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[vulbmedia]

Product Photographer in Sydney

With our years of expertise in product photography in Sydney, we take pride in our successful and result-oriented collaborations with numerous Australian brands, both in Sydney and beyond, to uncover what product photography has in store.

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[wowmomentproductionsblog]

Photographer Sydney

Among Sydney's leading brands in the photography industry is Wow Movements Production. Wow Movements Production has proven itself as an example for quality in the photography sector through using its expertise in both creative kindness and visual storytelling. Wow Movements Production, a well-known photographer Sydney, provides an extensive selection of photographic services that are modified to each individual customer's specific requirements. Wow Movements Production focuses in producing visually stunning material that attracts viewers, whether it is through the photography of amazing scenery, recording of special events, or the creation of attracting photographs. Wow Movements Production is unique because of its dedication to wrapping each moment. The team at Wow Movements Production goes beyond what is required with a passion for creativity as well as a keen understanding for detail in order to make sure each image tells an attracting story. Wow Movements Production is a well-known and dedicated photography company in Sydney that constantly sets an example for quality and quality. Clients depend on Wow Movements Production to provide outstanding photography services that capture the natural beauty and essence of every moment, whether they are using the business for commercial projects, private commissions, or personal portfolios.

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[wowmomentproductions]

Photographer Sydney

Are you seeking a Photographer Sydney who can capture the essence of your special moments with finesse and creativity? Look no further than Wow Moment Production! Our team of skilled photographers in Sydney is dedicated to crafting visual narratives that transcend the ordinary.

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[andremartinphotography]

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[stylespresleyhearted]

POV: AUSTIN BUTLER IS IN LOVE

(AND DOESN’T CARE WHO KNOWS IT)

masterlist here x

liked by fan21, user13, and 937 others

enews Love is in the air! Austin Butler and his girlfriend shared the sweetest reunion outside the airport 😭 more photos at the link in bio

view all comments

fan34 omg i am so freaking jealous

user12 GOD HAS FAVORITES AND IT AINT ME

butlerfan It feels so good to see him be publicly in love and not hide it anymore

liked by florencepugh, tomhardy, and 15933 others

austinbutler Happy day 🎂❤️

view all comments

fan13 LMAO THE OFFICE MEME RETURNS

tchalamet happy birthday gee! @yourinstagram

zendaya 27 has never looked better queen 💕

ashleytisdale I’m telling Jupiter LOL! Happiest birthday to you @yourinstagram you are a blessing in our lives 🥰🥰

ashleybee HAPPY HAPPY BIRTHDAY 💘💘💘

liked by keoghan92, zendaya, and 97188 others

yourinstagram 💋 smooches for @austinbutler

view all comments

glenpowell Austin Butler is one lucky lucky man

fan13 not glen in the comment section please

user13 this gets cuter when you realize she was actually kissing him through the glass 😭❤️

oliviadejonge absolute stunner 🥀

austinbutler Get over here right now

liked by fan12, user13 and 988 others

enews Austin Butler and girlfriend spotted sharing a few cuddles and kisses while on a date! We all know how much they love their smooches 😚

view all comments

user21 one hand on her back, other in her pocket this man knows he’s fine

fan13 IM SO FUCKIN LONELY 😩

liked by ashleytisdale and 13794 others

austinbutler sweatin’ because my date is so hot

view all comments

ashleybee HAHA the caption 😂😂

yourinstagram lol u cheesy man 🫶🏻 ily

anthonyboyle He was probably so proud with it too 😂

keoghan ace mateeee 😌

ayoedibiri this is my favorite post you have ever posted

liked by keoghan92, zendaya, and 93166 others

austinbutler Took over lighting production during a visit on set and she killed it !!

view all comments

florencepugh I’m so mad you didn’t bring her on the Dune set

yourinstagram WHAT DO YOU MEAN I WAS THERE EVERY WEEKEND

florencepugh not enough. i needed you there every day.

