary confinement and subjected to rigorous interrogations for two months.

Mehdi Rajabian is the founder of the now blocked Iranian website Barg Music, which distributed unlicensed music, including many whose lyrics and messages were deemed offensive to the Iranian authorities or the country’s religion. Hossein Rajabian’s arrest is also believed to be connected with his feature film Inverted Triangle, which touched the issue of women’s right to divorce in the country.

According to the human rights campaigner, Amnesty, the three men were subjected to beatings and electric shocks to make forced confessions against themselves on camera while being in custody. Those confessions were then used as basis for their conviction in court, a familiar pattern used against prisoners of conscience in Iran.

In February, an appeals court upheld their sentences which include six year’s imprisonment and a fine of 200m rials (around £4000). They must each serve three years of their sentence in jail and the rest will be conditional on their “good behaviour”. The artists were arrested and then tried because of a complaint from the powerful Revolutionary Guards, which has a great deal of influence over the country’s judiciary.

“These sentences lay bare the absurdity of Iran’s criminal justice system, which brands individuals as criminals merely for peacefully exercising their rights to freedom of expression through making music and films. These young men should never have been arrested, let alone brought to trial,” said Said Boumedouha, deputy director at Amnesty International’s Middle East and North Africa programme.

“These convictions flagrantly flout Iran’s obligation to respect the right to freedom of expression. If the sentences are ultimately carried out, these individuals will be prisoners of conscience.”

Human Rights Watch strongly criticised Iran for denying fair legal representation to those charged on national security and political crimes and said the new Iranian parliament should reverse amendements to the new criminal code which limits detainee’s access to lawyers of their choice.

“Defendants having access to the lawyer of their choice is a crucial safeguard for guaranteeing a fair trial in Iran,” said Sarah Leah Whitson, HRW’s Middle East director. “Iran should immediately address this problematic provision in the law and take effective action against abuses committed in its judicial system.”

Journalists Davoud Asadi, Ehsan Mazandarani, and Issa Saharkhiz and Iranian-American father and son, Bagher Namazi and Siamak Namazi and Lebanese citizen Nizar Zakka, unionist Esmail Abdi are among those denied access to laywers while in prison.

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Radovan Karadžić sentenced to 40 years for Srebrenica genocide. Wartime leader of Bosnian Serbs found guilty of 10 of 11 charges at international criminal tribunal for the former Yugoslavia.


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Climate change warnings for coral reef may have come to pass, scientists say. As coral bleaching threat is raised for Great Barrier Reef, experts say events show that dire projections for reefs under global warming were not alarmist.


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Tasmania, Australia. A rare white Bennett’s Wallaby on South Bruny Island. With few predators on the island, the Albino Wallabies have maintained healthy numbers. Photograph: Dave Hunt





















Wishing you all a great Thursday morning, afternoon, evening and good luck for tomorrow !

















Thalestris avatar
Posted: Fri Mar 25, 2016 18:01
Author: Turtle
And hi everybody !! I hope that you all had a great week ? And it's Friday !! So since, I just wanted to make a little cute post today and I'm also in a kind of furry mood as well.. It's all going to be about hares ha ha ha ! And I've added just a few pics and some trailers so here we go !

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Early-morning fisticuffs for March hares.
Caistor St Edmund, Norfolk Boxing hares were once thought to be males competing for females, but it is usually a female defending herself from an amorous male.


It’s early, the sun has only just risen, yet already I can hear the drone of the bypass a few miles away as the rush hour traffic picks up. Every part of me is alert and awake. I can’t afford to lose focus for a moment for the horse I am on is fresh and quivering with energy.

Choosing our way carefully across the tussocky meadow I allow him to pick up into a trot. I breathe in the morning air and then, less than a metre from us, a rich brown, almost reddish, shape breaks for cover. We had all but stumbled on a resting brown hare (Lepus europaeus), crouched low and nearly invisible in its form. It darts off, strong back legs propelling it up the gentle slope.

We follow, with no hope of keeping up, until we reach the brow of the hill. There, the field stretches out before us and, as if on a stage, two hares are darting and dancing. They are not boxing, but frolicking together. Boxing hares were once thought to be males competing for females, like red deer rutting, but study has shown it is usually a female defending herself from an amorous male. In fact, it is the hare’s complex social hierarchies that determine which males mate with the females.

Forty two days after conception the leverets are born, fully furred and with their eyes open. Female hares can even be pregnant twice, simultaneously; they can conceive the next litter while still pregnant with the first.

The hares are too absorbed to notice that I am getting closer masked by the scent of horse. All at once they turn to face each other and their front paws go crazy.

It is less like boxing and more like children scrapping at intense speed. Their eyes are scrunched shut and the long black-tipped ears are held back. Fur flies, carried past me on the breeze.

One hare, presumably the female, drops to all fours and bounds right in front of us, closely pursued by the male. As we turn into the woodland I glance behind me. They have vanished.

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Mezőkövesd, Hungary. Dancers from the Matyo Folkart Association rehearse their Easter tradition ‘watering of the girls’, a fertility ritual dating back centuries. Photograph: Attila Kisbenedek

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A rare painted bunting sits on a fence in Pittsfield, Vermont, US. The bird, sometimes described as a ‘flying rainbow’, normally does not fly north of the Carolinas on the east coast. It’s the sixth time a painted bunting sighting has been recorded in Vermont. Photograph: Kent P. McFarland

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A baby badger poses for the camera in Somerset, England, one of three being nursed back to health at Secret World Wildlife Rescue after being abandoned by their mothers. Photograph: Victoria Hillman





















Wishing you all a great week end and Happy Easter as well and I'll be back in here on Monday, you all have fun and take care ! ca5GaqP.gif JreDnyT.gif
















Thalestris avatar
Posted: Mon Mar 28, 2016 17:08
Author: Turtle
Hi everybody ! I hope that you've all spent a nice week end ? And that you haven't been overindulging in chocolate ha ha ha ... ?! So I managed not to listen to the news this week end till this morning.. And I mean, it was unfortunately another black Monday, a special hi to our ET Pakistani friends today. Thinking of you all at this time of sorrow.

Pakistan hunts those behind attack that killed more than 70 in Lahore.
Pakistani Taliban faction Jamaat ul-Ahrar says Christians were target of bomb that killed 72 and injured 280 in park thronged with families.


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Karachi residents light candles to pay tribute to the victims of the 27 March suicide bombing in Lahore. Photograph: Asif Hassan.

And obviously, I missed all the new movie trailers yesterday so I had to be a bit more creative today. I do hope that you haven't read that interview of Vera Farmiga already? I've added one pic and those trailers.

