Friday, November 18, 2011

Dogtown & Z-Boys Film - Extreme Skateboard 11x17 Poster

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DOGTOWN AND Z BOYS (DELUXE EDITION) - DVD MovieIn the early 1970s, a group of young surfers from a tough neighborhood south of Santa Monica took up skateboards and offhandedly changed the world. At least it appears so after watching Dogtown and Z-Boys, a documentary about how twelve "Z-Boys" (including one girl) resuscitated a dead sport and created a lifestyle that spread infectiously to become a worldwide counterculture phenomenon, namely high-flying "vert" (i.e. vertical) skateboarding and punk rock abandon. Director Stacy Peralta, one of the original Z-Boys, and Craig Steyck, the photographer whose publicity first made them famous, would have you believe that with empty pools as their springboard, the clan single-handedly carved a niche that grew into what is now referred to as "extreme sports" (snowboarding seems particularly implicated). Degrees of accuracy aside, th! e hoard of original footage Peralta and Steyck have access to makes for an engaging portrait of "accidental revolutionaries" whose mythology as expressed by themselves (all but one of the original crew give extensive interviews) and those they influenced (including Henry Rollins, Jeff Ament of Pearl Jam, and Sean Penn, who narrates) is far more entertaining than any evenhanded version could ever hope to be. --Fionn MeadeIn the early 1970s, the sport of skateboarding had so waned from its popularity in the 1960s that it was virtually non-existent. In the Dogtown area of west Los Angeles, a group of young surfers known as the Zephyr Team (Z-Boys) was experimenting with new and radical moves and styles in the water which they translated to the street. When competition skateboarding returned in 1975, the Z-Boys turned the skating world on its head. . Dogtown The Legend of the Z-Boys is a truly fascinating case study of just how an underground sport ascended on the world.! These are the stories and images of a time that not only insp! ired a g eneration but changed the face of sport forever. The Legend of the Z-Boys has been described as "The Dogtown text book" and an insightful companion piece to the movie: "DogTown and Z-Boys". . Spanning 1975 â€" 1985, the first section of the 240 page book includes the best of the "DogTown" articles written by C.R. Stecyk III as they originally appeared in SkateBoarder Magazine. The second half compiles 100’s of never before seen skate images from the archive of Glen E. Friedman - many of which appear in the movie. Both Stecyk and Friedman acted as executive producers and advisors for the award winning film, Dogtown and Z-Boys to be released nationwide simultaneously by Sony Picture Classics in April 2002.In the early 1970s, a group of young surfers from a tough neighborhood south of Santa Monica took up skateboards and offhandedly changed the world. At least it appears so after watching Dogtown and Z-Boys, a documentary about how twelve "Z-Boys" (including one girl) ! resuscitated a dead sport and created a lifestyle that spread infectiously to become a worldwide counterculture phenomenon, namely high-flying "vert" (i.e. vertical) skateboarding and punk rock abandon. Director Stacy Peralta, one of the original Z-Boys, and Craig Steyck, the photographer whose publicity first made them famous, would have you believe that with empty pools as their springboard, the clan single-handedly carved a niche that grew into what is now referred to as "extreme sports" (snowboarding seems particularly implicated). Degrees of accuracy aside, the hoard of original footage Peralta and Steyck have access to makes for an engaging portrait of "accidental revolutionaries" whose mythology as expressed by themselves (all but one of the original crew give extensive interviews) and those they influenced (including Henry Rollins, Jeff Ament of Pearl Jam, and Sean Penn, who narrates) is far more entertaining than any evenhanded version could ever hope to be. --F! ionn Meade