yourinstagram Michael Mann said the job is mine 🤩

user13 y/n getting a job on the heat 2 set iktr!!!

liked by tchalamet, bazluhrmann, and 101766 others

austinbutler I want to do with you what spring does to cherry tress - Pablo Neruda

view all comments

fan23 … is everyone else also transfixed on her awesome boobs or am i a perv ?

oliviadejonge gorgeous girl

tomholland2013 aren’t we lucky boys mate?

ashleytisdale 😍😍😍

ayoedibiri she’s got you quoting pablo neruda and i completely understand why

yourinstagram if your boyfriend isn’t also your photographer break up with him

liked by catherinemartinedesigns and 89716 others

austinbutler 🕶️

view all comments

zendaya the coolest to ever do it

keoghan92 sickkkk

rileykeough Austin we’re gonna need you to release a book of all the photos you have of this gorgeous girl 🌚

ashleybee Her job is Cool Barbie

liked by ashleybee, anthonyboyle, and 67178 others

yourinstagram was my turn to snap a photo of this handsome guy who makes me the happiest i have ever been ♥️♾️ ‘love could be labeled poison and we’d drink it anyway’

view all comments

austinbutler oh no

yourinstagram taste of your own medicine mister lol

keoghan92 my teeth can’t handle the sweetness

florencepugh not one bad photo of either of you exists

ashleybee Having a big sister moment because he’s winked the same since he was like 5

yourinstagram can we look at baby pictures again 🥹

—

No disrespect intended to Austin’s current relationship, I respect their privacy but also I really wish Austin would post his gf, talk about her, all that good stuff I GET WHY HE DOESN’T 😭

also using Sydney Sweeney as a FC because I’m currently obsessed with her she’s awesome?? Brilliant ??? She is everything. Also I may have an idea for part 2 but it would be nsfw concerning leaked nudes and such but would anyone be interested in that? Lemme know! As always feel free to come chat 💬

#austin butler x reader #austin butler instagram #sydney sweeney instagram #austin butler instagram edit #austin butler fanfic #still working on callum as well just been so busy wahhhh #and im in love w sydney sweeney now #i watched immaculate she was great #i loved anyone but you #i love her work ethic

[fibula-rasa]

(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)

Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar

Direction: Ferdinand Pinney Earle; assisted by Walter Mayo

Scenario: Ferdinand P. Earle

Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)

Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald 

Production Manager: Winthrop Kelly

Camera: Georges Benoit

Still Photography: Edward S. Curtis

Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock

Composer: Charles Wakefield Cadman

Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)

Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis

Character Designer: Louis Hels

Choreography: Ramon Novarro (credited as Ramon Samaniegos)

Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock

Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)

Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle

Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)

Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)

Length:  Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels,  5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)

Synopsis (synthesized from magazine summaries of the plot):

Omar Khayyam:

Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.

A Lover’s Oath:

The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]

Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):

Celestial sequences featuring stars and planets moving through the cosmos

Angels spinning in a cyclone up to the heavens

A Potters’ shop sequence (relevant to a specific section of the poems)

Harem dance sequence choreographed by Novarro

Locations: palace gardens, street and marketplace scenes, ancient ruins

Points of Interest:

“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”

Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922

The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.

When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:

William E. Wing writing for Camera, 9 September 1922, wrote:

“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.”  … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”

As quoted in an ad in Film Year Book, 1923:

“Ferdinand Earle has set a new standard of production to live up to.”

Rex Ingram

“Fifty years ahead of the time.” 

Marshall Neilan

The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.

So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)

The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!

Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.

In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen. 

Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.

Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.

Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:

see all gifs here

Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.

Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.

By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.

Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.

However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.

Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.

One reviewer for The Register, Adelaide, SA, wrote:

“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”

While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified. 

A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!

Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.

That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.

What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider. 

The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.

It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.

This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.

VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.

VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella,  has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!

Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists. 

United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.

Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done. 

Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.

Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:

MAGNA CHARTA

Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.

Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.

The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.

Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.

Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.

In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.

In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.

Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.

Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?

We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!

The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.

Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!

One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.

How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.

When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight. 

What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?

Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.

A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.

The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?

“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.

FERDINAND EARLE.

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Transcribed Sources & Annotations over on the WMM Blog!

See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation

#1920s #1923 #1925 #omar khayyam #ferdinand pinney earle #ramon novarro #independent film #american film #silent cinema #silent era #silent film #classic cinema #classic movies #classic film #film history #history #Charles Wakefield Cadman #cinematography #The Rubaiyat #cinema #film #lost film

[dozydawn]

“Chinese acrobats perform 'Ballet on Lights' during the final dress rehearsal of Cirque du Soleil's 'Dralion' in Sydney on July 15, 2008. The show, which combines the ancient art of Chinese circus with traditional Western slapstick, is the Canadian troupe's 12th production and will open on July 16.”

Photographed by Torsten Blackwood.

#acrobatics #cirque du soleil #torsten blackwood #2008

[destinyc1020]

Z and Kaia arent at the same career level or status, i dnt see why folks compare them. The only thing thats the same is they both dated the same messy ass man and Kaia is a gf to Zs coworker. Thats it lol, they aint friends n havent even been photographed together.

I doubt they go for the same roles, besides AHS (which i think she/her team learned from not to start with a leading role 👀) Kaia is always a side character and is doing more comedies (and again a few side character roles roles in drama) and Z has been 1st or 2nd billed when it comes to a variety of genres-drama (Euphoria), action (dune 1 n 2) and drama/comedy (challengers). When yr a side character sometimes u may nt b needed on set as much as the main characters, so yea, it makes sense why Kaia got more roles rn (along with other obvious reasons), she might nt b on set long and can jjst move onto the nxt job quickly. Z acts, produces and shadows her directors- that requres her to b on set more and b involved (probably) pre n post production. I doubt Kaia is doing anything bt acting rn (and thats fine). Folks acting lik Kaia getting more roles mean smthn-it dnt lol good for her for being booked i guess. Bt if folks goimg to compare Kaia to someone, it makes sense to compare her to other model/actors lik her friend Camilla Morone or Lily Rose. Nt Z, who is literally the IT girl rn lol

I totally agree Anon. 👏🏾

Z and Kaia shouldn't even be in the same sentence imo. They're on totally different levels.

Z started from the ground up. Kaia did not. 🤷🏾‍♀️ Z's fanbase is humongous.... Kaia's is not. Kaia was born into privilege, Zendaya was not. Plus, Z has been acting since she was a kid, whereas Kaia has been slowly phasing out of her career of modeling, and doing what EVERYBODY seems to want to do these days for some reason lol, which is ACT. 🥴

We've got models acting, former wrestlers acting, singers acting, etc. It's almost like everybody and their auntie wants to act these days lol 😆 It's funny lol.

Look, I have no issues with Kaia wanting to act, or even that she's a nepobaby (Hollywood is FULL of them, and you can't control who your parents are 🤷🏾‍♀️).

All that I ask is that if you're a nepobaby, PLEASE, for the love of God, get some acting lessons! 🙏🏾😩 Work on and hone your craft. Otherwise, you're basically taking a perfectly decent spot/role in a film or a TV show from an actual REAL actress who actually knows how to act, and it's really kinda sad. 😔

So yea, like you said, quantity doesn't equal quality.

I don't even know why some ppl would even mention Kaia or Sydney (for that matter) in the same sentence as Zendaya. That's like comparing apples to birds. 😅

Re: Lily Rose....

Yes, she's a nepobaby, but at least she can halfway act. She's actually a pretty decent actress imo. It makes sense too, cuz her dad is an awesome actor.

It's just a shame she sold herself to the devil with that role in Sam Levinson's disaster "The Idol". 😬

She didn't need to do that show imo. She already had acting talent as far as I'm concerned. 🤦🏾‍♀️

[master-john-uk]

cris mears foto

I assume you are referring to Team GB Olympic diver Christopher James Mears MBE.

