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How To Keep Kids Safe In Hollywood

CoreyFeldman

1. Never pay for your child to be represented. Photo shoots are required and are something you may have to pay, but you should not have to pay for pictures for any kids under 13, as they grow so fast, that the pictures will be outdated too soon. For kids 13 to 17, do not spend more than around four hundred dollars on both printing and headshots and zed cards for modeling all combined if they do all.  You don’t need more than a dozen headshots or zed cards printed at a time. Most printing is not included in shoots, so be sure to find out. Make sure the company has a good reputation with the studios and casting, and gets people work before you sign with them.

2. Never sign an exclusive agreement with your child, and never give up more than 20 percent.

3. Avoid modeling schools, they are a waste of money and not necessary.  Avoid expensive industry seminars for modeling that include panels and so called runway shows which are also unnecessary, and avoid any school or workshop that promises auditions for pay. Legit auditions never require payment.

4. Teach your kids to only give out YOUR cell phone number or email, NOT theirs, and NOT their social media contact. Make sure your number is un-listed. Strangers can locate your address with listed numbers and find where your child lives. Teach them to never reveal to strangers where they live or go to school, or where you and your family work or other personal information such as church, bank, where you shop, or other private information.

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5. Teach your kids not to talk to strangers on the street unless you are there too.

6. Never leave your child unattended or out of  your site even for a second in the entertainment industry. Insist that you go with your child to any agency or management company interview, casting, audition, go see, acting class, or similar. If the people running the event don’t like it- too bad! They can deal with it, or your child will not attend. You have every right to be there. Do it.

7. Never let your child go off to any overnight event unless they are with someone you know very, very well, trust with your child’s life, and have known for years, preferably who also has kids you know, and absolutely who will not let your kids out of their sight.

Richard Bernard Hollywood Sentinel 2014

8. Never let your child be photographed, videotaped or filmed unless you are there observing. Do not allow your child to be photographed in anything inappropriate or in any manner that exploits or sexualizes them.  If any inappropriate filming or photographing happens against your consent when you are present that you forbid that is inappropriate, demand to have it deleted and erased or mention you will sue. Contact our office if you need help in this regard.

9. Instruct your child to never consume any food or drink that has been left unattended, and only eat or drink food that they and you know are clean and healthy, which you know where it comes from.  Never allow your child to consume alcohol or other drugs.

10. Teach your child to never follow anyone in public to any location, to never get in any one’s car except for you or your family, and to never approach any stranger asking for help without you present.

11. Teach your child to not be paranoid, but to be aware of the existence of hidden cameras which can be placed on the ends of canes, umbrellas, on hats, glasses, ink pens, and more.

12. Teach your child to cover their private parts as much as possible when using restrooms, baths or showers in places not at your home or family, or trusted hotel with you, in public type places. It is rare, but it has happened that there have been hidden cameras placed in public restrooms to secretly film people.

13. Teach your child that it is not appropriate to stick their tongues out or have their legs spread open in public, and to dress appropriate to their age and not wear clothing that is too revealing for their age. Make sure that your children wear underwear! Make sure that your children do not do anything focused primarily on their mouths that can be seen or taped.

14. Be in good communication with your child and be willing to communicate with them about anything, without condemning them, so that they know you are a friend who they can trust and tell anything. The more your child feels that they can trust you, the safer you can help them be.

15. Teach your child to speak without swearing or being vulgar, and (when they are old enough to learn), teach them why being trashy (as are many music and some film stars) is NOT cool.

If you have any questions or comments, you are invited to contact Bruce Edwin directly through the front page of www.TheHollywoodSentinel.com.

If you know about someone who is a suspected child abuser or trafficker that has not yet been brought to justice, contact The Office of Bruce Edwin directly at 310-226-7176.

Ten percent of all profit of The Office of Bruce Edwin Productions, The Hollywood Sentinel, Hollywood Sentinel Public Relations, and Starpower Management goes to help fight child sex trafficking and the abuse of children in Hollywood.

Bruce Edwin is a film producer, model and talent manager, public relations expert, and publisher of The Hollywood Sentinel, which publishes ‘only the good news.’ He works with some of the most powerful and biggest names in entertainment in the world of music, film, fashion, art and business.

If you know a parent with children that could benefit from this information, you are invited to forward this link to them.

This content is ©2015, Bruce Edwin, The Hollywood Sentinel, all rights reserved.

A Bell For Adano & Gone With The Wind

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A Bell For Adano

In 1945, John Hersey’s A Bell for Adano was awarded the Pulitzer Prize for fiction, the first year after being renamed from the novel category. The story takes place toward the end of WWII, when Major Victor Joppolo is named temporary major of a fictional town named Adano, modelled on the town Licata. Hersey was a Time Magazine correspondent who later wrote Hiroshima, a book about the nuclear aftermath that should be required reading in every US History class—Hersey’s ability to prick the conscience is so great that after reading the book a Manhattan Project scientist wrote that he wept as he remembered how he celebrated the dropping of the atomic bomb.