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‘The Conjuring 2′: Vera Farmiga on Supernatural Belief and Keeping That Door Closed

Vera Farmiga is one of those actresses who can make even the strangest things look as natural as brushing your teeth in the morning. She’s currently delivering some one of the best performances on TV as the pathologically oedipal Norma Bates, and with The Conjuring, Farmiga digs in deep as the psychic at the heart of the real life ghostbusting duo Ed and Lorraine Warren. In the upcoming sequel, which sees Farmiga reunited with co-star Patrick Wilson and director James Wan, Farmiga is once again picking up the mantle of one of the world’s most famous mediums, and all the paranormal baggage you open the door to the supernatural. You know, if you believe in that sort of thing, and Farmiga does and she’s got the creepy stories to go with it.

Back in October, I visited the set of The Conjuring 2 on the Warner Bros. lot in Burbank, California where I joined a few other journalists to chat with Farmiga about reuniting with Wan and Wilson for the sequel, her friendship with the real Lorrain Warren, and the eerie otherworldly experience after the first Conjuring that convinced her to keep that door tightly closed.

Question: Can you tell us a bit about what you’re filming today?

VERA FARMIGA: Okay, today is — this is a scene in which the poltergeist is really manifesting itself physically in this child. This is the first time Ed and Lorraine see a physical manifestation where she is physically affected. It traps her behind — without revealing too much. But you’re going to see it, so, it physically traps her behind a door. We try to extricate her from there. It’s more psychological for Maddie [Madison Wolfe] who plays Janet [Hodgson].

She’s great.

FARMIGA: Isn’t she fantastic? And so clinical about the way she goes. I don’t know what it is, but she really is scientific. She’s so heartfelt. In the scene with her, she blows you away. Emotionally, she goes so deep and so quick, in and out of it. She can map it out. I snoop on their conversations and I hear her literally breaking it down in a very clinical way. And then, cameras roll and she’s so present. I don’t know if it’s just that age where you’re so open, you’re so imaginative. You’re not calloused. It’s hormonal. I don’t know. She has such amazing access to her emotions. It’s pretty astounding to watch.

What’s it like stepping back into Lorraine’s shoes? Does it feel like time has passed or is it like, ‘Oh, wow, here I am, felt like yesterday.’

FARMIGA: It feels like yesterday. I’m very close with Patrick [Wilson] and James [Wan]. So just partnering up with Patrick is really like stepping into your old comfy pair of shoes. He’s a good friend. He’s a very, very good friend. His wife is one of my best friends. So that closeness, I think, lends itself to that familiarity. And we have a blast doing it. It’s dark. Exploring negative mysticism is not fun. [Laughs] It’s arduous, it’s emotionally taxing. But, in between takes, and you’ll see, we’re so silly. It doesn’t feel that long. I guess it was three years ago, and in turn we’ve both been very busy, so it’s not like we’re pining to get there. But when it comes, it’s very familiar. We’re very close with Lorraine [Warren], she’s a good friend of mine. We went to go visit her this summer. I suppose that closeness to her also helps me with the role. She’s a phone call away. I know her well, by now. So it’s certainly…it feels like a switch I can flip on.

Is it complicated playing someone you’re friends with like that?

FARMIGA: I don’t think so, no. I think what’s challenging for me is [laughs], she’s in her late 80s now, I’m talking to a very latter version of her. So my tendency is to want to embody all that eccentricity of her age and wisdom, but everything has changed. I’m playing a 40 year old and she’s in her 80s. Those are things that affect your speech and your breath, and your gait, the way you move through space. The hardest thing for me is to really disassociate the two and rewind the time to see what the younger woman was like. I think that’s the most challenging for me, but otherwise, no, I find it very helpful to be close to her.
Where do you fall on the scale of belief in supernatural occurrences?

FARMIGA: Oh, man. Mondays, Wednesdays and Fridays. I believe in negative mysticism and positive mysticism. I have forged my own spiritual narrative in terms of what I believe. I don’t necessarily important for me to sort of give you a dissertation because it’s hard to talk to about my concept of god without spending hours deciphering that for you. But yeah, sure. I mean, I think what’s important for me to buy it hook, line and sinker because I’m portraying Lorraine and she believes it. And I honor that, and just because I have not had — I’ve had the experience of a teacup flying off a shelf in a house rental in Massachusetts. I’ve had strange happenings. I’ve had sort of physical manifestations after the first Conjuring. Not enough to spook me, because the people in my life who have had very valid experiences with negative mysticism, one tip that is unanimous is a choice for you whether you accept it or not. You have a choice in terms of repelling it. I like to think I have that armor now. I was very persuaded — I was really challenged by the first one. It was harder for me, especially in pre-production, all the research that went into it, it was very difficult for me psychologically. I was very spooked and at all times would look over the kids to make sure they weren’t levitating. Living in fear. My life was drenched in fear and that’s very different this time around too. Which is a lot more pleasurable. I know how to turn it on for the camera and really just repel any negative thought, any fear, anything that from this perspective and certainly, Lorraine’s Roman Catholic perspective. And I find that translates, it’s funny that no matter what denomination, no matter what faith you are, whether you’re Jewish or you’re a Shaman or whatever Christian faith you come from, some cultures call it soothsaying, some call it clairvoyance, the Christians call it having the voice of a prophet, everyone has got a name for it, but there’s a consistency. When you ask people and compare different stories about negative and positive mysticism, people’s experience with the unknown.

So you’ve learned a lot from doing The Conjuring?

FARMIGA: I have and I haven’t. It’s really tricky because once you start investigating it you can’t help but — the first book I was reading, the one I was given by a demonologist, the first thing it says is, “Just opening the door, the inquiry into this darkness that you’re about to read is already conjuring it up, making you susceptible.” It’s very tricky to navigate. I feel that my skin is a little thicker. That’s not to say this house rental I’m renting right now [laughs], it was a heck of a lot easier to have my kids and husband this time around. I have to learn my lines in my trailer, during daylight. I don’t take it home with me.

You mentioned before that after the first Conjuring that you had an experience. Was that just the fear that you were feeling or was it an actual experience?

FARMIGA: It’s on my cell phone. If you catch me later, I’ll have my cell phone and I can show it to you. I’ve told this story before. The strangest occurrence for me was the day, I had a creative conversation with James Wan on The Conjuring. I had just been researching Lorraine, I wasn’t familiar with her. Before the phone call, I was on the computer. I had closed it. We had our conversation. I was just smitten with James, and I said, “If Patrick Wilson is in, because I knew at the time that he had also been offered — then I’m in.” I just wanted to be sure that Patrick was going to be my partner. We agreed and we said goodbye, and then I opened the computer screen and there were three digital claw marks from the right diagonal to the lower left. And I wish I had my phone — maybe Sarah can send for my cell phone so I can show them. The day that I finished The Conjuring, I came back to upstate New York to my house and I had woken up to three claw mark bruises across my side. I can’t remember the question but you know. But I acknowledged it. When I woke up with that, I knew I had a choice to give into the fear. It’s mental gymnastics, you just gird up and you don’t accept it. There’s evidence there but I was adamant about not feeling fear. It’s emotional armor. You figure it out. You figure out how to build it around yourself. Even though it was clear evidence of some strangeness that’s occurred. My husband did not do that to me, I did not scratch some mosquito bite. I’ll show you.

