Many people enjoy collecting items such as coins, stamps, and art for the pure beauty, enjoyment, or for investment reasons. Many would like to do so, but are unable because of the high price involved. Obviously, owning an original painting by Salvador Dali or Claude Monet would cost millions. Even originals by lesser-known artists such as Tim Cox and Nancy Dunlop Cawdrey will cost thousands of dollars. Therefore, collecting art might seem to be only for the wealthy.

But there is an option for those that may not have the means to purchase original art. That option is limited edition art prints. Some limited edition prints sell for as low as $50. Many artists will allow their original art to be reproduced in a set amount (for example, one thousand prints) and after they have been printed, will “break the mold”, meaning they will never be printed again. The limited availability give the prints more value, making it an obvious way for an artist to profit further from their talents. I can attest that the appreciation of these prints can be absolutely amazing in this age of Ebay and other online trading sites. Once they are no longer available through conventional retail outlets, they move to something called the “secondary market”. The secondary market can consist of consumers or dealers that purchased them when they first became available. Once they move to the secondary market, the value can double, triple, or even quadruple. A good example is the Texas based artist G. Harvey who specializes in Western art. His reproductions are in such demand that they usually sell out the day that they are released.

Art prints are available in a variety of media but paper and canvas prints are the most popular. Most paper prints are reproduced on a sturdy, almost cardboard-like paper. They are usually the most inexpensive prints available. While most are reasonably priced ($50-$150), some can cost hundreds of dollars. The price depends upon the size (smaller prints are cheaper) and the reputation of the artist. Canvas prints are paper prints that are soaked onto a canvas base, making them look very much like the original. Have you ever looked at art on a wall wondering if it was an original painting? Most likely, it was a canvas reproduction. Most limited editions come with a certificate of authenticity signed by the artist. The print is also numbered, such as 123/1000, meaning it was the 123rd print out of one thousand created. By the way, limited editions are the opposite of open editions, which can be printed over and over forever.

Another version of an art print is called an “artist proof”. An artist proof is designated in this manner: the artist instructs a publisher to make one thousand reproductions of an original painting. The publisher will print the first one hundred or so and stop to show the artist his work. The artist will usually ok the result and instruct the publisher to go ahead and produce the rest of the edition. Those first one hundred prints are designated as artist proofs. They are exactly the same in appearance as regular limited editions except for possibly an “AP” in the bottom corner. Artist proofs are highly coveted by collectors. If one desires a print for cosmetic reasons, they would be better off purchasing a regular limited edition instead of an artist proof as artist proofs are higher priced.

Like I mentioned, collecting art prints can be highly rewarding for a variety of reasons.

In the United States, a large amount of information is taught in local schools. This information is often vital to the success of a student. Math, science, English, physical education, and history are taught in many schools. The information taught in those subjects varies from school to school. Unfortunately, not everything that should be taught in a lesson plan is.

The history of Native American Indians is something that many individuals know little about. Native American Indian history is taught in most schools located on Indian reservations, but they should not be the only place where it is taught. Most public and private schools quickly cover Native American Indian history, but many students do not learn everything they could or should.

If Native American Indian history is not extensively covered in your child’s school, there are a number of ways that you can educate them yourself. Many parents wonder why they should continue to educate their children on the history of Native American Indians. The answer varies, but there are number of different ways that a child could benefit from being educated on Native American Indian history.

As previously mentioned, there are a number of different ways to educate your children on the history of Native American Indians. Many of these ways can include the whole family. In addition to educating your child, your family could also spend quality time together. What could be more fun than that?

In history classes across the country, most students are educated in the form of books. Books are a valuable source of information, but there are ways to educate a child and have fun at the same time. Parents are encouraged to take their children to a Native American Indian museum. Native American Indian museums are located all around the country. They allow children to physically see Native American Indian artifacts and much more. This experience is more memorable than reading a passage out of a book.

Another way to educate your children on Native American Indian history is to play a game. There are a number of online websites that offer homemade game ideas or you could develop your own. Board games or flash card games can be developed. These games can easily include important Native American Indian history facts. Children of all ages love games and it is a fun way to learn at the same time.

In addition to playing a history game or visiting a museum, it is also possible to learn the history of Native American Indians by watching movies. There are a wide variety of educational movies available for parents and children of all ages. Watching these movies together as a family is a great way for everyone to educate themselves on the struggles that the Native American Indians faced and the victories that they achieved.

Perceptual filters and flexibility

’Perceptual filter’ is the label that is used to describe how we see the world. How we see the world is colored by our past experiences. We each have our own personal model of the world, which will have blind spots caused by these perceptual filters. It often pays to look at a situation from a different point of view or wider perspective in order to obtain greater understanding of what is going on.

Considering life from different perspective is clearly important for creativity and innovation. Exploring a problem or opportunity from a number of different perceptual positions enables us to move beyond our customary habits and perceptions, bringing wisdom to our interactions with others.

Perceptual Positions

These are the stances from which we think about a set of circumstances or a particular situation. The basic perceptual positions in communication relationships are:

1: ‘First position’ or ‘Self’- I

Being in your own skin, looking at the world through your own eyes, having you

point of view based on your own beliefs, assumptions and past experiences.