Chris was born in Reading, Berkshire, UK on 7th February 1993.

He began diving at an early age and competed in several junior competitions. In January 2009 while training in Sydney for the Olympic Youth Festival he suffered a ruptured spleen, at the same time as unknowingly suffering from glandular fever. At one point doctors only gave Chris a 5% chance of survival, and he was told that he would never dive again. Just eighteen months later Chris competed in the 2010 Commonwealth Games.

At the 2016 Rio Olympics Chris and Jack Laugher won Gold medals in the Men's 3m Synchronised Diving event. The pair won several more medals in events over the following two years.

In 2019 Chris announced that he was retiring from competitive diving to concentrate on a career in music production.

Naked photos. Chris is certainly not shy! Over the last ten years he has posed for several erotic (not explicit) photographs, and has been featured in several magazines. He has always been publicly supportive of both male and female athletes who want to be open about their sexuality, including fellow diver Tom Daley.

In 2017 some very explicit photos, and a video of appeared on the internet which claim to be of Chris Mears. I do not know if they are genuine.

Chris is very aware that he has a huge gay following. Recently he has been one of a number of British divers to start sharing photos on Just-For-Fans (a pay to view website.) All of the divers say that the content that they share will be SFW... although one Chris's former diving colleagues has posted some photographs that leave very little to the imagination!

[fashionbooksmilano]

'2000-1' la maison martin margiela

collection martin margiela autumn winter 1998 1999

by mark borthwick

with thank to helen filliers yorinda gersina stella tennant

Grafiche Zanini, Bologna Septembre 1998, 110 pages, 16 x 24 cm, Softcover,ISBN 2-9512460-0-5

euro 220,00

email if you want to buy [email protected]

The presentation in Paris of Margiela's Autumn/Winter 1998/1999 collection featured collaborations with stylist Jane How, writer Sydney Rose, and Mark Borthwick who contributed a video featuring interactions between three women who are wearing items from the collection. This book contains photographs that were made during the production of the film.

Mark Borthwick has re-invigorated contemporary fashion photography, and successfully merged it with art, video and design. In this book, he has created a sparse and lyrically minimal document in which he freely interprets the Fall/Winter 1998/99 fashion collection of Martin Margiela -- whom Valerie Steele has called "one of the most important designers ever." Margiela's understated clothes are the perfect compliment to Borthwick's photographic sensibility, and this book represents yet another pioneering project for a photographer who has already worked with major designers, choreographers and magazines like I-D, Interview, Italian Vogue, and Purple Fashion.

24/05/23

orders to:     [email protected]

ordini a:        [email protected]

twitter:          fashionbooksmilano

instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano

#Maison Martin Margiela #Mark Borthwick #fashion collection catalogue #Autumn Winyer 1998/99 #very rare book #Jane How #Stella Tenant #fashion books #fashionbooksmilano

[maximumwobblerbanditdonut]

We are beyond excited to present for the first time in Australia a tribute to the cast of Outlander... Hublander - A visit to the Highlands!

This is a convention style event, with one day each full of fun, festivities and fantastic guests not to be missed, in both Sydney and Melbourne.

Hublander will feature Sam Heughan and other Outlander guests live on stage for stories and anecdotes as well as Question & Answers. Purchase merchandise and exclusives from the dealers, or pick up rare items from the amazing raffles and auctions. Do not miss out on your chance to meet the guests and acquire autographs and professional photographs! Along with the main event, there will be an exclusive VIP panel and guest meet & greets plus so much more!

All Guests will be appearing

- in SYDNEY on Saturday 24th February 2024 - approx running time 9am to 5pm (plus at the special Platinum event on the evening of Friday 23rd)

- in MELBOURNE on Sunday 25th February 2024 - approx running time 9am to 5pm (plus at the special Platinum event on the Sunday evening)

*Note: All guests appear health and work commitments pending.

