Don’t worry about megapixels: Megapixels are over-hyped, people don’t realize that all that is changing when you go over about 8 megapixels is the size of the finished photo (which will be huge) and therefore the amount you can zoom in if you are editing it etc. Unless you are doing lots of photo editing and need to zoom in a lot, or you do really need poster-sized prints, then don’t use megapixels as the deciding factor between cameras.

Looking at total zoom: There are two types of zoom with digital cameras, optical zoom which is actual zoom where the front of the camera moves out and helps you zoom, and then digital zoom which is just the camera zooming in using software to make the image appear bigger. Most cameras will quote you ‘total zoom’ though which is the two numbers multiplied together, but that can mask a camera with poor optical zoom. For example, if you had a camera with a low optical zoom like 2x, then you could give it a large digital zoom like 10x and still get 20x total zoom, the same as a camera with 5x optical and 4x digital zoom. So you can now see why you need to look at the optical zoom figure for a camera before you buy.

Not trying them out: While a camera might look great on paper or the computer screen, when you get it then it could be a totally different story. You might find that the LCD screen is impossible to see in sunlight, that the settings are hard to navigate, that it is uncomfortable to hold and hard to get the memory card in etc. These are the kind of things you can only find out if you actually try one out in person. To do that pop into an electrical store and ask to try a display model out, usually they will be more than happy to oblige, and then you can find out what it is really like.

Those 3 tips will help you to avoid the common pitfalls when camera shopping, so you can find a camera which you are comfortable with and one that will give you fantastic pictures for years to come!

If you want a funky model then consider getting a pink camera to liven things up, just remember the tips above so you pick the best one.

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There are actually purpose made children’s cameras coming from toy suppliers for example Vtech. They’re robust products and are fine for extremely young children and often will offer hours of delight. With respect to older kids, say around five or so, you might be much better choosing a different choice. You could be better off paying out your cash on an ‘adult’ type digital camera, right now you could get many first class bargains for well underneath $100-even more so if perhaps you take a second hand unit through eBay or similar.  The majority are fairly solidly made too and often will take a lot of maltreatment from young fingers without falling over. Some have lenses which retract into the camera body when not being used which means the camera lens is certainly less prone to harm.

Therefore you might be entertaining the idea of purchasing a all new digital childrens camera or possibly an even cheaper second-hand ‘adult’ unit to utilize as a children’s digital camera? In that case try to look for the basic low end digital cameras while searching for new, if taking a second-hand model just about anything goes in the event it’s cheap enough. Below are great tips when you shop for kids digital cameras.

Low-cost digital cameras abound. They’re also described as point and shoot cameras, showcasing precisely how hassle-free they are to use. With regards to children that’s very important, they are going to prefer to fire off as many photographs as they can without bothering about digital camera configuration settings. If you are unfamiliar with digital cameras or are intimidated by lots of technology, please don’t worry. Affordable digital cameras are certainly quick and simple to use. Honestly, all you have to do is aim at the item or individual you need a photo of, and push the shutter key, more or less what you had to do with your traditional film camera.

Whilst taking photos using inexpensive digital cameras are a snap, it’s with photograph storage that inexpensive digital cameras are such a substantial improvement over standard film cameras. For starters, as opposed to being limited to a roll of film that might have twenty four or thirty six exposures, digital cameras include small memory cards. Small being in size not in storage potential which often goes well into the hundreds, even with the the majority of reasonably priced digital cameras.

Sharing your own pictures is just as simple as well. Connecting your digital camera to your computer is straightforward, typically just a USB connection. A couple of minutes in order to permit the driver software application (that allows the camera and the laptop or computer to “communicate) load, and there you are! Your magnificent pics have become photograph files on your desktop that you might look at, print or share with friends and family.

So how can you choose amongst all of the cost effective digital camera models. Truthfully, at the cost bracket which you are interested in, not one of the cameras is actually better when compared with another. They are all suitable for exactly what you are searching for – a basic and reliable digital camera this really is hassle-free to operate. On that basis, I would likely propose whichever digital camera you are most relaxed with, or with a distinct brand name that you have had great encounters with before. The well known manufacturers like Canon, Nikon and Kodak make some great cheap units that will make fine detail photos. Even low-cost digital camera models sport over ten megapixels these days even though there is certainly a lot more to photo quality than this its a first-rate signal that you will obtain good images. Should you consider Casio, Samsung as well as Fuji you can find even more competitive offers.