Was it painful?

FARMIGA: Not necessarily. It wasn’t incredibly painful, it might have felt like a bruise. You’ll see it, the rendering on my thigh, three distinct marks that look like claw marks, that long nails or fingertips, long fingertips, could make. But it didn’t hurt, no. I texted it to James. I can’t even remember his response.

To kind of bridge it back to the sequel, in the first film, Lorraine carries a lot of weight, everything she’s seen carries a large effect on her. I’m interested to see what we’re seeing her deal with this time.

FARMIGA: Sure. I think the audience is very curious about what exactly she saw the last time. And we’re going to explore that. We’re going to see her psychic abilities challenged this time around. Which will be incredibly disconcerting for this dynamic duo because they rely on her. It’s all about what she senses and what she picks up on. So that will be something that they’re challenged by.

How does working on Lorraine differ from Norma Bates?

FARMIGA: [Laughs] Um, I don’t know. The process for me is not all that different. I work on them both in the same way. To me they are just radically, beautifully honed and etched, sharply rendered female characters. There’s so much more of Norma, of course. Lorraine doesn’t have the spotlight as much but her presence is huge in the film. I think Norma has much more of a staccato rhythm and Lorraine is just something softer and more secure. Until she’s not. Which is very much like Norma. I feel like a kid dipping into her costume box. I love this hair and the costumes and the shoes…immediate just make it — I love their relationships. You just find the love, immediately. The key is to find the love between mine and Patrick’s character, that reliance. And for Norma, it’s that unconditional love between her and Norman. [Assistant brings her phone]

Oh, here we go. Fuck! Sorry. Again, even just showing you gives it…power. I’m contradicting myself right now with what I’m about to do.

We appreciate that.

FARMIGA: Yeah, you’re going to be the first one I call tonight in the middle of the night! [laughs]

Well, it happens, you know.

FARMIGA: No, it’s not going to happen. Here’s what it looked like when it did.

Oh my gosh, that’s real — claws. Wow, that’s like not even subtle.

FARMIGA: No, no. It’s not.

That is so weird. Do they match the scratch marks on your screen?

FARMIGA: No, they were longer. The digital claw marks were different. It’s weird.

You don’t remember any dreams?

FARMIGA: No, nothing. It was a very peaceful sleep. That’s what I do remember. The project had been done, it was home sweet home. There was no strangeness around that. It’s just so random. I don’t remember anything.

But it did scare you?

FARMIGA: Again, at that point, I registered it. I registered how expletive odd it was. [Pause] I texted Patrick, I texted James and I prayed about it. [Laughs] And that was it.

One of the things that I’ve noticed in the last few years is the level of talent that has gone into horror. And you’re a big part of that.

FARMIGA: Thank you, thank you.

Have you always been a fan of genre or is this something you’ve developed because of that?

FARMIGA: I, look, I grew up not being allowed — I had to sneak over to Missy Berner’s house to watch any horror. It was not allowed in my very Ukrainian Catholic home. And I just remember feeling so much and it staying with me. It was my first investigation into finding what god might mean for me, feeling that fear and the dread. So in that respect, it was very formative. And growing up in the ‘80s was all Stephen King and Kathy Bates. I loved Kathy Bates across the board. I just thought she was a slammin’ actress. I would watch her emote and make me feel so, so much and bring so much gravitas to the genre. I loved thrillers growing up. And then I watched a lot of Polanski. I like psychological thrillers. It wasn’t per se Nightmare on Elm Street or the Jason pics, it was more like, I don’t know, The Tenant or Rosemary’s Baby. The Shining, of. How many times did my best friend, my cousin and I watch that as much as we could? And of course we snuck it. We just snuck it.

One of the things we are interested in is you guys touching on the Amityville story which obviously has its own cinematic legacy. How is this movie approaching it and what is it like as Lorraine?
FARMIGA: Both cases, Amityville and this is the most notorious case of haunting in England, huge headlines they’ve had. Extremely well documented, both cases. I don’t feel a pressure. I can only bring to it what I know to be true, my experience of Lorraine. And she is so heartfelt, she is so full of grace, so compassionate as a human being. I love her, I find her to be very beautiful and I’m touched by that. If that comes with any pressure or scrutiny, I can only apply myself.

Does she have fear?

FARMIGA: Yes. She will tell you, she will tell you she has fear. I wish she was here. [Immitates Lorraine’s accent] “Boy do I have fear, let me tell ya, hon.” Yeah, she does. She’s haunted by what she’s seen in her life. It’s seared into her psyche. She misses Ed so much. He passed maybe a decade ago now. She misses her best friend. She doesn’t live alone, she can’t, there’s a priest that lives with her. They have mass every day in the house.


You mentioned she’s a phone call away, do you find that you call her a lot?

FARMIGA: No, no I don’t. Actually, I don’t. Patrick and I went to go see her, a year or two went by before we established contact. She’s very busy, I guess we’re both just very busy. When we get together, we eat a bunch of meatballs and talk about the perennials she’s planted, it’s a very natural friendship. I just want to be near her and pick up her intonations and her vocal qualities. And just be with her. I saw her in June, this past June I went to sit with her. I email with her son-in-law quite a bit and he gives me a lot of updates. As far I know, she still answers the calls. Her phone is still listed and she’s still picking up the calls and soothing people throughout the night.

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Bison to return to Montana after 140 years in the Canadian wilderness. Herd ‘coming home’ under treaty between North American tribes that seeks to return bison from Canada to Montana.


























Wishing you all a great Monday morning, afternoon, evening and good luck for tomorrow ! 8dOmi6C.gif













Thalestris avatar
Posted: Tue Mar 29, 2016 17:15
Author: Turtle
Oh my, I'm so tired of winter and that endless rain !! Can anyone send me some sunshine in here please !! Anyways, so I'm posting this interview because it looked interesting but shhh I haven't read it yet, no really, I didn't have enough time yet, so ... It's a real fresh one for everybody. Not an archive for a change. And I've added some pics and plenty of trailers, clips.. So here we go !

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Los Angeles native Hailee Steinfeld took her first acting class at age eight and, only five years later, gave an Academy Award-nominated performance as Mattie Ross in the Coen brothers' frontier western True Grit. Although she was taking vocal lessons and recording song covers in a studio at the time, as acting became a serious pursuit, her musical beginnings were sidelined in favor of the screen. When the opportunity to combine the two interests arose in the musical comedy Pitch Perfect 2, however, Steinfeld became an a capella singing Barden Bella and began creating her own music.