Domino Express Racing

Falling From Grace

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Mistaken at an opera soiree, Grace Tang is suddenly swept into the inner circle of Manhattan s elite and ushered into the arms of New York s most eligible bachelor. What follows is a whirlwind of romance and white lies, as Grace carefully negotiates her personal ties to Chinatown, Wall Street and high society.Former ballerina Gracie Hart is now known as the Diva of Romance in small town Franklinville, KY. The owner of a successful, sophisticated boutique called Romantically Yours, she lives a quiet life, healing from the tragedy that took not only ballet from her, but her fiance, as well. Who would have guessed that she has no intention of ever falling in love again, no matter how loudly her biologica! l clock keeps ticking?
That is, until her new tenants, Carson Price and his six-year-old daughter Izzie, arrive on the scene and proceed to wreak havoc in her life, and her heart. And when that happens, she has not only to face her past, but the future.
Former ballerina Gracie Hart is now known as the Diva of Romance in small town Franklinville, KY. The owner of a successful, sophisticated boutique called Romantically Yours, she lives a quiet life, healing from the tragedy that took not only ballet from her, but her fiance, as well. Who would have guessed that she has no intention of ever falling in love again, no matter how loudly her biological clock keeps ticking?

That is, until her new tenants, Carson Price and his six-year-old daughter Izzie, arrive on the scene and proceed to wreak havoc in her life, and her heart. And when that happens, she has not only to face her past, but the future.Former ballerina Gracie Hart is now known as the ! Diva of Romance in small town Franklinville, KY. The owner of ! a succes sful, sophisticated boutique called Romantically Yours, she lives a quiet life, healing from the tragedy that took not only ballet from her, but her fiance, as well. Who would have guessed that she has no intention of ever falling in love again, no matter how loudly her biological clock keeps ticking?

That is, until her new tenants, Carson Price and his six-year-old daughter Izzie, arrive on the scene and proceed to wreak havoc in her life, and her heart. And when that happens, she has not only to face her past, but the future.When you wake up in the morning and your eyes take in the first hints of light that shine through your window, the dust motes catching and reflecting the sun's rays like little diamonds, the shimmering hues of yellow and orangey gold breaking through into your room, the first thing you think about usually isn't how you're going to make it through the worst day of your life. Unfortunately for Grace Shelley, that's exactly what she's facing! as she ponders what to do now that she's going to be starting out her last year in high school without her best friend. She's not exactly the most popular girl in school - well, not the most popular girl in school to like, anyway - and everything seems to be hinting at another status quo year for her until she bumps into a stranger who leaves her stumbling for words and chasing after her heart. The new guy in school is different. Robert doesn't care about the rumors he's heard about her or that no one else seems to see her the same way that he does; he only wants to be her friend. That's when things get complicated. When Grace learns that he's not your typical high school boy and that he's actually a wingless angel who's looking for someone to trust, she's thrust into his world where not all angels are meant to protect human beings, and where the changes she brings into his life changes everything in hers.

The Burning Plain: The Shooting Script (Newmarket Shooting Script)

  • ISBN13: 9781557048264
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A major figure in the history of post-Revolutionary literature in Mexico, Juan Rulfo received international acclaim for his brilliant short novel Pedro Páramo (1955) and his collection of short stories El llano en llamas (1953), translated as a collection here in English for the first time. In the transition of Mexican fiction from direct statements of nationalism and social protest to a concentration on cosmopolitanism, the works of Rulfo hold a unique position. These stories of a rural people caught in the play of natural forces are not simply an interior examination of the phenomena of their world; they are written for the larger purpose of showing the actions of humans in broad terms of reality.The official screenplay book to the directorial debut by independent film favorite Guillermo Arriaga (screenwriter of Babel and 21 Grams), starring Charlize Theron and Kim Basinger.

In this multilayered drama from screenwriter Guillermo Arriaga, a mother (Kim Basinger) and daughter (Charlize Theron) try to connect during the young woman’s difficult childhood, with devastating effects for all of their loved ones.

The past and the present have a curious way of affecting each other as several people separated by time and space discover: Mariana, a 16-year-old girl trying to put together the shattered lives of her parents in a Mexican border town; Sylvia, a woman in Portland who must undertake an emotional odyssey to burnish a sin from her past; Gina and Nick, a couple who must deal with an intense and clandestine affair; and Maria, a young girl who helps her parents find forgiveness and love. They will discover that their actions may me! an the difference between life and death, as well as their own! journey s into seeking redemptionÂ…and whether or not they will find it.