Inexpensive digital camerashave changed the act of photography and are here to stay. A matter of minutes, and your kids are going to be taking, saving and sharing great images of anything their heart desires!

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Supplies for photography frequently need inclusive research and comparison before any acquisition is made. It isn’t advisable to get a product without testing it. Some supplies, like effects and filters, add a hint of uniqueness to the results, though critics consider them as ineffective. If you are an enthusiast of photography, you will definitely enjoy these supplies. For this, it is advocated to have an online guide or catalogue.

What about remote camera, wireless helmet cameras and so many items that depend on photography supplies? Are we able to depend on such supplies? The reality is that diversity is exasperating, confusing and overpowering. This is why you really should know very well what you are after before starting an internet question. The number of equipments has a tendency to increase with that of the applications.

If you go to a specialised photography shop, you will be dazzled about the quantity of equipments available for you. There are cases when you need to buy those used supplies. The new models of professional cameras are rather expensive, and they might be out of your reach. There are folk and shops too that sell these supplies, and their offer would permit you to select easily. Take a look online and see what you can buy with your money.

As you start your own photography business, it might be hard to choose as to what’s the hottest deal that you can make for some supplies. Shop based on your budget or technical features, depending on what you are after. Don’t invest in those pricey hardware, unless you are essentially counting on it. Otherwise, there’ll be no return on your investment. Also, remember that by comparing technical features, warranty conditions and costs, you can truly make a good purchase!

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Written by David D’Alessandro, John Heffernan, Sheldon Turner, directed by David R. Ellis and starring Samuel L. Jackson. The film finished filming principal photography in September of 2005 including five days of additional re-shooting to raise the MPAA film rating system rating from a PG-13 to an R[1]. It is now unofficially the biggest buzzed film of all time with tremors going back as early, as the Blair Witch Project era in 99. Buzzed is the right word and for once, it is not down to cast, crew or script,…and has anyone approaching the phenomenon quite taken aback by the way it all started. SOAP, as it is now known, started as a quirky little film on a plane, post 9/11. It was difficult for any respectable producer to think about green lighting a high-profile project involving planes flying.

Sam was brought into the picture – ‘because of the title’ – and all of sudden, the producers (Craig Berenson, Gary Levinsohn and Don Granger), realized that they were sitting on a good film. The film’s working title was then changed to ‘Pacific Air flight 121′

Perceptive fans – Hollywood insiders? Outsiders? – picked up on this change of name and started writing poems, songs, bloggs, trailers,…to ‘protect’ the title? Revive it? It started a cult followed by many and like the great men once said ‘Never was so much owed by so many to so few’
How and why it started will remain a webmystery. However, the title has now became in Internet-lingo an explanation for fatalistic feelings ranging from ‘c’est la vie’ to “shit happens.” …

Here is one of those poem by SuperMatricks:

Snake On A Plane or SOAP…

Internet aphorism…
Sentence precluded of any serious meaning
If only the very serious…meaning of life….
Over-reaching the foremost tentacles
Down the deep end of the wide web
Cruising like the riding zeitgeist.

For this is the Google age, we enter a new page
Clicking away at every turning point.
We are mere mortals and should not be on a plane
For this is the moment when running from the joint

The only ghost moved on the femme fatale
She, bless her, decided to refuse the rascal

Fixing up and looking sharp
Holding the mirror like a true lady
I unleashed my lyrics in a welcoming park
I have your snake down in my plane.
I never said it would be so easy
Her smile made you feel alive
Is it possible for a snake to be on two different planes?
Was my opening chat-up line…
I could never see the reality sign
Will Hoxton ever, ever, ever be cool again?
And my head never felt so much pain
I could never, never, see, she was a real dame

And she replies: Are you always so sneaky?
Maybe cheeky, never monkey!