In November 2015, the now 19-year-old released her debut EP Haiz (Republic Records), taking its title from a fan-given nickname. Her first single, the pop empowerment anthem "Love Myself," was a telling, bouncy introduction that didn't shy away from self-love—literal, or otherwise—with Steinfeld confidently singing, "Pictures in my mind on replay / I'm gonna touch the pain away ... Gonna love myself, no, I don't need anybody else." Last week, Steinfeld released the music video for "Rock Bottom," the second single off of the EP and featuring DNCE (a band she admits she's "so obsessed with"). Collaborating with the four-piece was an obvious choice; Steinfeld's friend Joe Jonas was working on DNCE's debut EP at the same time Steinfeld was working on hers, and with the same team. As Steinfeld tells it, Jonas cut the second verse on the song and "it felt right." The result is a catchy tale of a turbulent young relationship, perhaps best encapsulated by the lyric, "We play hard with our plastic guns."

We sat down with Steinfeld in New York and after we addressed our similar first names and the undesirable nicknames that come with them ("Haiz" trumps than the more common "Hal," we agreed), we spoke about how music informs her acting, songwriting, and more.

HALEY WEISS: Now that you're pursuing music and film, have you found a balance between the two? Do you write songs when you're on set?

HAILEE STEINFELD: It's hard because I feel like the music never stops. It's one thing with a movie to go away for a couple months. You're stationed in one location if not two, you're in that world, and once you wrap up you're done with your part. But with the music, I'm in constant communication with my favorite writers and producers asking them what they have going on and telling them what's going on with me. I feel that in the last couple of months since I've really gotten into music and since I've started writing more and more, I've become so much more aware of things that I'm going through and stuff that's happening around me. I will jot it down on my phone so that way, when I'm in the studio, I can reference it, because it can be months before I get into the studio again. Whatever project I'm working on at that moment has 110 percent of my attention, but there's always a part of me that has [the music] in mind.

WEISS: What's your writing process like once you're in the studio?

STEINFELD: Depending on the situation, sometimes I have a harder time getting it into words than others. I've been working with Justin Tranter [Selena Gomez, Justin Bieber, Gwen Stefani, Fall Out Boy] and Julia Michaels [Selena Gomez, Justin Bieber, Gwen Stefani, Demi Lovato] for the most part and when I get together with them, it's seamless. I can tell them what I'm going through without feeling like I'm about to have a writing session, and I have to tell them something so that we have something to write about. It's all a conversation and not only are they hearing what's going on in my life, I'm hearing what's going on in theirs. I had a session a couple of days ago and we were in the middle of writing a song when something came up and we went off on a tangent about a life challenge we've all gone through at some point. We were like, "This is our next thing. This is something that we can all talk about." So a lot of the time I feel like it's such a collaborative effort between the three of us and whatever producer we're working with at the time.

WEISS: So you're working on new music now?

STEINFELD: I am... I'm so excited about it. The one thing about being in the studio, first of all, is going in when it's daylight and coming out when it's nighttime is one of the best things ever. I love being there in the middle of the night and leaving so, so happy. Recently, within the last week and a half, I was so close to crying in the studio because I was so happy and I had never had that experience. It just seems like the music is ahead of itself, which is so cool. By the time I release it hopefully it will still feel that way. It's constantly evolving.

WEISS: Do you find that your acting and music inform one another? Has acting changed for you because of music?

STEINFELD: I did a movie recently called Besties, and that was the first movie I had done since I had really gotten into music... With the music I do feel like I get to be myself, tell my own story, and take my life experiences and not put them into another story but into my own words. But in doing this movie, after having been in the studio so much and experiencing what it's like not having anything to write about, playing a character that I obviously identify with but who will do things that I'd never do, say things that I'd never say, or get herself into things that I would never get myself into—in my research and preparation for that I learned so much more about that specific person and myself and I was able to say, "Wow, this is something I don't think I'd ever experience but someone has and it's worth writing about." So I really do feel like [the acting and music] intertwine. Music is such a big influence in my acting. I always have headphones on when I'm working; it really keeps me grounded.

WEISS: Do you make playlists for your characters?

STEINFELD: I do. I need to figure out a more strategic way to do it though because I'll be in a really emotional scene and have a song on that I can't listen to on a daily basis because it makes me so emotional, and then a Flo Rida song will come on and I'm like, "All right! Next!" I need to have different moods of playlists but that's one of my favorite things, creating a playlist for a character.

WEISS: Was music important in your house when you were growing up?

STEINFELD: There was always music being played. My dad played a lot of classic rock and I want to say my mom is a little more on the R&B side—she was Boyz II Men all the way, and Luther Vandross. My dad is The Eagles, Led Zeppelin. My brother is into rap and hip-hop, and I'm kind of in the middle of all of that and I like straight pop as well. I really feel like I only, or mainly, listen to pop music.

WEISS: Pitch Perfect 2 was a good segue for you to do acting and music at the same time. Do you feel like that made you more confident going into making your own music?

STEINFELD: What was so amazing about using Pitch Perfect 2 as a segue to get into music is that music has always been part of my plan but it was always a matter of, "How am I going to do this seamlessly and in a way that makes sense?" and not make it a matter of, "Oh, I'm now making an album and I'm going to release it in two months." I knew it was going to happen because I wanted it to happen, and there were roles over the last couple of years that I auditioned for that could've been what Pitch Perfect 2 was for me but I think obviously it had to do with timing and I don't know that I would've been as ready as I am now if I did it anytime sooner. So when Pitch Perfect 2 came along, my initial thought process with that movie was, "I have to be in it because I love the first one." But once I got it and I got there and was in the studio I realized, "This is so amazing that I get to come to work everyday as an actor and sing and record music." I could definitely take it somewhere because it's the perfect way of letting people know that this is something I love and something I'm going to take seriously. It came out and it just felt right. I had "Flashlight" from the movie and I did my own version of it which was really the first time anybody ever heard me sing a full length song. Then I signed with [Republic Records] and the rest is, not history, it's now. [laughs]

WEISS: Do you feel more vulnerable as an actor playing a character or as a musician performing?

STEINFELD: I think as a musician performing because it really is solely me, whereas playing a character you're masked by that character and any mistake you make you can get away with by saying it was a choice. Music and the live aspect of being on a stage, having to carry yourself... It's a weird thing that I'm still getting used to and trying to comprehend. But it's a very, very vulnerable situation and I've learned that quickly being out there. The hardest part for me is getting off stage and realizing, "How long until I can do that again so I can perfect what I missed?" I think I'm always going to feel that way about anything that I do but the idea of it really being me and also that people don't know who I am and this is how they're getting to know me, it's scary because if you mess up, obviously, we don't live in a very gentle world so everything gets pointed out. I think as long as I remind myself of why I do it and I don't lose that feeling I get when I'm up there that I love so much, I'll be fine.

WEISS: You've probably been asked a million questions about True Grit over the years, but—

STEINFELD: No! Oh my god, it's been so long.