This book also includes an introduction by Arriaga, a color photo section, production notes, and the complete cast and crew credits.

Apocalypse Now (Apocalypse Now / Apocalypse Now Redux / Hearts of Darkness) (Three-Disc Full Disclosure Edition) [Blu-ray]

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  • AC-3; Closed-captioned; Color; Dolby; DTS Surround Sound; Special Edition; Subtitled; Widescreen
Digitally remastered with 49 minutes of previously unseen footage, Apocalypse Now Redux is the reference standard of Francis Coppola's 1979 epic. A metaphorical hallucination of the Vietnam War, the film was reconstructed by Coppola and editor Walter Murch to enrich themes and clarify the ending. On that basis Redux is a qualified success, more coherent than the original while inviting the same accusations of directorial excess. The restored "French plantation" sequence adds ghostly resonance to the war's absurdity, and Willard's theft of Colonel Kurtz's beloved surfboard adds welcomed humor to the film's nightmarish upriver journey. An encounter with Playboy Playmates seems superfluous compared to the enhanced interplay between Willard ! and his ill-fated boat crew, but compensation arrives in the hellish Kurtz compound, where Willard's mission--and the performances of Martin Sheen and Marlon Brando--reach even greater heights of insanity, thus validating Redux as the rightful heir to Coppola's triumphantly rampant ambition. --Jeff Shannon APOCALYPSE NOW REDUX - DVD MovieApocalypse Now / Apocalypse Now: Redux
In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam Wa! r, following a battle-weary Captain Willard (Martin Sheen) on ! a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning." Like Herzog's Aguirre: The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary Hearts of Darkness, directed by Coppola's wife, Eleanor) informs every! scene and every frame, and the result is a film for the ages. --Jeff Shannon

Hearts of Darkness
Hearts of Darkness is an engrossing, unwavering look back at Francis Coppola's chaotic, catastrophe-plagued Vietnam production, Apocalypse Now. Filled with juicy gossip and a wonderful behind-the-scenes look at the stressful world of moviemaking, the documentary mixes on-location home movies shot in the Philippines by Eleanor Coppola, the director's wife, with revealing interviews with the cast and crew, shot 10 years later. Similar to Burden of Dreams, Les Blank's absorbing portrait of Werner Herzog's struggle to make Fitzcarraldo, the film chronicles Coppola's eventual decent into obsessive psychosis as everything that could go wrong does go wrong. Storms destroy sets, money evaporates, the Philippine government continually harasses the director, Coppola has romantic affairs, and he can't write the story's ending. Everything is c! aptured on film. In the most disturbing scene, we watch Martin! Sheen h ave a drunken nervous breakdown while his director goads him on (he eventually suffered a heart attack, but finished the film).

Other incredible footage is not visual, but aural as the film includes tapes Eleanor Coppola recorded without Francis's knowledge. In them, he truly sounds like a madman as he confesses his fears about making a bomb of a movie. But while Hearts of Darkness is an amazing, voyeuristic experience, its importance lies in the personal reflections offered by those involved. Sheen, Coppola, and Dennis Hopper speak frankly without embarrassment, offering us an essential piece of film history. --Dave McCoyFrancis Ford Coppola's timeless classic comes to Blu-ray for the first time!

This 3-Disc Deluxe Edition includes Apocalypse Now and Apocalypse Now Redux in stunning new transfers supervised by Francis Ford Coppola - and presented for the first time in their original 2.35:1 theatrical aspect ratios. Also included is the feature-length! making-of documentary Hearts of Darkness, presented in a new 1080p HD transfer.