2: ‘Second position’ or ‘Other’ – You

Being in the ‘shoes’ of the other person, looking at the world through his/her eyes

having his/her point of view based on his/her beliefs and assumptions as if you had

experienced his/her life

3: ‘Third position’ or ‘Observer’ – They

Being a detached observer of the relationship between you and the other person – like a fly on the wall, detached from the feeling of those involved in the situation.

4: ‘Fourth position’ or ‘Thinking vision of the system’ – We

Being part of a larger system, taking on the perspective of the whole system – ie department, organization or larger community.

Getting a break in film special effects is hard, but not as hard as you may think. The following ten things will go a long way to help you achieve your dream job.

1) Understand the Industry

If you want to work in special effects, it’s important not just to know the difference between a Stag (stagehand) and a Director, but know how special effects itself is divided up. Long gone are the days when Ray Harryhausen (Jason and the Argonauts) would lock himself in a shed with a small team of people and do all the special effects himself. Now, everything is spread across different teams and departments. So, if you’re interested in sculpting sets and large monsters, you want to work as a film sculptor; if you'd prefer smaller more technical projects you’d be better off choosing the model unit.

2) Be a Realist

Working in the creative industry and particularly the film industry is not easy. You’ll often be faced with challenging projects and demanding deadlines and there’ll be dozens of different people waiting for you to finish so they can complete their own jobs. You’ll have to strike a balance between the time allowed and quality of what you produce; you can’t get too precious about your work. Not only that, you’ve got to promote yourself – all special effects artists are freelance and you’ve got to hunt down the jobs out there.

3) Study Art

Whether you’re self-taught or went to Art College, it is vital you have a keen interest in Art to work in special effects. If someone asks you to sculpt a life-size Roman-style Statute or an Egyptian sarcophagus it’s invaluable to have a point of reference in your own mind. But more important than this, it’ll make the job more enjoyable. You may be flicking through an art book over the weekend, and on Monday morning you’re asked to recreate one of the pieces you’ve been admiring.

4) Drawing

In the film industry all technical drawings are done by draughtsmen in the Art Department. So is this just padding to reach the magic '10' steps? No. If you want to create any 3D object, particularly the human form, it is vital to learn to draw and keep practicing. Sculptors regularly liken sculpting to drawing their subjects in clay from various angles. The key to good sculpture, like drawing, is defining the lines and shadows.

5) Practice

This is obvious but it's also vitally important. If you practice creating and sculpting things in your spare time, you will improve. It is also very valuable to recreate a film working experience – so limit yourself to reference photographs (rather than a life model) and give yourself a challenging deadline for the job. A little more difficult, but just as valuable, is to try different mediums. You may be an expert in steel construction and welding, but unless you join the engineering side of special effects or metal work team, these skills are useless. The materials of choice in the films tend to be low-grade potter’s clay and polystyrene.

6) Approachable

Almost everyone in the film industry is self-employed and so they understand the only way to get work is to promote yourself. This doesn’t mean you should go around to a potential employer’s house or create wacky self-marketing campaigns; it means most people in the industry are approachable. If you cold call a relevant Head of Department (HOD) and show commitment and desire to learn they’ll often agreed to meet you for 5-10 minutes to look over your portfolio.

7) Persistence

When you do finally meet the man or woman you’re hoping to be your future boss, don’t stop there. They’ll take your details but it might be 18 months before they have a suitable project and give you a call. You need to make sure you meet as many future employers as possible, and stop and have a chat with other people in the department if you feel brave enough. Try and leave a card or better still, copies of your favourite 1 or 2 pieces of work with your contact details on (and ideally your online portfolio address if you have one). Then, give them a quick catch-up call every 6 months or so – even if they can’t offer you a job, it’s amazing how much information you’ll get about different opportunities.

8) Portfolio

Vital. In a word. The key rules to a good portfolio are simple:

>Diversity – show different types of work you may have done – you may be proud of the series of 18 statutes you’ve done, but don’t show them all. Also, you may not think that 30ft polystyrene snow drift shows you’re finesse as a sculptor, but it shows your versatility so put it in.

>Honesty – it should go without saying but it doesn’t. Only one thing gets a HOD's back-up more than seeing a large piece of work with someone claiming to have created it single-handedly, and that’s seeing a piece of their own work being claimed by someone else. Believe me, it does happen. So, be honest. If you did the left foot of a giant, then say so and don’t be ambiguous about it.

>Concise – use your opportunity wisely. 10-12 photos are definitely enough to show a range of your work and skills.

>Best Foot Forward – most people will make a decision about your work within 2-3 examples so put your best work at the very front.

>Presentation – try not to have scraps of paper tumbling out of your moth-eaten portfolio. Invest in an easy to carry A4 portfolio and use plastic binders. If you have any Photoshop skills to improve the presentation of your work then use them. Don’t feel the need to take in an example of your sculpture – you will be showing your work to professionals who are very used to assessing work through photographs.

>Information – you may have produced a full-scale replica of Michelangelo’s David, but if it took you three years it’s no good to the film industry. Make sure you note down the scale of each example of your work, what material you used and how long it took. These simple pieces of information are important for HODs and will be appreciated.