WEISS: I'm wondering, have you watched it recently? And if you have, are you able to detach yourself from it or do you see it and think, "Oh, that's me at 13"?

STEINFELD: In fact, it was on TV recently—it's been a couple of months, but not too long ago—and my mom was watching it and I walked in and stood there for a couple of minutes. I remember when I was 13 and I was auditioning for that part, I took it more seriously than anything I've ever taken seriously in my life. I went in there and was like, "I have this down." I read for the Coen brothers, I met Jeff Bridges, and there was no scenario other than getting this part. I remember it like it was yesterday; I was in the audition flipping through the pages and I was there and the Coen brothers were sitting there laughing the whole time. I was thinking, "This is not funny. Why is everyone laughing?" And a couple of months ago when I was watching it I realized that I really see the humor now. I didn't get it then and now I do feel like I'm able to detach and see what an incredible piece that really is.

For that entire year of my life, from shooting to running the awards circuit, everybody was telling me, "You have no idea how much of a once in a lifetime opportunity this is." As a 14-year-old I'm nodding my head yes and smiling as it goes in one ear and out the other, but watching it now I can see what people meant.

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A sanctuary for stray dogs grows in Iran thanks to social media. Animal lover Maryam Sanei has set up a hospice for unwanted pooches. A draft law penalising those who harass stray animals was referred to the President’s office last month.

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Monkeying around: a Gabba Gallery mural in LA. Photograph: Gabba Gallery

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Tokyo, Japan. A sunny day and the first cherry blossom brings out the crowds to Hikarigaoka Park
Photograph: Paul Brown.





























Wishing you all a great Tuesday morning, afternoon, evening and good luck for tomorrow !















ange1 avatar
Posted: Tue Mar 29, 2016 20:11
Author: ModeratorET lover
Hello Thalestris :) thank you so much for all your wonderful posts you truly are an asset in ET :) I love the article regarding Vera Farmiga :) she is an amazing actress and can't wait to see her again in The Conjuring 2.... I am just so happy she is back with Patrick Wilson another brilliant actor :) I really don't think anyone could play Lorraine Warren
and Ed Warren like they can :) Wishing you a lovely Wednesday and i do hope the weather gets nicer with lots of sunshine :)
Thalestris avatar
Posted: Wed Mar 30, 2016 17:09
Author: Turtle
ange1 wrote:
Hello Thalestris :) thank you so much for all your wonderful posts you truly are an asset in ET :) I love the article regarding Vera Farmiga :) she is an amazing actress and can't wait to see her again in The Conjuring 2.... I am just so happy she is back with Patrick Wilson another brilliant actor :) I really don't think anyone could play Lorraine Warren
and Ed Warren like they can :) Wishing you a lovely Wednesday and i do hope the weather gets nicer with lots of sunshine :)

Hi ange, and thank you for your best wishes, hopefully it will be sunny tomorrow.. Sigh* and I knew that you would like that interview of Vera Farmiga. And I've found another one that I'm sure at 100% that you'll enjoy.. Tom Hardy is asking questions to another actor ... Ok it's an archive but I think that everybody will enjoy it. And I've addes some pics and some trailers as usual. Nothing really new here, we'll have to be patient. So here we go.

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MATTHIAS SCHOENAERTS By TOM HARDY

Every now and then an actor comes along who reminds us of the way movie stars used to be. In the case of Matthias Schoenaerts, who's registered regular comparisons to Marlon Brando due to his earthy masculinity and brutish physical charisma, it might have something to do with his self-professed focus on just one thing—the work, rather than the trappings of the Hollywood fame game. There are echoes of the brooding old guard in the way Schoenaerts ekes out the truth in his performances. And perhaps it's that quality, in addition to his rakish, athletic good looks, that has turned the Belgian export from a European cinema fixture to a Tinseltown-worthy leading man in the space of just a few years, and has made us most excited for what's to come.

Born in Antwerp, Schoenaerts, now 37, was obsessed with soccer and graffiti as a teenager. He made his screen debut in a bit part alongside his father, actor Julien Schoenaerts, in the period drama Daens (1992). And, after starring in a succession of Belgian films, including Loft (2008), the highest-grossing Flemish movie of all time, Schoenaerts broke through to Stateside audiences with two notably visceral performances in 2012. He bulked up to obscene proportions to play a steroid-addicted cattle farmer in Michaël R. Roskam's Oscar-nominated Bullhead, and hit the gym and the junk food once more to play Ali, a single father and mixed-martial-arts fighter gone to seed on the Côte D'Azur, in Jacques Audiard's art-house sensation Rust and Bone.

But Schoenaerts has managed to massage his tough-guy roles into something more than muscle-tempering his Brooklyn thug in last year's The Drop and his German officer in occupied France, opposite Michelle Williams, in the forthcoming Suite Française with enough nuance and heart to render them into three-dimensional beings. This month he goes full romantic hero, playing the flaxen-haired sheep farmer Gabriel Oak, pining for Carey Mulligan's Bathsheba Everdene, in Thomas Vinterberg's take on Thomas Hardy's Victorian-era romance Far From the Madding Crowd. After that he has a slate of high-profile projects, including Alan Rickman's A Little Chaos, alongside Kate Winslet, Luca Guadagnino's A Bigger Splash, with Ralph Fiennes and Tilda Swinton, Tom Hooper's The Danish Girl, and Lewis and Clark, a miniseries for HBO.

But despite the starry rush of Hollywood calling, Schoenaerts prefers to keep a low profile, still living in Belgium and, as he says, "disappearing for a while" between projects. That's something that the work-first Tom Hardy, Schoenaerts's friend and The Drop co-star, knows something about as well. Hardy reconnected by phone with Schoenaerts, on a break from filming The Danish Girl, to hear all about it.


TOM HARDY: I'll just be a bit boring and blow smoke up your ass for a moment, but there's very few actors out there like you, who love the work and participate at such a high level. When you turned up on set [of The Drop] with the best Brooklyn accent in the world, and English not being your first language, that was very hard to handle. But on the other hand, I didn't know you were such a talented graffiti artist. What's with that?

MATTHIAS SCHOENAERTS: That's something I've been doing ever since I was ... I don't know, 13, 14. As a kid, I had a lot of books about painters; I was totally absorbed and obsessed. It's something that always stayed with me and became more and more of a passion. Every now and then I go back to it when I'm in between shoots. I just rented a studio. I'll get out there and start making canvases, or I get into the city, pick a wall, and paint it. It has a meditative effect on me because it doesn't involve so many people. I think filmmaking is fantastic between "action" and "cut." But everything around it is such a hassle. What I like about painting, it's me and the wall or the canvas. I love just being able to take that time without anyone breaking my head about anything. That freedom brings me a lot of peace and allows me to go back to the madness afterwards.

HARDY: Is there anything else that you do that does that?