Additional features include a 48-page collectible booklet with never-before-seen archives from the set, over 9 hours of bonus features, plus a storyboard gallery, image galleries, marketing archives and an original script excerpt from John Milius featuring hand-written notes from Coppola.Apocalypse Now / Apocalypse Now: Redux
In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the h! orrors of the Vietnam War, following a battle-weary Captain Wi! llard (M artin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning." Like Herzog's Aguirre: The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentary Hearts of Darkness, directed by Coppola's wife! , Eleanor) informs every scene and every frame, and the result is a film for the ages. --Jeff Shannon

Hearts of Darkness
Hearts of Darkness is an engrossing, unwavering look back at Francis Coppola's chaotic, catastrophe-plagued Vietnam production, Apocalypse Now. Filled with juicy gossip and a wonderful behind-the-scenes look at the stressful world of moviemaking, the documentary mixes on-location home movies shot in the Philippines by Eleanor Coppola, the director's wife, with revealing interviews with the cast and crew, shot 10 years later. Similar to Burden of Dreams, Les Blank's absorbing portrait of Werner Herzog's struggle to make Fitzcarraldo, the film chronicles Coppola's eventual decent into obsessive psychosis as everything that could go wrong does go wrong. Storms destroy sets, money evaporates, the Philippine government continually harasses the director, Coppola has romantic affairs, and he can't write the story's! ending. Everything is captured on film. In the most disturbin! g scene, we watch Martin Sheen have a drunken nervous breakdown while his director goads him on (he eventually suffered a heart attack, but finished the film).

Other incredible footage is not visual, but aural as the film includes tapes Eleanor Coppola recorded without Francis's knowledge. In them, he truly sounds like a madman as he confesses his fears about making a bomb of a movie. But while Hearts of Darkness is an amazing, voyeuristic experience, its importance lies in the personal reflections offered by those involved. Sheen, Coppola, and Dennis Hopper speak frankly without embarrassment, offering us an essential piece of film history. --Dave McCoy

Close to Home

  • Inia divided city, friendship isitheir last line of defense. In the nation of Israel, military service is compulsory for all citizens. Now an award-winning drama offers an in-depth look at young women's lives in the service. Dutiful Mirit (Naama Schender) is assigned to a street patrol with the rebellious Smadar (Smadar Sayar). Plunged into the simmering tensions of Jerusalem, they find the
By the New York Times bestselling author of the Do It Yourself home renovation mysteries...

4th book in the Savannah Martin romantic mystery series, following A Cutthroat Business, Hot Property, and Contract Pending, by bestselling author Jenna Bennett AKA Jennie Bentley.

SYNOPSIS:

Sometimes, trouble hits too close to home.

Savannah's late. The kind of late that comes with midnight feedings and the pitter-patter of little feet. And while it's a circumstance that ! should make everyone happy - now she can finally settle down and marry Todd Satterfield, the way everyone's been hoping and praying! - it isn't Todd's baby. And Rafe Collier, whose baby it is, didn't sign on for fatherhood.

Add in the murder of Savannah's sister-in-law Sheila, the trial of Sheila's friend Marley, and the disappearance of Rafe's twelve year old son David - the kid he never knew he had - and things get complicated fast. And there is worse to come: When Rafe comes back to Nashville to help look for David, and learns that Savannah's pregnant, things do not work out the way Savannah hopes. In the end, she's left with nothing she wanted and a whole lot of trouble she didn't, and when she gets in over her head, Rafe's not there to save the day.

ALSO IN THIS SERIES:

A Cutthroat Business (May 2011)
Hot Property (June 2011)
Contract Pending (July 2011)
Close to Home (September 2011)
A Done Deal (December 2011)
ABOUT THE AUTHOR:

Jenna Bennett is the Ne! w York T imes bestselling author of the Do It Yourself home renovation mysteries from Berkley Prime Crime - written as Jennie Bentley - as well as the Savannah Martin/Cutthroat Business mysteries written as Jenna Bennett. A former Realtor® and home renovator, she makes her home in Nashville, Tennessee, with a husband, two boys, and a house full of pets.

ALSO BY THIS AUTHOR:

Fatal Fixer Upper, DIY-1 (November 2008) written as Jennie Bentley
Spackled and Spooked (August 2009) written as Jennie Bentley
Plaster and Poison (March 2010) written as Jennie Bentley
Mortar and Murder (January 2011) written as Jennie Bentley
Flipped Out (October 2011) written as Jennie Bentley


By the New York Times bestselling author of the Do It Yourself home renovation mysteries...