>Online Portfolio – if you can, get an online portfolio designed and make sure any contact details contain the address. Ideally, try and get the HOD’s email address so you can send them the link. Any time you update the contents of the portfolio, it’s a good excuse to contact the HOD with another link to your work.

9) Networking

Networking can feel a bit uncomfortable and embarrassing at times, but it is important to get to know what jobs are out there. After you’ve worked on a job or two you’ll get the phone numbers of a few fellow workers – make sure you give them a ring. But be warned, if you’re first to hear about the new James Bond film and then tell everyone, you’ll find yourself joining the queue to show your portfolio. This doesn’t mean you shouldn't share information you may have about up coming jobs, it means you should bear in mind that everyone is trying to get employment. It's also a good idea to keep an eye on movie news websites.

10) Watching Films

A great perk for those times when you’re not in work – you can watch films and claim it’s research. Obviously, it’s a great feeling to see your own work on the big screen, but it’s also exhilarating to see the work and names of people you know. After your first job or 2 you’ll very quickly start to feel part of the industry and start recognising names and faces. Also, for those jobs you missed out on, you can go and have a good grumble about how you would have done it better!

In the US, the average American bought their first TV set and began to experience television entertainment via antennae in the 1950's. Cable followed soon thereafter for those in rural areas who had no reception and gradually expanded over the next 40 years. Comedies, westerns, and later variety and spy shows filled the airwaves. Shows in the 1950's were mostly conservative, representing an ideal average American family which was "nuclear", complete with mom, dad, and the kids. An occasional minority had a supporting role and the lifestyles were generally middle class with a stay-at-home mom. This ideal-based programming is part of the charm of 1950's television for many people.

In the 1960's, this began to change as representation of African Americans began to increase and roles became more substantive; Bill Cosby's starring role in I Spy being one example. Women's presence in TV also increased and started to stray away from the typical housewife. By the 60's and 70's, women had far more leading roles such as in Bewitched and I Dream of Jeannie. The Mary Tyler Moore show was an example of the emergence of the single, capable, working woman as an acceptable figure on television. In the 70's and 80's, social issues and different lifestyles began to penetrate television programming. Divorce and single motherhood was presented in shows such as One Day at a Time. Women, and occasionally minorities, began to be shown in positions of power. Issues such as homosexuality and abortion began to be discussed. From Cagney and Lacey to Murphy Brown, some women began to have a purpose beyond their beauty. Even age barriers began to fall as shows such as The Golden Girls became popular. Inter-racial issues were more evident in shows such as All in the Family. By the 90's, shows with African Americans in lead roles and in positions of authority were becoming established. Bill Cosby as the successful obstetrician and ideal father was married to a successful lawyer, Felicia Rashad while Oprah Winfrey acted, directed, and began to take over the world of talk shows. The types of programming had changed over the years as well. Dramas, investigative news programs, sports, and reality based shows were gaining popularity.

A major step in diversification was the emergence of niche programming. From MTV directed toward the younger, male audience, to ESPN, Fox Sports for men, and Lifetime cable network for women (just to name a few) the trend to recognize a wider audience was marching forward. Today, the representation of many minority groups on American television remains small for the population and representation of all groups remains somewhat inaccurate or restricted but strides continue. Channels specific to the gay/lesbian population and to Asian Americans are examples that demonstrate recognition of our diverse population.

With satellite, television has been able to branch out and become even more global however. Dish Network, as an example, now offers 110 International Channels in over 25 languages. African, Arabic, South Asian, and Russian programming are just a few examples. They also offer Latino packages and a Great Wall package directed toward the Chinese market. Increasingly, satellites allow us to listen in to radio and television programming from around the world allowing television to continue it's evolution as a diversified and global media.

Have you ever considered the incredible number of Hollywood Movies, which have the genre of the End of the World, by way of Natural Catastrophe? You know the ones I mean; Super Plume Volcanoes, Asteroid Hitting the Earth, Global Warming, Tsunamis, Biblical Floods or Massive Earthquakes? Still with all this depiction what do we see?

Nothing, not a thing and this is why I say; Hollywood Movies Depict Armageddon 100s of Ways; Still Nothing Yet and perhaps we should stop waiting for it all and realize it is not coming. It is certainly not coming in the present period and anyone who says it is, well let’s just say they are either a purveyor of doom and gloom or they are a religious nut case and totally out of control.

Nevertheless why is it that people love these movies so darn much? I mean why are people yes you and I also, why do these movies turn us on and make us think and why do we pay $10.00 each to go see them?

Of course the best ones are the ones where a group saves the World and of course that is worthy of mention, talk about saving the day, well and the night too for that matter. But have you ever really stopped to consider how many of these movies there are out there these days? Well, consider all this in 2006.

My Search For Reality in TV Revealed Satellite TV and Television's Future, Now.

I never dreamed of TV becoming amazing again – I was the guy with 12 o’clock blinking green on his VCR. Yes, I said VCR. So getting the hang of today’s TV was not a piece of cake.

Recently, during an emergency replace-ectomy of my dying Zenith behemoth, I realized I was in deep trouble. Never mind DVD. Who knew of progressive scan and digital convergence. Aspect ratios and digital comb filters. Anti-glare coatings and so many lines of resolution? I knew of the tv satellite dish, but...

This was a long way from the TV I was nurtured on?