SCHOENAERTS: Yeah, sports. I box a lot. I play a lot of soccer. I go to the gym. I need the rush. I like to feel that my body is living, that it's not just a vehicle. Every time you come out of the shower, it feels like a renaissance; it feels like you're reborn. I love that.

HARDY: How old are you now?

SCHOENAERTS: Thirty-seven. I'm an old fart.

HARDY: You're the same age as me. I'm September 15. You're December 8, right? So you're a little bit younger. In my experience, we're always playing a little bit younger than we actually are, which is kind of cool. Sometimes we get to play up.

SCHOENAERTS: It's like we get the chance to fuck over time. By doing film, we get the chance to stab it in the back.

HARDY: You get that "hindsight is 20/20" thing. But there are stages for guys, I think. There's the warrior stage. Then there's a certain, what I'd call a "sad monk" stage, where you're physically past your 22, 25 prime and you're growing into an older man. Ultimately you move on from there. Our work coincides with our experiences—for me, anyway. What I'm interested in is reflected in my work. What stage are you at in your life right now, as a man? What's important now that's passing into your work at the moment, compared to where you were at Bullhead? Are you in your blue period or your pink one?

SCHOENAERTS: [laughs] Well, I'm in my green one. I think we're always in a state of transition. But I'm in a very conscious state of transition, rediscovering who I am and who I want to become. That's a very interesting period. Like, "Okay, what type of person do you want to be? How do you want to deal with life?"

HARDY: What do you want right now with your work? Do you have a purpose?

SCHOENAERTS: I hope it doesn't sound melodramatic. We get the chance to speak to a thousand people in the theater, or 200, or 20, or millions of people. So what I always think is important is, "Okay, what do you share?" We're in the position where people are willing to come and see what we share. I don't mean that in a moralistic or preachy way, but I think there is a level of responsibility that comes with what we do. I think what you're trying to say should be something that you feel from the heart because you believe in it. Eventually that will transport itself towards the audience. Are there directors I want to work with? Yeah, probably. That's not where my ambition is. I want to share stuff that means something. I don't like vulgarity. I don't like first-degree stupidity. I don't want to sound like a pretentious art-house fucker; I'm not making the distinction between that and popular films, not at all. I just want to be blown away by something that ignites my imagination, ignites my heart, ignites my soul.

HARDY: You can find that in any project, though. What you're saying to me is that there's an integrity and an authenticity to you. I know you're a massive team player. You're not there to showboat. How do you keep it real on the floor, bro? To me, you're a proper actor's actor. What's your bullshit monitor, to know when it's about you and loving yourself and when it's about part of the team?

SCHOENAERTS: I think the best reflex is to have a very simple take on everything. You get what you give. If you get caught up and you have your head up your own ass, you're just basically hurting yourself. Positivity attracts positivity. It's not always easy because we're emotional beings, and emotions can stir us up pretty well. I think we both know about anxiety and doubt and inferiority complexes.

HARDY: Yeah, but if madness is the repetition of the same action expecting a different outcome, when you spot that pattern, you will eventually transition. Because you will know, from the pain of repeating the same action, where it is that you need to grow, spiritually and mentally. That's going to reflect in your journey, in your work, right? Why do you love acting so much?

SCHOENAERTS: I think I'm fascinated by everything that has to do with life and people. When you walk in the street and you watch a person, there's a lifetime of stories right there. And every story is unique. If you look at people in different countries, every change of context—whether it's historically, socially, culturally, emotionally, artistically—it implies such a wealth of different stories. I'm just fascinated by that.

HARDY: So acting is more than a job for you, right?

SCHOENAERTS: Yeah, I think I can say that.

HARDY: Obviously you approach acting technically. We both do. Then there's a point where technique becomes redundant because there's free flow. You have three or four months just to play one person in a world that's artificial. How do you approach transformation into a character? Is that a break from being you?

SCHOENAERTS: Well, I have a very simple answer to it, but at the same time, there's a lot of truth to it. It comes from a very famous film. I'll let you have a guess. [in a Cuban accent] "I always tell the truth, even when I lie."

HARDY: Man, you know I don't watch films.

SCHOENAERTS: You must have seen that one: Scarface [1983]. It's Al Pacino.

HARDY: Oh, yeah. Of course I've seen Scarface. But I don't remember that line. I just remember, "Pelican fly." [both laugh]

SCHOENAERTS: That is really how I approach it. We know that everything we do is fictional and artificial. But I think the emotion and sensitivity that you invest in it should be real as fuck.

HARDY: Do you have to actually feel the emotion of the character in order to transmit to an audience what that character is going through? Because I don't.

SCHOENAERTS: Me neither. I think we need to find a way to make the audience feel what we want them to feel in that moment, and that's a different thing. When I was a young actor, I thought, "I have to feel what my character feels," and it didn't translate on screen. Now I'm like, "Okay, I need to readjust. I need to find something different because it's not working. I need to find my imagination." I think the imagination is the biggest tool of an actor, because otherwise it becomes masochistic.

HARDY: That's why I have a problem with the method-acting conversation, because I don't really get the method-acting thing.

SCHOENAERTS: I get it to some extent. But I think it should always be combined with creativity, because otherwise it becomes ...

HARDY: Masturbatory.

SCHOENAERTS: Yeah, I don't like that.

HARDY: I don't either. What I love about you, man, is that you're always in the room. We could talk and joke and fuck around, and then when it's "action," we're in. And then when it's "cut," we start talking about what we were talking about in life, like today. You switch it on and switch it off. I love that.

SCHOENAERTS: I really believe that playfulness liberates you and allows you to go deeper and disconnect from your own thinking process, which most of the time is a screw-over.

HARDY: It blocks you. When did you learn to let go? Was Bullhead a turning point? I'm sure you had probably done it before. But Bullhead was your moment where people will go, "Ah, that's a calling card for Matthias. We know who he is now." But you must have had a change in order to come up with a performance like that. There must have been something in you that shifted.

SCHOENAERTS: Well, I think it started with Bullhead. I really unlocked during Rust and Bone with Jacques Audiard because of the way he works. He's all about letting go permanently. It's like, "Forget what you're thinking. Forget what your through line is. Just throw it all away, man. Just be in the moment. Listen to your partner. You just have to listen and react." That's basically it. That to me was a master class. I really noticed afterwards, when I started working on other projects, that I found myself in a different stage artistically. I became way more relaxed. I became way more present. I became more generous. All of a sudden I wasn't scared anymore, and I wasn't scared to be bad as well. As actors you're constantly objects of judgment by the critics, by our colleagues, anything.

HARDY: And by yourself.

SCHOENAERTS: Exactly. If you don't watch it, you become this insane control freak that starts flirting with being overly self-aware. If I suck, I'll do it again. If everybody saw I sucked, then what? Then we have a big laugh about it and try it again. I'm like, "Allow yourself to be bad, and you might discover something that will lead to something great."

HARDY: You're making a documentary. How's that?