4th book in the Savannah Martin romantic mystery series, following A Cutthroat Business, Hot Property, and Contract Pending, by bestselling author Jenna Bennett AKA! Jennie Bentley.

SYNOPSIS:

Sometimes, trouble hits too close to home.

Savannah's late. The kind of late that comes with midnight feedings and the pitter-patter of little feet. And while it's a circumstance that should make everyone happy - now she can finally settle down and marry Todd Satterfield, the way everyone's been hoping and praying! - it isn't Todd's baby. And Rafe Collier, whose baby it is, didn't sign on for fatherhood.

Add in the murder of Savannah's sister-in-law Sheila, the trial of Sheila's friend Marley, and the disappearance of Rafe's twelve year old son David - the kid he never knew he had - and things get complicated fast. And there is worse to come: When Rafe comes back to Nashville to help look for David, and learns that Savannah's pregnant, things do not work out the way Savannah hopes. In the end, she's left with nothing she wanted and a whole lot of trouble she didn't, and when she gets in over her head, Rafe's not there ! to save the day.

ALSO IN THIS SERIES:

A Cutthr! oat Busi ness (May 2011)
Hot Property (June 2011)
Contract Pending (July 2011)
Close to Home (September 2011)
A Done Deal (December 2011)

ABOUT THE AUTHOR:

Jenna Bennett is the New York Times bestselling author of the Do It Yourself home renovation mysteries from Berkley Prime Crime - written as Jennie Bentley - as well as the Savannah Martin/Cutthroat Business mysteries written as Jenna Bennett. A former Realtor® and home renovator, she makes her home in Nashville, Tennessee, with a husband, two boys, and a house full of pets.

ALSO BY THIS AUTHOR:

Fatal Fixer Upper, DIY-1 (November 2008) written as Jennie Bentley
Spackled and Spooked (August 2009) written as Jennie Bentley
Plaster and Poison (March 2010) written as Jennie Bentley
Mortar and Murder (January 2011) written as Jennie Bentley
Flipped Out (October 2011) written as Jennie Bentley


2011 debut full length from the Cincinnati, OH band. Despite a few struggles at t! he start, lately things have been constantly looking up for Close to Home, thanks to their mantra that is now the album name. Heading into recording, the band hooked up with Tom Denney (formerly of A Day To Remember) to record demos, and the group instantly clicked. Denney signed on to produce. Andrew Wade (A Day To Remember, The Word Alive) was brought in to mix the album, and shortly after Close to Home signed to Artery Recordings. "Having this team together was literally a dream come true for us," said guitarist Josh Wells. It also helped the band create and develop their vision for the album, with Wells adding "It's basically the summary of our lives and who we are in pursuit of our dreams."

There are human bones buried in an open field, the remains of a lost teenaged boy whose disappearance devastated a community more than thirty-five years ago ... and scarred a guilt-ridden friend forever.

A long-hidden horror has been unearthed, dragging a tormented policema! n back into a past he could never truly forget no matter how d! esperate ly he tried. A heinous crime that occurred too close to home still has its grip on Chief Inspector Alan Banks -- and it's leading him into a dark place where evil still dwells. Because the secrets that doomed young Graham Marshall back in 1965 remain alive and lethal -- and disturbing them could cost Banks much more than he ever imagined.

Having already shown, in 1999's In a Dry Season, that he can plumb historical homicide for gripping modern drama, Peter Robinson goes further in Close to Home, telling parallel stories about teenage boys lost in a grownup world, decades apart. The first is Graham Marshall, a childhood pal of Detective Chief Inspector Alan Banks, who vanished mysteriously in 1965, the supposed victim of a pedophile. Hearing that Graham's bones have finally been unearthed, Banks quits his vacation in Greece and heads to his hometown of Petersborough, England, hoping to assist the investigation--and, perhaps, assuage his guilt over his friendâ! €™s fate. Meanwhile, Banks's colleague and ex-lover, Annie Cabbot, is busy probing the recent disappearance of 15-year-old Luke Armitage, the sensitive, brainy son of a rock star who committed suicide during Luke's infancy. After Cabbot catches hell for interrupting what may or may not have been a legitimate ransom payment for Luke's return, she seeks Banks's advice, drawing these two plot lines neatly together.