She smirked….almost…
Am I in?
At any cost
Magic grin…I am the boss
Think…positive like a butterfly

She gazes…Make a move?
She oozes…should I fade

I start campaigning…for my own party:
Word flowing like a proper arty..

You are the candidate, of my heart…
I’ll fly your colors to the other end of the earth
…..
.
It’s alright I’ll stay on the plane, for the rest of the flight.
She replied
Tough cookie I thought…
Browne sausage she replied
D’you know a Chinese bookie? I uttered
‘My favorite dish’ she smiled

Like I said, the snake was not for turning…hmmm just maybe for fuming
First the snake then the plane…how did it get sooo lame?
She asked.
My cover was blown ‘pff’ confetti-style…
My pride? Down the sink… ‘Sssh’ Linguini style
I’ve been plucking chicken like you all my life.
I’ve been staring at you all the flight
‘Get your snake out of here!’
The plane was still full …of other Snakes…
END.
As published on the official fanblogg: http://www.snakesonablog.com/Soooo.

Green Light

You saw the movie…liked it? Enjoyed the theater or your home cinema…? Not yet! The only problem is you haven’t seen a single frame of the film so far. The problem is the film has started a bizarre internet fever never seen before in the Google age. The problem is chat rooms, news rooms, blogg, super-community website, fansites alike…are full of it. Full of stories about the filming, the press is at it, and the growing legions of fans as well…to the point where they’ve actually been able to reorder the shooting of a few scenes and the addition of dialogues of their choice to satisfy their browsing egos. To add to the insult, I will therefore write the first review of a movie I have never seen!

Before you asked yourself, is he mad? Remember that some even made a movie of how the audition was conducted, without being there! … So let me now do my mo#*#* fu#*#*#** review!

First let’s command the fine and subtle acting genius that is Samuel Lee Jackson the first, who in his inimitable fashion has been able to deliver a performance of the highest caliber for his legions of admiring fans. Second let us remember the premises of the film: There is a plane full of snake, Samuel Lee Jackson has to save the world, and will he do it? Sure he will, but before that he will have to deliver pin-point sharp one-liners, kick some a#*#* and stutter the sentence: Get the mo#*#*#* snakes out of my m#*#*# plane!
All in the name of poetry then….

What started as a movie made for popcorn lovers – The lead should have been younger; Think Fast and Furious – made in September 2005 in Canada, is now the biggest buzzed film of all time with tremors going back as early, as Blair Witch Project era in 99(post web 2.0 then) Sam was brought in and all of sudden, the producers (Craig Berenson, Gary Levinsohn and Don Granger), realized that they were sitting on a good film. The film’s working title was then changed to ‘Pacific Air flight 121′.

erceptive fans – Hollywood insiders? Outsiders? – picked up on this change of name and started writing poems, songs, bloggs, trailers,…to ‘protect’ the title? Revive it? It started a cult followed by many and like the great men once said ‘Never was so much owed by so many to so few’
How and why it started will remain a web-mystery. However, the title has now became in Internet-lingo an explanation speak for fatalistic sentiments that range from c’est la vie to “shit happens.”

Cut to the chase….
Sam is flying a key witness from Hawaii to LA on a plane. He is an FBI agent. Sam obviously enjoy playing law-enforcement character from Jedi knights, to SWAT team leader, to private eye, to simple cop,…His character is coming straight from the Die Hard book of widow and orphan rescuer, but where Nelville Flynn has the edge on John McLane it is in his ability to deliver badaaasss one-liners while remaining ultra-cool. A ‘tour-de-force’ done effortlessly thanks to the quiet and unassuming action-packed direction of David R. Ellis. D.R.E is known to be a surf enthusiast and was in a previous life stunt coordinator on ‘cult’ films like ‘Invasions of the body snatchers’ (1978) or action 2nd unit director on ‘Patriot games’ and ‘Clear and present danger’ (1994), both with Harrison Ford…