SCHOENAERTS: Yeah, I've been working on it. But, you know, I've been away for so long, it died down a little. I have to pick it up again. It's hard for me to talk about it right now because I'm going to bring it back to life.

HARDY: Who's your counsel? Like, say you have an idea to do something, you get a script that comes in ...

SCHOENAERTS: It's my mother. She has such a profound reading. Not in terms of script analysis. I mean in terms of humanity. On a human level, she's the most profound reader I ever encountered.

HARDY: I identify with having strong, powerful female influences in my life. Do you think that women are fairly represented in screenplays, film, TV, and theater today? Or do you think there should be better parts for women than just girlfriend and wife or lover? Because I'm bored with that.

SCHOENAERTS: Absolutely. I think there's massive room for improvement there. Of course, every now and then, you get a film that portrays women in a much richer way than they used to be. But they're still too rare.

HARDY: There's a long way to go on that, but I do believe that the time is now. What did you have for breakfast?

SCHOENAERTS: Today? I had two sunny-side-ups and yogurt with raspberries and honey and a fresh green juice: apple, a lemon, and a big chunk of ginger.

HARDY: So you're looking after yourself.

SCHOENAERTS: Yeah. I'm training a lot. I just want to feed myself properly. I never forgot what you told me, I think it was after The Dark Knight Rises [2012], and you went to Spain to some detox type of thing, you were very consciously eating the right food, and what it did to your energy level, but also to your emotional energy. There's a lot of truth in that.

HARDY: When are we going to work again together? Because it sounds like you're much better than you were when I last worked with you. [both laugh] You sound more talented, bro. But I've completely forgotten what I was going to say. [Schoenaerts laughs] I, like you, am passionate about my work. It's something that I believe in. I don't know why. The media is one side of what we do, which I don't understand quite how to fit into because I didn't come here to sell anything. You don't get taught to do that side. What's the worst question or the top three worst questions that you get asked in the press that you're terrified of?

SCHOENAERTS: Not necessarily terrified. But the first question is, "What attracted you? Can you explain your character?" That's the number one question that I'm like, "Oh my God, shit."

HARDY: [both laugh] That one sucks major balls.

SCHOENAERTS: The second one is, "Where do you see yourself in ten years?" I'm like, "I don't know, man. Shit. I might be on an island doing some agricultural stuff." The last one is probably, "Why did you get into acting?" That type of stuff. I'm like, "Yeeeah, ugh." First of all, it's way too personal. And second of all, I don't know if I really know that.

HARDY: What books should I read? I'm assuming you can read.

SCHOENAERTS: The Apology of Socrates.

HARDY: Has it got pictures?

SCHOENAERTS: [laughs] No, no. It's like 50 pages. Socrates was sent to court and was about to get the death sentence, so he decided to defend himself. Plato wrote a version of that defense. I think it's one of the most beautiful manuscripts in the world. It's not an intellectual masturbation type of thingy at all. It's so simple. It's just so clear. That is the beauty of it. When my dad discovered this text, he fell so in love with it, and in the course of 25 years he always went back to that text and reperformed it as a play.

HARDY: I love a theoretician. Do you play Xbox, man?

SCHOENAERTS: I'm not into that at all.

HARDY: Oh, okay. You have a Rubik's Cube?

SCHOENAERTS: No, not even. I have a soccer ball.

HARDY: If you could be anything in the world other than what you are, what would it be?

SCHOENAERTS: I think an architect. I don't know why, exactly. I don't have the mathematical structure for that, but I love architecture.

HARDY: What about an animal?

SCHOENAERTS: Well, I love tigers. I would be a little cat. They just hang around the house. They sleep. They eat. They don't worry about anything. And they get cuddled all day. Life doesn't get any better, does it?

HARDY: Now, where do you see yourself in ten years' time? [both laugh]

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Dalanzadgad, Mongolia. Contestants race camels at a festival. The event is the largest of its kind in the world, covering 15km and attracting 1,108 participants. The winning animal romped home in just 35 minutes and 12 seconds. Photograph: Rentsendorj Bazarsukh

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Päijänne lake, Finland. A freediver prepares to plunge into the icy Päijänne. Enthusiasts come from all over Europe to the lake, where the water is said to be so pure it is drinkable. See more images in our gallery
Photograph: REX.

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Top scientists back federal plan to protect Alaska predators. New rules would ban ‘non-subsistence’ killing of bears, wolves and coyotes – some of the ‘most iconic yet persecuted species’– in the state’s 16 wildlife refuges


















Wishing you all a great Wednesday morning, afternoon, evening and good luck for tomorrow ! And by the way : Happy Torrents Day !! ealA9nr.gif














ange1 avatar
Posted: Wed Mar 30, 2016 21:49
Author: ModeratorET lover
Hello Thalestris and all :) wow thank you :) a most enjoyable and interesting articles regarding Tom Hardy and Matthias Schoenaerts. Oooh you know how much i am a big fan of Tom :) I am really glad you posted it as i had not actually seen before :)

I am not sure if you have posted this trailer, i apologize if you have but will post it again just in case :) another horror that looks very interesting and i can't wait to see :)

Wish you and all a wonderful Thursday :)




Soup avatar
Posted: Wed Mar 30, 2016 21:55
Author: ModeratorTrusted UploaderET loverSupermanSunTurtle
You had to mention Tom......... Oh dear pmpl
lisaleo1 avatar
Posted: Thu Mar 31, 2016 14:45
Author: Kitty
hi everyone ive been a member on here for a while but never came into the forums but today i would like to see how i can get the best from the site,not sure wat i can or carnt do an i would like to make some friends so just found this thread an i would like to say hello an a big thanks to the uploaders
Thalestris avatar
Posted: Thu Mar 31, 2016 17:34
Author: Turtle
Hi ange, I'm really glad to hear that you've enjoyed reading that interview, and thanks for re-posting that movie trailer as we all forget them anyway after a while, so it's good to watch them again. And hi Soup !! I know that it's tiring for you to see all those women who are madly in love with Tom ... It's so irritating, isn't it Soup ?
And hi Lisaleo , so answering to your question , how to make friends on ET .. Well I would say that the chat is probably the best thing to try for a start. But check also the forums or even start a new thread in chit chat if you have an idea perhaps.

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New vinyl jukebox business opens waiting list ahead of production in May
The Rocket can play just 140 songs and costs £8,000 but demand is so high that aficionados are queueing to express an interest


In an era where nigh on every song ever recorded can be summoned at the click of a button, you would be forgiven for thinking jukeboxes had gone the way of the mangle.

Yet business is booming at one Yorkshire-based firm, which is about to bring out what it claims is the world’s only new vinyl jukebox.

The Rocket can play just 140 songs (70 seven-inch singles with an A and B side), compared with Spotify’s millions and it will cost around £8,000 rather than a few pounds a month.