Tickets will go on sale on this website, on the following dates:

MEMBERS PRESALE: On sale 27th November 2023 - 12pm AEDT

GENERAL TICKET SALE: On sale 28th November 2023 - 12pm AEDT

This event is not recommended for persons under the age of 15, based on noise, long periods of sitting, and mature language and/or topics.

All attendees require a ticket if over the age of 2. If under the age of 2 they can sit on your lap, however you will need to contact us after purchase so we can seat you in a special section that allows easy exit from the venue. No prams are allowed in the venue.

TICKETS - ON SALE SOON

This is a seated event. All tickets include access to all general panels, including Sam Heughan's general panel. All tickets allow you the opportunity to purchase photos and/or autographs with every event guest (until photo and autograph allocations are sold out).

Please make sure to read all ticket inclusions for any ticket type you’re considering. All ticket types and prices are listed below.

Tickets are posted by mail approximately 2 weeks before the show. International ticket orders are to be collected at the door.

Payment is by Credit Card only. A $5.95 ticket handling fee and 1.74% credit card transaction fee applies to each order. There will be no manual payment options available for this event.

Tickets will go on sale on this website, on the following dates:

MEMBERS PRESALE: On sale 27th November 2023 - 12pm AEDT

GENERAL TICKET SALE: On sale 28th November 2023 - 12pm AEDT

Please note - Seating is allocated by when you purchase your tickets, so the earlier you book the better your seats will be.

The Members presale is limited for this event to 4 tickets per member. You can purchase membership via the menu on this website.

This event is not recommended for persons under the age of 15, based on noise, long periods of sitting, and mature language and/or topics.

All attendees require a ticket if over the age of 2. If under the age of 2 they can sit on your lap, however you will need to contact us after purchase so we can seat you in a special section that allows easy exit from the venue. No prams are allowed in the venue.

Ticket purchases are non refundable. Please refer to our Terms and Conditions for more information.

—-SYDNEY Standard Day Ticket - $200

These are ONE day tickets for the HUBLANDER event on Saturday the 24th February 2024 in SYDNEY.

Standard Day Tickets include:

– Entry to the event for full day of programming and panels on Saturday, including Sam’s general panel (no VIP panels are included in this ticket)

– Access to merchandise vendors at the event

– Opportunity to purchase autographs and professional photographs on the day for all guests.

Please note that Standard Day tickets will be seated behind the VIP ticket section. Seating is allocated based on when you make your booking.

As photograph and autograph opportunities may be sold at the event on a row by row basis, early booking is strongly recommended.

+ SYDNEY VIP Ticket - $1,100

+ SYDNEY Platinum Ticket - $1,800

+ MELBOURNE Standard Day Ticket - $200

+ MELBOURNE VIP Ticket - $1,100

+ MELBOURNE Platinum Ticket - $1,800

Sydney, Australia - TBA

Melbourne, Australia - TBA

Please note: Venues are announced after tickets have gone on sale. All event venues are typically close to the City Centre and easily accessible by public transport.

SYDNEY

HUBLANDER SCHEDULE – TBA

To see an example of a typical Hub Event schedule please click here

Approx running times for a typical event are between 9am and 5pm for Standard Day ticket holders.

VIP and Platinum ticket holders may be asked to arrive anytime between 7am and 8am.

VIP Panels are scheduled during the day.

Platinum evening events generally start anytime after 6pm and can run between 1 to 2 hours.

MELBOURNE

Can't get to an event? No problem! We can provide absentee packs of autographs from the actors appearing at our events. Absentee packs will be made available within one month of each event after any preceding events have finished.

This is a great opportunity to have your photograph taken with the guests! Each photograph token purchased is good for one photo opportunity and includes a physical copy of your photo which will be made available on the day for collection before the autograph sessions start.

Please note that photograph tokens are limited and there are no other photograph opportunities with the guests.

Photograph Opportunities are purchased at the event on the day, and are sold on a row by row basis! You can purchase tokens using cash (no additional charges) or by Credit Card (1.74% surcharge applies)

Photograph Token Prices:

- Sam Heughan - $190

More guests coming soon...