I remember seeing Elvis on the Ed Sullivan Show gyrating inside a black & white-glass-globe-picture-tube about as small as the window on a front-load washer.

…Man did the warm glow of that box-at-the-end-of-a-wire get me excited.

Oh, I watched plenty alright! And you know what? I can’t remember ever complaining about getting up from the couch to change the channel… or to adjust the antenna.

Then, Wagon Train on a 19 inch “color set” was about as good as it got.

I lost track of television’s high technology after a while I suppose. I saw TVs getting bigger and I did get hip to cable and the remote control – but distracted by life and a million other things – today’s satellite TV and the whole awesome new experience almost passed me by.

It wasn’t until my first trip to a home-electronics super-store - to replace the dinosaur 25inch Zenith color console, in a polished-wood-cabinet that matched our living-room furniture long ago - that I realized I wasn’t in Kansas anymore… but rather, lost.

Lost in a new-world-unknown.

A world where I discovered satellite tv on flat screens square and wide, Where thin plasmas hung on the wall and flat-panel LCDs framed in silver sat upon slender, tilting pedestals.

I saw TVs that connect to your computer and one, giant-screen, rear-projector that eats digital camera memory sticks to show your photos of grandma on vacation in larger than life and surround sound.

Oh, TVs are still getting bigger, alright. But now they are amazing again and I’m excited. But with that “excitement and amazement”, comes downright confusion. How do they do that? What of “all that” is right for me?

Now, I like the idea of a tv satellite dish on my roof, but it’s a new-tech jungle out there my friend. Prepare if you too are from Kansas.

I'll help you get a clue about what's out there before you buy “what could become” the most incredible entertainment experience you and your living room - or Elvis, could ever dream-up. And for a lot less than you think, too.

Keep your eye on the Planet. I’ll fill you in soon about why I can’t leave my home anymore.

One of the most popular genres is the Natural Disaster from hell hits Home Town America and this genre we have seen with Super Volcanoes, Giant Tsunamis, Massive Earthquakes and even the coming Global Warming and Super Storms. We have seen Comets and Asteroids hit the Earth as well.

Hollywood has a fascination with such things and that is why this New Hurricane Movie is so very Popular, as it breaks all the box office records. But this is to be expected after the 2004 and 2005 Atlantic Tropical Hurricane Season. Now during the 2006 Atlantic Tropical Season we see Hollywood wishing to play on our fears and take our stress to a whole new level as we pay them $10.00 to see the darn movie in the first place?

This is why the New Hurricane Movie is very Popular and why its gross sales are so incredibly huge. Hollywood has a knack for producing such star movies and it is for this reason that we continue our fear of Hurricanes.

There is something about the innate psychological trauma of a Category Five or as this Movie shows a literal Category Six Hurricane, which is off the charts on the Saffir-Simpson Scale. It is this raw emotion that Hollywood has once again found, zeroed in on and given us back in pure horrific entertainment. Consider all this in 2006.

Music video production companies are production companies that produce music videos. A music video is a video clip or a short film that gives a visual presentation of a song. Though music videos made specifically for television first appeared in the 1950s, the strong association between music and the video presentation of it started in the 1980s, with the launch of cable channels like MTV.

Apart from producing the video for music, music video production companies specialize in the writing of treatments for music videos, coverage of live shows, video editing, and developing video for the Internet. Music video production is a labor-intensive industry. As for any project, production of music videos begins with proper planning and design. Since there are many types of music videos, a decision has to be made regarding the type that suits the particular project. Based on the type of music video being developed, music video production companies decide on the film and video equipment that are needed for shooting the video.

The music video production association (MVPA) is the umbrella organization that brings together companies that are in the business of music video production. Together with providing a platform to share ideas and to educate its members on the latest happenings in the music video industry, MVPA tries to ensure that the member companies adhere to the highest professional production standards. The MVPA also facilitates discussion of matters of mutual concern among production companies, crews, suppliers, record companies, and any other party related to the music video industry. The MVPA Annual Awards are presented as a form of recognition to the technical and creative artists in the music video production industry.

Since 2000, the music video industry has been experiencing sinking levels of activity. With record labels experiencing declining profits, their investments into making music videos have also taken a hit. While a $500,000 music video for a band of average recognition was the norm earlier, currently such videos are budgeted at $200,000. This has adversely affected the music video production industry and the companies operating in this industry. Free online swapping of music and lax enforcement of intellectual property rights in developing countries have lately dulled the revenues for this industry.

Music code is the stuff that computer software writers write. It is all the letters, numbers, symbols, and so on that ultimately add up to calculations and finally becoming images and sounds on the computer. HTML is one type of code. HTML is the basic code for most websites. The content of the HTML code of a website determines what will be shown and where, what will move and how, and what will make noise and when.

Rock music code, therefore, is an HTML code that can be pasted into the existing HTML code that makes up the website. The code will direct the website to play pre-determined rock music when the user accesses the website. Rock music code is available for any type of website. It can also be used for the free template websites such as Blogger, Livejournal, Friendster, and so on. Anything that accepts HTML can allow for rock music code.