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Yet, it was A Bell for Adano that won the Pulitzer, a story that takes a more gentle and tragi-comic approach to the subtle message that the American military must operate out of the most enlightened of ideals: compassion, democracy, and freedom.

I don’t want to give away too much of the plot, because suspense is central to the writer’s intent. Major Joppolo is convinced that the United States has “something to offer” other countries, that our proudest virtues are something we can, in fact, export. The Fascist mentality, with its cruel and arbitrary excess, is his enemy in a war not so much between the Allies and the Fascists, but between use of power to serve and uplift the masses and use of power to crush them under one’s heel.

Katia Vaz-Hollywood Sentinel

Reading this book, you are alternately torn between a pins-and-needles feeling of wondering if Joppolo’s insubordinate actions will come back to haunt him or he’ll ride the wave of the town’s adoration indefinitely and laughter at Hersey’s humorous portrayal of the expressive Italian heart. You also wonder if he will give in to his attraction to a local beauty while away from his wife. This book is engaging and easy to read; the pace is fast, and the characters complicated enough to keep you interested. I would highly recommend A Bell for Adano as the questions it raises are just as important today as they were more than a half century ago. A Bell for Adano was also made into a 1945 film with Gene Tierney as the heartbroken Tina and John Hodiak as Major Joppolo.

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Gone With the Wind

Gone With the Wind, the dramatic Civil War tale by Margaret Mitchell, is perhaps the most famous Pulitzer Prize winning novel (1936) to be made into a feature film. The 1939 film, starring Vivienne Leigh as Scarlett O’ Hara and Clark Gable as Rhett Butler, won an Academy Award for Best Picture, and became an instant classic. If you love the film, it’s hard to imagine that the book could be any better. Yet it is. The book hits a sweet spot between literary and commercial fiction, with characters that are as hopelessly tormented as they are flawed; yet with passionate natures that garner respect. This book is more than one thousand pages long, and is more full of Southern nostalgia than is politically correct today, but the saddest part about Gone With The Wind is that the author was tragically struck down by an automobile in 1949 before she could publish a sequel.

elite connections revised

Top 10 Greatest Filmmakers of All Time: Jean Luc Godard

Godard-Godet-Hollywood Sentinel

One of the most important filmmakers of all time, Jean Luc Godard has made over 40 feature films, in addition to numerous film shorts, written screenplays, produced, and published his own and others film criticism world wide. He has had a wider influence on audiences and filmmaking than most any other living filmmaker of our time, despite most audiences not even knowing it. The reason for his profound, and often unknown influence, is that he has remained deliberately obscure, independent, and unique, for over 50 years as a filmmaker, yet cinefiles such as known influential directors including Quentin Tarantino, Martin Scorsese, Robert Altman, and many more have studied his work, citing him as a major influence.

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One who knows Godard, could easily write a book on Godard, as many have done. I have seen only 30 of his motion pictures. Jean Luc Godard’s greatness is manifold. One of his most powerful contributions to cinema is his daring uses of sound as art, such as having sounds from former scenes cut and overlap into present scenes, having sounds blend together, or having sound disappear entirely for stronger cinematic effect. His infusion of politics and philosophy into cinema is also unique; often having characters discourse or debate politics or philosophy on screen, and at times even reading out of a book of poetry or philosophy right on camera, inter-weaving the message throughout the film. Godard’s reference to and use of fine art in his films are also unique, using artwork not only as a set design piece or a prop, but literally referencing painters within the duologue, or showing characters creating a painting, as they discuss the colors, hues, tones, or feelings that they evoke, blending this too within the film.

Godard’s occasional use of nudity is portrayed as a work of art itself, not gratuitous, but simply there, as a part of life as art for arts sake. Violence in his films are treated as a reality of life, but one that should be avoided yet not ignored. Beauty, art, life, philosophy, women, and love are revered in Godard’s work, while chaos, destruction, government, warfare, and politics are derided as evils to fight or shun. As a former film critic, films are referenced within many Godard films, either blatantly with a poster of a film on the wall or a mention of it, or as an homage to a scene re-created. Light and the camera lens are used artistically as a painting in a Godard film. He may have the cinematographer point the lens directly at the sky as some birds pass by, or simply gaze upon some clouds, trees, or rolling water. Godard puts the emphasis on the aesthetic beauty and power of the object in front of the camera, rather than subverting aesthetics to action or dialogue.