Yet demand is so high for this re-engineered model that the manufacturers in Leeds have had to open a pre-waiting list waiting list in order for aficionados to express their interest ahead of production in May.

Engineers at Sound Leisure spent the past three years trying to figure out how to make a vinyl jukebox when many of the key parts, notably the cartridge for the stylus, were no longer available anywhere in the world.

Managing director Chris Black drafted in his dad, Alan, 71, along with two of his friends, Dave and Phil. All three, who worked on the company’s first vinyl jukebox in the late 1970s, and collaborated with the firm’s young apprenticeships to meld traditional mechanics with modern electrical engineering. “It’s their swan song, if you like,” said Black. “They started the business in 1978 with vinyl and now they have been showing the young lads how to work with records rather than just CDs.”

The company tried to launch the Rocket quietly at a classic car show in London. “But the reaction was incredible,” said Black. “For days I had to stay up each night until 3am answering emails and tweets from people all over the world. Most days since we’ve had people coming to Leeds to look at the prototype. I’m picking up a guy from Austria from the airport on Tuesday. The Swiss are in today and we had some Danes in yesterday.”

Business is up 75% year-on-year, said Black, with a waiting list of five months for the CD and digital models. Despite their hefty price tag, jukeboxes were not just bought by the super rich, he insisted. “We’ve delivered them to council houses as well as castles,” he said. “Sometimes interior designers working for the super rich get in touch, saying that they are installing wireless sound systems costing £40,000 or £50,000 but there’s nothing to show for it because it’s all hidden. They ask us to sell them a jukebox cabinet so that there’s something to show for all the money they’ve spent.”

Pension changes which allow retirees to take out a lump sum on retirement have also been a boon for jukebox industry, he said: “We get a lot of people who have just finished work, saying ‘we thought we might as well treat ourselves’.”

Black has been in the jukebox business for 30 years, having plied his trade going from pub to club fixing broken machines. He never saw the vinyl revival coming. “If you’d told me 20 years ago that we’d be going back to vinyl, I’d have thought you were crazy. But you can never get the same sound from digital as you can from a record.”

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Giant rats used to diagnose prisoners with tuberculosis in jails. Rats trained to detect landmines are being repurposed to help with the fight against TB in Tanzania and Mozambique.


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Kutubdia, Bangladesh. A boy collects drinking water from a hand pump. Kutubdia is one of many islands affected by some of the fastest recorded sea-level rises in the world. The island has halved in size in 20 years Photograph: SIipa.

















Wishing you all a great Thursday morning, afternoon, evening and good luck for tomorrow ! 8dOmi6C.gif












Thalestris avatar
Posted: Fri Apr 01, 2016 16:59
Author: Turtle
Hi Chocolatemilk, sorry that you couldn't post your feedback in here yesterday, ha this bot is kicking us real hard these days.. And thank you for your pm and your feedback, I'm really glad that you find that thread interesting. 8dOmi6C.gif And hi everybody !!! It's Friday !! Yes, we did it, we all survived this week , despite our issues, our ups and downs.. Our crappy days, like mine today .. Anyways, so what's up in the world , well this fantastic news for a start and I've added some interesting pics plus some amazing movie trailers .. So let's go !

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Now THAT'S a real Bond girl! Has O-O-Olivia Coleman been lined up to play 007? Broadchurch star set to make history by taking over from Daniel Craig for next movie

The name’s Bond... Jane Bond. Broadchurch star Olivia Colman is set to make history by becoming the first female 007.

The Daily Mail can exclusively reveal that 42-year-old Miss Colman will take over from Daniel Craig for the next movie – currently known only as Bond 25 – in a controversial move sure to outrage many diehard fans.

She won the role after impressing producer Barbara Broccoli with her portrayal of spymaster Angela Burr in BBC1’s The Night Manager, which ended on Sunday.

‘Barbara was blown away by her performance as a hard, determined yet compassionate spook,’ said a source. ‘She feels after years of cold, emotionless Bonds, it’s time to introduce someone with real humanity behind the steel.’

Speculation about who will play Ian Fleming’s most famous creation had been rife since Craig announced last year he would rather ‘slash his wrists’ than reprise the role. Tom Hiddleston, Miss Colman’s co-star in the Night Manager, had been tipped as the next Bond, with Poldark’s Aidan Turner and Luther’s Idris Elba also believed to be in the running.

Mother-of-three Miss Colman, who has also starred in Peep Show and Rev, has been in talks with Bond producers for the past few weeks. She was told on Monday she had secured the part.

‘Olivia couldn’t believe it, she thought it was a joke at first,’ said a close friend. ‘It’s the dream job that every actor in Britain wanted and she was over the moon to land it. But it’s not just that.

‘Olivia’s no fool – she knows it will raise her profile abroad and lead to better, and more lucrative, film offers. Olivia knows it’s now time to prove herself to the rest of the world. She had her third baby less than eight months ago but is determined to get in shape and prove she can do the stunts just as well as any man.’

Yesterday Bond 25 associate producer Flora Pilo said: ‘We can’t yet confirm who will be taking over from Daniel Craig. An announcement will be made in due course.’

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And the next stop is... Aperitif

The French public transport operator RATP, which runs the Paris Metro, has a jolly story about the renaming of metro stations for 1er avril. Opéra station is now called Aperitif, Crimée is now called Crimée Châtiment in honour of Fyodor Dostoyevsky’s Crime and Punishment, amongst other puns that may only make sense to French speakers. (Apéro = drink)

























Wishing you all a wonderful week end ! I'm going to rest, probably sleep a lot as well and obviously enjoy many "apéros" too and screen lots of movies ! And I'll be back in here next week ! Take care and have fun ! QoaV1eW.gif



















ange1 avatar
Posted: Sun Apr 03, 2016 08:49
Author: ModeratorET lover
Soup wrote:
You had to mention Tom......... Oh dear pmpl

Oooh hell yes looooool :)
ange1 avatar
Posted: Sun Apr 03, 2016 08:53
Author: ModeratorET lover
lisaleo1 wrote:
hi everyone ive been a member on here for a while but never came into the forums but today i would like to see how i can get the best from the site,not sure wat i can or carnt do an i would like to make some friends so just found this thread an i would like to say hello an a big thanks to the uploaders

Hello lisaleo1 it is very nice to meet you :) Like thalestris said you can always make friends in chat or in the forums :) Chat is where i have met many great peeps :) it would be lovely if you came into say hi.... Chat is rather buggy tho at the moment but hopefully in time it may be fixed. You just might have to tackle Et bot a few times as he loves to kick everyone from chat lol
ange1 avatar
Posted: Sun Apr 03, 2016 08:56
Author: ModeratorET lover
Hi Thalestris and all :) aww sorry you could not post too chocolatemilk :(

Thalestris does indeed post the most awesome and interesting news trailers and more :)

Especially the one with Mr Hardy hee hee :)

I do hope everyone is having a wonderful weekend :)
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