First, choose what song you would like. Would you like some Aerosmith? How about some Elvis Presley? Or how about something more modern, like 311, Madonna, Nine Inch Nails, or Rasputina? These codes are available. You can find them online for free or by paying for them a reasonable amount of money. Private individuals often offer these rock music codes to the general public, although copyright infringement can come into play if you’re not careful about what you put up on your website or blog.

Whatever rock music code you choose, you can always change it later. So in the meantime, rock and roll, baby.

Running an oboe reed business and all, I often get requests or inquiries about reeds and the desired tone they'll produce. And while I agree that reeds play an important part in determining your sound on a given day, I am old-fashioned and in favor of hard work to get the tone you want!!

I'll always think of my teacher, Richard Killmer, who could take your most crude, unfinished reed and make it sound amazing.

So, what's the secret?

The secret is that your tone is your voice, and it can be developed and matured like any other voice.

As oboists, we are always so quick to blame the reed, or let the reed become our personality.

But your tone is your personality, and it will come through in your playing pretty much no matter what you do. But there certainly are steps you can take to refine your voice and make it sound more like the ideal sound you hear in your head.

The hard work you have to do is long tones!!

Not just any long tones, but mindful long tones. That means that for 15-30 minutes a day you concentrate and listen and notice all the subtleties of your sound.

You'll spend hours (although they'll fly by) trying to stop and start a note just the way you want it, and hours more slurring up and down between notes to get that seamless buttery-ness that comes from you, and not your reed.

Plugging in a great reed will never do you justice if you haven't spent time on identifying your voice and refining it. The best part about working in this way is the rewards you will see slowly, but consistently over time.

You'll probably struggle daily with long tones for a while, have bouts of frustration.....and then finally it will happen!!

You get to perform a Bach cantata, and you still feel like you are struggling. Someone gives you a recording, and although there is always stuff you'd like to do over, you notice a transformation of your sound!

It sounds effortless and liquid, just what you have been hearing in your ear for the last few months. Those moments make it all worth it because you have somehow transferred the voice you've had in your head to your oboe playing!

Just remember the rewards that you will reap from working hard to "find yourself" the next time you are in a reed slump. The reed is just the vehicle for a sound - your voice is what you make it.

You never know what you’re going to find when you take the kids to the movies – or turn on the TV in the evening.

Here are four useful online resources to help you avoid surprises and find the best family-friendly films.

1. Kids-in-Mind.com
http://www.kids-in-mind.com This informational website provides a factual, objective synopsis of the content of a film in the each of three categories (sex/nudity, violence/gore, and profanity) on a scale of 1 to 10. Specifics are offered in each of the write-ups as to why a film received a particular rating. There are also discussion topics, as well as an overview of the messages that the movie conveys. The details provided can really help you avoid surprises, and they give you the information you need to make an informed decision for yourself about whether you deem a movie appropriate for your family.
Cost: Free

2. Reel-Appeal
http://www.spiritualparenting.com/resources/reel_appeal.html Reel-Appeal is a movie companion created by Mimi Doe (the author of 10 Principles for Spiritual Parenting) and writer/producer Jennifer Marquis. The website provides the names of family-friendly films that correspond with the spiritual parenting principles in Doe’s book. Each of these films then has an in-depth PDF discussion guide that helps parents teach critical thinking as it relates to entertainment choices, and it’s bound to create some thought-provoking family conversations, too.
Cost: Free.

3. CleanFlicks.com
http://www.cleanflicks.com This is the Netflix for family-edited Hollywood films. Cleanflicks works much the same as Netflix. There are no late fees, you’ll have several different subscription plans to choose from, and returning the movies is as easy as slipping it into a prepaid return envelope. Except, with Cleanflicks, the film’s profanity, nudity, graphic violence, and sexual content have been removed. Edited movies are available to buy or rent at the Cleanflicks site.
Cost: Subscription plans range from $20 to $40 per month. A free trial is available.

4. Spiritual Cinema Circle
http://www.spiritualcinemacircle.com This monthly DVD club features films selected specifically for their spiritual and psychological value. Each shipment includes a special newsletter with reviews and information about spiritual cinema, plus an online members-only resource area. Subscribers receive 4 movies each month (to keep). For parents of younger children, a Kids Spiritual Cinema package is available as well.
Cost: $20 per month, plus shipping/handling. A free trial is available.

Superman Returns, the new film by Bryan Singer, is the fifth movie to tell the story of a simple young boy from another planet who falls to earth and grows up to be the Man of Steel, helping people and averting disasters that would end the world.

Here is a quick look at the first four films, that were made in the 70s and 80s.

Superman (1978) - The original film sees Christopher Reeve play Superman. With the planet Krypton facing destruction, scientist Jor-El takes drastic measures to preserve the Kryptonian race - he sends his infant son Kal-El to Earth to become a champion of truth and justice. Kal-El grows up as Clark Kent and eventually learns the truth about his family and realises that he must use his abilities for good. Clark moves to Metropolis where he becomes a mild-mannered reporter for the Daily Planet newspaper, and also becomes his alter-ego, Superman, a defender of law and order. However, deep below Metropolis Lex Luthor is plotting evil. Can Superman thwart his nasty plans and save millions of innocent people?