Katia Vaz-Hollywood Sentinel

Dialogue itself rolls out in a Godard film like a play, or often times like poetry, with stream of consciousness or nuanced fashion punctuated by a musical score or unique editing technique. Music in a Godard film often is classical; form Mozart to Beethoven or more, providing sweeping waves of emotion as a foreground or background to the scene or dialogue. Editing techniques by Godard are classic New Wave style, cutting long after the end of an action, a shot may linger on a subject no longer doing anything plot related, simply being or doing something ordinary, observing them as Andy Warhol may have done in one of his screen tests, simply letting the subject ‘be there’ and not imposing the time or space of a film on the subject with an ordinary edit. Godard popularized this technique, as well as the jump cut, cutting from one scene to an entirely different one, arguing that the viewer was smart enough to follow the change. This Godardian effect alone revolutionized cinema, with his landmark, groundbreaking debut feature film ‘Breathless,’ which also widely influenced the music video to come years later.

elite connections revised

Lastly, Godard revolutionized cinema further still by his use of camera technique. While Hollywood cinema follows a traditional ‘blocking’ technique of focusing on the primary character in either a long shot (LS), medium shot (MS), close up (CU), or extreme close up (ECU), normally at eye level and following the so called Golden Meane; at the upper middle left of the picture plane where the viewers eyesight allegedly first goes, Godard throws this out the window, and may mix up a variety of shots in blended, reverse, or broken sequence that deliberately shock the viewer, or may focus on a secondary character when the primary character is talking, or he may focus on another part of a persons body instead of their face when their mouth is moving, for example. In other words, Godard throws the so called rules of filmmaking away, often doing everything possible a different way, in order to shake up the medium, transgress the art, and enliven the viewer. Poetic, philosophical, and anarchistic with the creation of his motion pictures, Jean Luc Godard is, without debate, one of the most revered and important filmmakers of all time. The Hollywood Sentinel ranks him among the Top 10 Greatest Filmmakers of All Time.

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Jean Luc Godard’s feature films include: 1960 Breathless, 1960 Le Petit soldat, 1961 A Woman Is a Woman, 1962 My Life to Live, 1963 Les Carabiniers, 1963 Contempt, 1964 Band of Outsiders, 1964 A Married Woman, 1964 Alphaville, 1965 Pierrot le fou, 1966 Masculin Féminin, 1966 Made in U.S.A., 1967 Two or Three Things I Know About Her, 1967 La Chinoise, 1967 Week End, 1968 Le Gai savoir, 1968 A Film Like the Others, 1968 One Plus One, 1969 Wind from the East, 1969 Struggles in Italy, 1971 Vladimir et Rosa, 1972 Tout va bien, 1974 Here and Elsewhere, 1975 Number Two, 1976 How’s It Going?, 1980 Every Man for Himself, 1982 Passion, 1983 First Name: Carmen, 1985 Hail Mary, 1985 Détective, 1987 King Lear, 1987 Keep Your Right Up, 1990 New Wave, 1991 Germany Year 90 Nine Zero, 1993 The Kids Play Russian, 1993 Oh Woe Is Me, 1994 JLG/JLG – Self-Portrait in December, 1996 For Ever Mozart, 2001 In Praise of Love, 2004 Notre musique, 2010 Film Socialisme, and 2014 Goodbye to Language, his first in 3D.

– Bruce Edwin

Goodbye to Language

Goodbye to Language is a deconstructed film. I have read the filmmaker’s comments about the plot (which were tweeted) and also some of the critical discussion, but I wanted to review the film before being contaminated by those influences in order to have a genuine experience and express it from a blank starting place, taking it on its own as best I could.

Goodbye to Language is the 21st century equivalent of what Guernica was to painting: a film created by a man who loves film so much he wants to destroy it. Vision competes with narrative. The luxury of seeing destroys meaning. It’s a 3-D movie made by an artist of the highest caliber; which is sort of like having a twinkie made by Gordon Ramsey. There was a particular moment of the interior of a room with a window overlooking a summer field that is one of the most singularly striking images I have ever seen in film and reminded me in its ethos of Marcel Duchamp’s enigmatic assemblage Étant donnés: 1. La chute d’eau, 2. Le gaz d’éclairage.

I concluded, sometime after the last credits had rolled, that this was the story of an adulterous couple and jealous murder told through the eyes of the couple’s adopted dog (the dog jumps into their car, they decide to keep him). The dog was played by Godard’s own dog. I believed the dog was the observer because of the non-chronology and the presentation of dialogue, as well as a reference to Jack London and Call of the Wild (which, coincidentally, I had just finished reading).

Godard’s own statements in this regard also include a subplot relating to a second couple, the relation of which to the main couple I don’t think anyone would have understood as fully as Godard’s description, but the film is so experimental that it doesn’t really matter what it is about, and each audience will make sense of it somewhat differently.

– Moira Cue

This content is ©2015, The Hollywood Sentinel.