Autographs are a great opportunity to say a quick hello to your favourite guests and get a piece of memorabilia signed! Each autograph token purchased is good for ONE autograph and you may either bring a personal item or photo to be signed, or choose an 8x10 print provided by Hub Productions at the autograph tables to have signed.

All Autographs are signed in person by the guests and are sold on a row by row basis at the event on the day. You can purchase tokens using cash (no additional charges) or by Credit Card (1.74% surcharge applies)

Autograph Tokens may be limited and guests may, or may not, choose to personalise their autographs.

Autograph Token Prices:

- Sam Heughan - $160

More guests coming soon...

———

ABOUT US

DCA Enterprises’ The Hub Productions is an Australian owned company based in Sydney, that provides opportunities for fans to meet the actors, artists and behind the scenes stars that contribute to the TV shows, films and comics that we all so love and adore. more

———

The non-stop flight from the UK to Australia takes over 16 hours. A visit just for two days in Australia, He’ll need more a day to recover for each time zone crossed 🥴🛫

THE HUB PRODUCTIONS

[vulbmedia]

Product Photographer in Sydney

If you are looking for a Product Photographer in Sydney, you have come to the right place. Vulb Media has the best team for that.

#Product Photographer in Sydney #product photographer sydney #vulbmedia

[cozyaliensuperstar7]

Beautiful Black People 👑

cocogauf:

thank you for this feature 💙 link in bio to read Photographs by Daphne Nguyen for TIME ( ) Set design by Henry King ( ) Styled by Gem Brookes ( ) make-up and hair styled by Shella Martin ( ) hair braided by ( ) at a previous date. Production by B&A Sydney ( )

time:

Fans have forged a unique connection with Coco Gauff, a function of both her achievements at a young age and her willingness to be vocal about sociopolitical issues regardless of the consequences. She fought self-imposed pressures for years, but she finally eased her mind a bit last summer, thrilling the crowd in New York City as she nabbed her first Grand Slam win at the U.S. Open.

“It is much easier to play for yourself than it is for other people,” says Gauff. “I realized it’s impossible to satisfy everyone.”

At the link in bio, Gauff opens up about the next phase of her career—and her life.Photographs by Daphne Nguyen (@daphnenguyen__) for TIME

serenawilliams:

🚲🚲

teyanaupdates:

behind the scenes of @teyanataylor x @cultured_mag 🖤

- follow @teyanaupdates_ for more 🖤

- 🎥 - @hair4kicks

##teyanataylor #teyanataylorfanpage #teyanataylorbodygoals

#teyanataylorfashion #teyanataylorfacecard #therose #jimmyneutch #neutchnation #beauty #beautiful #mygorgeousgirl #beautifulsmile #teyanataylorinblack #culturedmag #covergirl #teamteyanataylor

variety:

On June 20, 2022, Mike Faist and Josh O’Connor sat at the edge of a motel bed on either side of Zendaya, kissing, licking and biting her neck. As Art and Patrick, their respective “Challengers” characters, they were desperate for more of Tashi, played by Zendaya, and desperate to mask their desperation.⁠

Zendaya’s mind was elsewhere. “The only reason I really remember is because Beyoncé came out with ‘Break My Soul’ that day,” she said. “I was having a great day, like, ‘Y’all. Beyoncé’s single just dropped.’ That’s what I was focused on, to be honest.”⁠

Read the full cover story at the link in bio.⁠

(📸 Jason Hetherington\@jasonhetheringtonstudio)

#teyana taylor #serena williams #coco gauff #grace jones #halle bailey #michaela coel #lewis hamilton #zendaya #beautiful black people

[petsincollections]

Two actresses each holding a small kitten (scene from "These Children", British-Australian production)

Home and Away - 10743

Sam Hood Photograph Collection - 1916 - ca. 1955

Hood Collection part I : Sydney streets, buildings, people, activities and events, ca. 1925-1957

State Library of New South Wales

#kittens #television #sam hood photograph collection #state library of new south wales

[andremartinphotography]

#video production sydney #video production #video #photography #photographer #professional photographer #professional photography #Australia

[homomenhommes]

THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more …

1939 – Bette Bourne, born Peter Bourne, is a British actor, drag queen and equal rights activist.