Superman II (1980) - Christopher Reeve returns - The adventure continues. Superman saves France by throwing a nuclear bomb deep into space. Unfortunately the bomb explodes, freeing three Kryptonian criminals from captivity. Meanwhile Superman has decided to relinquish his superhero powers to live happily ever after with Lois Lane. As the criminals, led by General Zod, join up with Lex Luthor to take over the world, Clark Kent has to decide whether to try to regain Superman’s powers and face his biggest battle yet.

Superman III (1983) – If the world's most powerful computer can control even Superman...no one on earth is safe. Superman has saved the world against villains from Earth and from Krypton, but will he cope when a super-computer, and its programmer, set out to destroy him? In between his attempts to save the world, Clark returns to his old High School and meets an old flame.

Superman IV: The Quest for Peace (1987) - Nuclear Power. In the best hands, it is dangerous. In the hands of Lex Luthor, it is pure evil. This is Superman's greatest battle. And it is for all of us. In an attempt to take over the world arms market Lex Luthor clones Superman to make Nuclear Man. Luthor hopes Nuclear Man will take on and beat Superman. Thankfully, Superman saves the Statue of Liberty, repulses a volcanic eruption of Mount Etna, and rebuilds the demolished Great Wall of China. And saved the world.

Getting a break in film special effects is hard, but not as hard as you may think. The following ten things will go a long way to help you achieve your dream job.

1) Understand the Industry

If you want to work in special effects, it’s important not just to know the difference between a Stag (stagehand) and a Director, but know how special effects itself is divided up. Long gone are the days when Ray Harryhausen (Jason and the Argonauts) would lock himself in a shed with a small team of people and do all the special effects himself. Now, everything is spread across different teams and departments. So, if you’re interested in sculpting sets and large monsters, you want to work as a film sculptor; if you'd prefer smaller more technical projects you’d be better off choosing the model unit.

2) Be a Realist

Working in the creative industry and particularly the film industry is not easy. You’ll often be faced with challenging projects and demanding deadlines and there’ll be dozens of different people waiting for you to finish so they can complete their own jobs. You’ll have to strike a balance between the time allowed and quality of what you produce; you can’t get too precious about your work. Not only that, you’ve got to promote yourself – all special effects artists are freelance and you’ve got to hunt down the jobs out there.

3) Study Art

Whether you’re self-taught or went to Art College, it is vital you have a keen interest in Art to work in special effects. If someone asks you to sculpt a life-size Roman-style Statute or an Egyptian sarcophagus it’s invaluable to have a point of reference in your own mind. But more important than this, it’ll make the job more enjoyable. You may be flicking through an art book over the weekend, and on Monday morning you’re asked to recreate one of the pieces you’ve been admiring.

4) Drawing

In the film industry all technical drawings are done by draughtsmen in the Art Department. So is this just padding to reach the magic '10' steps? No. If you want to create any 3D object, particularly the human form, it is vital to learn to draw and keep practicing. Sculptors regularly liken sculpting to drawing their subjects in clay from various angles. The key to good sculpture, like drawing, is defining the lines and shadows.

5) Practice

This is obvious but it's also vitally important. If you practice creating and sculpting things in your spare time, you will improve. It is also very valuable to recreate a film working experience – so limit yourself to reference photographs (rather than a life model) and give yourself a challenging deadline for the job. A little more difficult, but just as valuable, is to try different mediums. You may be an expert in steel construction and welding, but unless you join the engineering side of special effects or metal work team, these skills are useless. The materials of choice in the films tend to be low-grade potter’s clay and polystyrene.

6) Approachable

Almost everyone in the film industry is self-employed and so they understand the only way to get work is to promote yourself. This doesn’t mean you should go around to a potential employer’s house or create wacky self-marketing campaigns; it means most people in the industry are approachable. If you cold call a relevant Head of Department (HOD) and show commitment and desire to learn they’ll often agreed to meet you for 5-10 minutes to look over your portfolio.

7) Persistence

When you do finally meet the man or woman you’re hoping to be your future boss, don’t stop there. They’ll take your details but it might be 18 months before they have a suitable project and give you a call. You need to make sure you meet as many future employers as possible, and stop and have a chat with other people in the department if you feel brave enough. Try and leave a card or better still, copies of your favourite 1 or 2 pieces of work with your contact details on (and ideally your online portfolio address if you have one). Then, give them a quick catch-up call every 6 months or so – even if they can’t offer you a job, it’s amazing how much information you’ll get about different opportunities.

8) Portfolio

Vital. In a word. The key rules to a good portfolio are simple:

>Diversity – show different types of work you may have done – you may be proud of the series of 18 statutes you’ve done, but don’t show them all. Also, you may not think that 30ft polystyrene snow drift shows you’re finesse as a sculptor, but it shows your versatility so put it in.

>Honesty – it should go without saying but it doesn’t. Only one thing gets a HOD's back-up more than seeing a large piece of work with someone claiming to have created it single-handedly, and that’s seeing a piece of their own work being claimed by someone else. Believe me, it does happen. So, be honest. If you did the left foot of a giant, then say so and don’t be ambiguous about it.

>Concise – use your opportunity wisely. 10-12 photos are definitely enough to show a range of your work and skills.

>Best Foot Forward – most people will make a decision about your work within 2-3 examples so put your best work at the very front.