As this intense and intricately crafted puzzler develops, blending fiction with a bit of fact (the Kray brothers, who ran a criminal ring in London's East End during the mid-20th century, play off-camera roles here), Robinson explores Banks's troubled relationship with his parents, especially his working-class father, who "had never approved of his choice of career." He also raises doubts about a famed copper who’d originally tackled the Marshall case, involves Banks romantically with a damaged detective whose investigative diligence threatens her safety, ! and shows Cabbot as someone better and stronger than merely Ba! nks's pr otégé. Working with themes of lost youth and the dark secrets hidden in small towns, Robinson delivers in this 13th Banks novel a police procedural of remarkable human depth. --J. Kingston Pierce(Drama) Two young, different female soldiers patrol the anxious streets of Jerusalem, questioning Palestinians and looking for suicide bombers. The rebellious one finds the army demeaning; the controlled one is obedient. Under intense pressure, against a backdrop of any-minute-now terrorist attacks, a friendship takes hold and roles reverse.

Food, Inc.

  • In Food, Inc., filmmaker Robert Kenner lifts the veil on our nation's food industry, exposing the highly mechanized underbelly that's been hidden from the American consumer with the consent of our government's regulatory agencies, USDA and FDA. Our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the livelihood of the American farm
Overworked Manhattan coffee shop waitress Bella isn't looking forward to her 35th birthday. Stuck in a relationship with a married man for far too long, Bella takes a chance on frustrated novelist/taxi driver Bruno. Determined not to scare yet another man off with her dreams of marriage and family, Bella plays it cool and tells Bruno she hates children. A tough break for the womanizer since his ex-wife has just dumped two small children on him ... In her coffee shop world, Bella witnesses she's not ! alone in the bittersweet battle against romance's difficulties. Shy widower Paul struggles through the tender courtship of lively widow Emily. Ornery old Seymour gets a magical shot of youth when he falls for a sexy exotic dancer. Despite love's accompanying twists and turns, everyone holds out for the best. And the persistent Bella discovers fairy tales can come true...even in New York City. Louise Lasser and Robert Modicka put their hearts into the story of a 60-ish couple trying to make a go of it, regardless of his friends' ridicule and her low self-esteem. Their honest acting nearly gives this failed attempt at a Woody Allen-style episode of Friends needed humanity. The problem? Lasser and Modicka are not the lead actors in this film, whose tritely punning title is about the extent of writer-director Amos Kollek's wit. Anna Thomson is the ostensible heroine in this story about the denizens of a New York City diner and their romantic travails. The 35-year-old wai! tress, unlucky in life and love, seems such a candidate for lo! ng-term therapy that her unconventional outlook isn't so much profoundly sympathetic as simply pathetic. Kollek also stretches credulity by allowing a sex-show performer to melt at the badgering appearances of one of her "clients," the creepiest of the whole lot. --Kevin FilipskiFood, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who we have become as a nation.

Q&A with Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein

How did this film initially come about?
Kenner: Eric Schlo! sser and I had been wanting to do a documentary version of his book, Fast Food Nation.  And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food.

How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States.  So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers that emerged to serve the fast food chains.

How many years did it take to do this film and what were the challenges?
Kenner: From when Eric and I began talking, about 6 or 7 years.  The film itself about 2 ½ ye! ars.  It has taken a lot longer than we expected because we w! ere deni ed access to so many places.

Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations.  They just would not let us in.  It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal.  The legal challenges on this film were also unique.  We found it necessary to consult with a first amendment lawyer throughout the entire filming process.

Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. 

And then, as we went out into the world, we became really incredibl! y influenced by a lot of the farmers we met.

What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered.

Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for amounts that there’s no way he can pay, even though he’s not guilty of anything.  Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking! . And that was my biggest surprise.

So, what d! oes our current industrialized food system say about our values as a nation?
Pollan:
It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from.

Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things.  And we had many choices.  We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way.  And he said you look around now, and there’s like one or two companies dominating everything in the food world. We’ve become what we were always terrified of.

And that just always haunted me â€" how could this happen in America?  It seems very un-American that we would be so dominated, and then so intimidated by the companies! that are dominating this marketplace.

How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein:
We discovered that the food industry has managed to shape a lot of laws in their favor.  For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face.  A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. 

What have been the consequences for the American consumer?
Kenner:
Most American consumers think that we are being protected.  But that is not the case.  Right now the USDA does not have the authority to shut down a plant that is producing contaminated meat.  The FDA and the USDA have had their inspectors cut back.  And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial int! erest involved, these companies would rather make the money an! d be sue d than correct it.  Self-policing has really just been a miserable failure.  And I think that's been really quite harmful to the American consumer and to the American worker. 

Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers.  It’s outrageous that genetically modified foods don’t need to be labeled.  Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing.  Whatever your position, you should have the right to make informed choices, and we don’t.  Now the FDA is contemplating whether or not to label meat and milk from cloned cows.  It seems very basic that consumers should have the right to know if they’re eating a cloned steak.

Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan:
Yes.  There are alternative ways! of producing food that could improve Americans’ health.  Quality matters as much as quantity and yield is not the measure of a healthy food system.  Quantity improves a population’s health up to a point; after that, quality and diversity matters more.  And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy.  It’s failing on both counts.

There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables.  Can you give us a profile of the average worker?
Schlosser:
The typical farm worker is a young, Latino male who does not speak English and earns about $10,000 a year.  The typical meatpacking worker has a similar background but earns about twice that amount.  A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants.

Why are there so many Spanish-speak! ing workers?
Kenner:
The same thing that created! obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world.  And those farmers can no longer grow food and compete with the U.S.’ subsidized food.  So a lot of these farmers needed jobs and ended up coming into this country to work in our food production.

And they have been here for a number of years.  But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here.  But yet, these companies still need these people and they’re desperate, so they work out deals where they can have a few people arrested at a certain time so it doesn’t affect production. But it affects people’s lives.  And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line.  And what happens is that they are replaced by other, desper! ate immigrant groups.

Could the American food industry exist without illegal immigrants?
Schlosser:
The food industry would not only survive, but it would have a much more stable workforce.  We would have much less rural poverty.  And the annual food bill of the typical American family would barely increase.  Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill.

What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser:
Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment.  But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences.

I am not opposed to food science.  What matters is how that ! science is used … and for whose benefit.

Can! a perso n eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan:
Yes, the supermarkets still carry real food.  The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks.

How are low-income families impacted at the supermarket?
Kenner:
Things are really stacked against low-income families in this country.  There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook.  And the fast food is very reasonably priced.  Coke is selling for less than water.  So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night.  At the moment, our food is unfairly priced towards bad food.

And, in ! the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing.

What can low-income families do to eat healthier?
Schlosser:
As much as possible, they can avoid cheap, processed foods and fast foods.  It’s possible to eat well and inexpensively.  But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water.  The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later.

Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time.  If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget.

If someone wanted to get! involved and help change the system, what would you suggest t! hey do?
Pearlstein:
I hope people will want to be more engaged in the process of eating and shopping for food.  We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them.  Maybe it’s really just “voting with their forks” â€" eating less meat, buying different food, buying from companies they feel good about, going to farmers markets.

People can try to find a CSA â€" community supported agriculture â€" where you buy a share in a farm and get local food all year.  That really helps support farmers and you get fresh, seasonal food.  On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch programs in schools, trying to get sodas out of schools.  And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it i! s something we should care about.

What do you hope people take away from this film?
Schlosser:
I hope it opens their eyes.

Kenner: That things can change in this country. It changed against the big tobacco companies.  We have to influence the government and readjust these scales back into the interests of the consumer.  We did it before, and we can do it again.

Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country.  Food, Inc. is the most important and powerful film about our food system in a generation.

For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angl! es, talking to authors, advocates, farmers, and CEOs, like co-! producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner t! akes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy
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