Born Peter Bourne in Hackney, east London, he made his stage debut at the age of four as one of the members of Madame Behenna and her Dancing Children. Encouraged to take part in amateur dramatics by his mother, he chose a career in the theatre at 16, working backstage at the Garrick Theatre, London.

He studied drama at Central School of Speech and Drama in London and went on to act on stage and on television throughout the 1960s. He appeared in TV series such as The Avengers and The Prisoner, and in 1969, he appeared alongside Sir Ian McKellen in a touring double bill of Christopher Marlowe's Edward II and Shakespeare's Richard II.

In the 1970s, he put his acting career on hold to become an activist with the Gay Liberation Front, becoming part of a gay commune in London. It was during this period that he started wearing drag and changed his name to "Bette".

In 1976, he joined the New York-based gay cabaret group, the Hot Peaches, performing with them in Europe, culminating in a show at the Institute of Contemporary Arts in London. When this group went back to New York, Bourne formed his own troupe, Bloolips. Featuring songs such as Let's Scream Our Tits Off, the shows were mostly written by playwright John Taylor with titles like Lust in Space and The Ugly Duckling. He toured the UK and the rest of Europe throughout the 1980s and early 1990s, winning an Obie Award (Off Broadway Theater Award) for the New York production of Lust in Space.

1972 – Matthew Rush is a bi-racial American gay pornographic film actor, magazine model, and a bodybuilder and personal trainer. He has competed at the Gay Games in Amsterdam and Sydney, Australia.

Rush was under a lifetime exclusive pornographic career contract with Falcon Studios that ended in 2009 so he could pursue other projects in the pornographic industry. His first post-Falcon project was a pornographic video and photo shoot with photographer Jon Royce on January 22, 2009.

Rush is a powerful top in many of his film roles, but he can also perform as a vocal bottom. His first post-Falcon porn shoot was with Pantheon Productions in San Francisco on January 23, 2009. In the film, titled Brief Encounters (Real Men, Vol. 17), Rush played a nasty son that "flip-flopped" with hairy daddy Tim Kelly. Rush's career was revitalized when he joined the website MenOver30.com in 2009. His easy going attitude and versatility has resulted with him receiving the 2010 Grabby Award and GayVN Award in the category "Best Versatile Performer".

Rush has appeared in the TV detective film Third Man Out, starring Chad Allen, and in the motion picture Another Gay Movie. From 2002 to 2005, he acted in a traveling stage production of Ronnie Larsen's Making Porn.

His retirement from the pornographic industry, announced in October 2011, was short lived when he returned to making pornographic films in January 2012.

1975 – On this date Oliver Sipple saved President Gerald Ford's life.

Sara Jane Moore attempted to assassinate U.S. President Gerald Ford outside the St. Francis Hotel in San Francisco, just seventeen days after Lynette "Squeaky" Fromme had also tried to kill the president. Moore was 40 feet away from Ford when she fired a single shot at him. The bullet missed the President because bystander Oliver Sipple grabbed Moore's arm and then pulled her to the ground, using his hand to keep the gun from firing a second time. Sipple said at the time: "I saw [her gun] pointed out there and I grabbed for it. I lunged and grabbed the woman's arm and the gun went off."

Sipple, a decorated Marine and Vietnam War veteran, was immediately commended by the police and the Secret Service for his action at the scene. The news media portrayed Sipple as a hero. Though he was known to be Gay by various fellow members of the Gay community, Sipple had not made this public, and his sexual orientation was a secret from his family. He requested the press did not report this. Several days later Herb Caen, a columnist at The San Francisco Chronicle, exposed Sipple as a Gay man and a friend of Harvey Milk.