>Presentation – try not to have scraps of paper tumbling out of your moth-eaten portfolio. Invest in an easy to carry A4 portfolio and use plastic binders. If you have any Photoshop skills to improve the presentation of your work then use them. Don’t feel the need to take in an example of your sculpture – you will be showing your work to professionals who are very used to assessing work through photographs.

>Information – you may have produced a full-scale replica of Michelangelo’s David, but if it took you three years it’s no good to the film industry. Make sure you note down the scale of each example of your work, what material you used and how long it took. These simple pieces of information are important for HODs and will be appreciated.

>Online Portfolio – if you can, get an online portfolio designed and make sure any contact details contain the address. Ideally, try and get the HOD’s email address so you can send them the link. Any time you update the contents of the portfolio, it’s a good excuse to contact the HOD with another link to your work.

9) Networking

Networking can feel a bit uncomfortable and embarrassing at times, but it is important to get to know what jobs are out there. After you’ve worked on a job or two you’ll get the phone numbers of a few fellow workers – make sure you give them a ring. But be warned, if you’re first to hear about the new James Bond film and then tell everyone, you’ll find yourself joining the queue to show your portfolio. This doesn’t mean you shouldn't share information you may have about up coming jobs, it means you should bear in mind that everyone is trying to get employment. It's also a good idea to keep an eye on movie news websites.

10) Watching Films

A great perk for those times when you’re not in work – you can watch films and claim it’s research. Obviously, it’s a great feeling to see your own work on the big screen, but it’s also exhilarating to see the work and names of people you know. After your first job or 2 you’ll very quickly start to feel part of the industry and start recognising names and faces. Also, for those jobs you missed out on, you can go and have a good grumble about how you would have done it better!

Working in the film industry is not for everyone; but if you’re keen and develop you’re skills and knowledge, then you’re likely to get an opportunity to show what you can do. Best of luck!

You've never seen Emma Thompson so ugly. The svelte and proper actress dons warts and a mountain of a dress for this role. But if you're looking for an entertaining show with a series of excellent messages, rent Nanny McPhee. I was surprised to see that Thompson even wrote the screenplay.

My kids (ages 7 and 9) watched it and loved it. The special effects are outstanding, but the story is especially well-done. And what impressed me the most, was that there were examples of youth empowerment throughout.

Nanny McPhee takes the seven naughty children under her wing and teaches them all sorts of things that their father just couldn't. But during each lesson, she throws the responsibility back on the children. I consistently heard empowerment phrasing, like (these are paraphrased according to my memory):

"What will you do?" (When a child comes to Nanny with a problem.)

"This is something you must do." (When the children are faced with a problem, she sent them all off to solve it.)

"No, I couldn't interfere. But perhaps Simon (oldest boy) could talk to your father." (They wanted Nanny McPhee to work her magic so the potential stepmother would go away.)

And when the children asked Nanny if she would allow them to do whatever they needed to in order to scare off the woman their father would marry, she said, "Only if you are willing to accept whatever consequences come your way."

The technical effects were marvelous, the story adventurous and even the predictable ending entertained. This movie gets high marks from me. I'd give it four stars.

It must have been fate that Bryan Singer would direct the new film Superman Returns, the fifth in the series of Superman films. Singer loved the George Reeves Superman TV series when he was young, and was a huge fan of the Dick Donner-directed films from the 70s and 80s that starred Christopher Reeves as the Man of Steel. “I identify with Superman. I am adopted, I am an only child, and I love the idea that he comes from another world, that he's the ultimate immigrant. He has all these extraordinary powers, and he has a righteousness about him,“ said Bryan.

After attending the School Of Visual Arts in New York City (but not graduating), he graduated from the USC cinema school (where, incidentally, he met John Ottman who wrote the score for Superman Returns), Singer’s first commercial success was as the producer/director of The Usual Suspects in 1995.That film saw him work with Kevin Spacey for the first time, and Singer and Spacey are re-united, again in Superman Returns, as Spacey plays arch villain Lex Luther, just out of prison and again set to rule the world.

However, it is as an adapter of comic books, bringing superheroes to life, that Singer has carved a niche for himself in the movie world.

In 2000, as writer and director, he introduced Wolverine, Magneto and the rest of the X-Men to the movie world in a hugely successful adaptation, before reprising the characters in the follow-up, X2. Singer left the X-Men franchise to develop Superman Returns and did not work on the 3rd film The Last Stand.

Now an established player in Hollywood with a number of big projects lined up for the future, who would bet against his favourite being the recently-announced sequel for Superman Returns in 2009?

Filmography

* Superman Returns (2006) (producer/director/writer)
* X2 (2003) (executive producer/director/writer)
* X-Men (2000) (director/writer)
* Apt Pupil (1998) (producer/director)
* Burn (1998) (executive producer)
* The Usual Suspects (1995) (producer/director)
* Public Access (1993) (executive producer/director/writer)
* Lion's Den (1988) (director)

Superman Returns, the new film by Bryan Singer, is the fifth movie to tell the story of a simple young boy from another planet who falls to earth and grows up to be the Man of Steel, helping people and averting disasters that would end the world.

Here is a quick look at the first four films, that were made in the 70s and 80s.

Superman (1978) - The original film sees Christopher Reeve play Superman. With the planet Krypton facing destruction, scientist Jor-El takes drastic measures to preserve the Kryptonian race - he sends his infant son Kal-El to Earth to become a champion of truth and justice. Kal-El grows up as Clark Kent and eventually learns the truth about his family and realises that he must use his abilities for good. Clark moves to Metropolis where he becomes a mild-mannered reporter for the Daily Planet newspaper, and also becomes his alter-ego, Superman, a defender of law and order. However, deep below Metropolis Lex Luthor is plotting evil. Can Superman thwart his nasty plans and save millions of innocent people?

Superman II (1980) - Christopher Reeve returns - The adventure continues. Superman saves France by throwing a nuclear bomb deep into space. Unfortunately the bomb explodes, freeing three Kryptonian criminals from captivity. Meanwhile Superman has decided to relinquish his superhero powers to live happily ever after with Lois Lane. As the criminals, led by General Zod, join up with Lex Luthor to take over the world, Clark Kent has to decide whether to try to regain Superman’s powers and face his biggest battle yet.

Superman III (1983) – If the world's most powerful computer can control even Superman...no one on earth is safe. Superman has saved the world against villains from Earth and from Krypton, but will he cope when a super-computer, and its programmer, set out to destroy him? In between his attempts to save the world, Clark returns to his old High School and meets an old flame.

Superman IV: The Quest for Peace (1987) - Nuclear Power. In the best hands, it is dangerous. In the hands of Lex Luthor, it is pure evil. This is Superman's greatest battle. And it is for all of us. In an attempt to take over the world arms market Lex Luthor clones Superman to make Nuclear Man. Luthor hopes Nuclear Man will take on and beat Superman. Thankfully, Superman saves the Statue of Liberty, repulses a volcanic eruption of Mount Etna, and rebuilds the demolished Great Wall of China. And saved the world.

You never know what you’re going to find when you take the kids to the movies – or turn on the TV in the evening.

Here are four useful online resources to help you avoid surprises and find the best family-friendly films.

1. Kids-in-Mind.com
http://www.kids-in-mind.com This informational website provides a factual, objective synopsis of the content of a film in the each of three categories (sex/nudity, violence/gore, and profanity) on a scale of 1 to 10. Specifics are offered in each of the write-ups as to why a film received a particular rating. There are also discussion topics, as well as an overview of the messages that the movie conveys. The details provided can really help you avoid surprises, and they give you the information you need to make an informed decision for yourself about whether you deem a movie appropriate for your family.
Cost: Free

2. Reel-Appeal
http://www.spiritualparenting.com/resources/reel_appeal.html Reel-Appeal is a movie companion created by Mimi Doe (the author of 10 Principles for Spiritual Parenting) and writer/producer Jennifer Marquis. The website provides the names of family-friendly films that correspond with the spiritual parenting principles in Doe’s book. Each of these films then has an in-depth PDF discussion guide that helps parents teach critical thinking as it relates to entertainment choices, and it’s bound to create some thought-provoking family conversations, too.
Cost: Free.

3. CleanFlicks.com
http://www.cleanflicks.com This is the Netflix for family-edited Hollywood films. Cleanflicks works much the same as Netflix. There are no late fees, you’ll have several different subscription plans to choose from, and returning the movies is as easy as slipping it into a prepaid return envelope. Except, with Cleanflicks, the film’s profanity, nudity, graphic violence, and sexual content have been removed. Edited movies are available to buy or rent at the Cleanflicks site.
Cost: Subscription plans range from $20 to $40 per month. A free trial is available.

4. Spiritual Cinema Circle
http://www.spiritualcinemacircle.com This monthly DVD club features films selected specifically for their spiritual and psychological value. Each shipment includes a special newsletter with reviews and information about spiritual cinema, plus an online members-only resource area. Subscribers receive 4 movies each month (to keep). For parents of younger children, a Kids Spiritual Cinema package is available as well.
Cost: $20 per month, plus shipping/handling. A free trial is available.

Cary Grant had a marvelous analogy to explain the mechanism of fame in Hollywood.

He likened the whole film industry to a tramway car with only so many seats and standing space.

The tramway car is always full. Some people try to step on board from the front door but that can happen only if some people leave the car from the back door.

The prime locations are the seats in the middle. Then come the standing slots in the middle.

Some actors in Cary Grant’s time had a firm seat in the middle of the “Hollywood Tramway,” like Gary Cooper.

Others, like Cary Grant himself and that other great actor with whom he shared the same initials, Clark Gable, were busy making room for themselves and shouldering their way towards the middle of the moving car.

They were still standing up but they had a firm hold on the leashes dangling from the metal bar overhead.

So their situation was perhaps as not comfortable as the sitting deities like Cooper but it was still stable.

In the fifties Grant would earn a safe seat in middle of the car.

Who are the “standing passengers” in today’s “Hollywood tramway car”?

Tom Cruise, who made the cover of the Premiere magazine lately as the "most powerful actor on earth," now seems to occupy the same seat once enjoyed by Cooper and Grant.

Jake Gyllenhaal and Reese Witherspoon are definitely making their way towards those seats in the middle.

And as to those who are leaving the tight little tramway of Hollywood from the back door, that’s not a polite topic to discuss in public, don’t you agree? Such is life.