Have you said coincidence?
Woody Allen he ain’t. But that’s exactly the point, for he is well too aware of the danger of letting angst-ridden dialogues taking over the film’s subconscious message: ‘Kill all the muthaf#*#*#*#*# snakes’. A few additional characters complete the casting, sometimes as snakes-fodder like -Tyler (Kennan Thompson) and Ashley, a married couple; Cowboy Rick (David Koechner) from Texas; Cash Money, a gangsta rapper, his bodyguards Big Leroy (Keith Dallas) and Two-Ton; Mercedes, Rachel Blanchard as a Paris Hilton look-alike…some air hostesses, puppeteer (Adam Behr)…etc. And of course the snakes, stars of the films hissing their way through the cockpit with evocative names like Scarface or Hannibal with 20 foot long Kong stealing the show.
We leave you with a few lines dropped from the trailer and hope to hear from you soon:

Nelville Flynn: It’s my job to handle life and death situations on a daily basis. It’s what I do, and I’m very good at it. Now you can stand there and be the panicked, angry mob and blame him, me and the government for getting you into this, but if you want to survive tonight, you need to save your energy and start working together.
Or the most memorable one: I’ve had it with these mother fucking snakes on this mother fucking plane!

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The Live8 concert in July this year, in London’s Hyde Park was set up to raise awareness about the Black continent issues, but before the first guitar riffs, the gig highlighted one single home truth: Africans should do it for themselves! The lack of performers from Africa in the initial line-up raised eyebrows on every side of the argument.

Cue Ligali, an east London organisation whose role is to monitor the media, act as complaint body, be active in the educational field and raise awareness on the issues that plague black communities up and down the country: gun crime, rebellion against authority, stop and search…On the same day, a day of African remembrance was staged at the Hackney Town Hall and the day-long event put together by Ligali is a “positive day to remember the struggle against slavery, our ancestors and their sacrifice in what is widely considered as an holocaust,”‘ according to Emma Pierre-Joseph, spokesperson for the organisation. She also told CEN Magazine that it is “a forward-looking day to provide a platform of reflection for the whole community and its future.”

The centrepiece of the event is the screening of a newly released DVD on the African slavery trade, the shameful human trade officially abolished in 1772 in the UK and its empire. Liverpool was the unofficial capital of the slave trade with more than 10 millions souls from the continent‘s west coast (Ghana, Nigeria, Senegal) transiting there, on their way to build the new continent, America. Other towns throughout Europe, shared that infamous tag Bordeaux, Nantes, Bristol in France, Lisbon in Portugal, Barcelona in Spain and Amsterdam in the Netherlands. Winner already of the best documentary prize at the Pan-African film festival and Bridgetown film festival and with testimonies ranging among others, from Dr M. Karenga, Amira Baraka, Desmond Tutu, Dr Helena Woodward, Shaykh Muhammad Shareef and Trevor Marshall. The film, is a compelling compilation of testimonies, voices and opinions gathered around five continents and more than 20 countries on the subject. “‘We went to universities as well as into the neighbourhoods to talk to the common folk,” says Asante Jr, the talented scriptwriter and poet, who was a first year media graduate at the time when he started working on the project.

HIV/AIDS, crime, drugs, low expectation, and underdevelopment plague most people of African origin throughout the world. 500 years later, after slavery, colonialism, the cold war and subsequent neo-colonialism, daughters and sons of the continent are still suffering and cannot enjoy basic freedom or wealth. Told from the continent vantage-point, the film scrutinises the holocaust and subsequent uprooting of Africans from their homeland and culture. In the words of producer-director, Owen ‘Alik’ Shahadah, “500 Years Later chronicles the struggle of a people who have fought and continue to fight for the most essential human right: Freedom.”

Owen used to produce a stylish work of art and set up a website www.500yearslater.com to foster and further the debate, knowing that the film has already garnered interest from education bodies throughout the world, willing to use it as a teaching method.

That might be exactly what African communities in the UK need, as reveals Asher D, the rapper and member of the So Solid Crew collective in his subsequent Channel 4 documentary aired in November 2004, surfing on the same subject, but neighbouring issue of the ‘N word’ (nigger/ nigga).

“It’s definitely an issue that people of my generation don’t know enough about black history and that’s a point I raise throughout the programme.” He finishes with “when it comes to the teaching of black history, there is none” and for the first time, our rulers seem to agree with him, as Liverpool’s Riverside Labour MP Louise Ellman called for the Blair-Brown government to introduce teaching slave trade history in British schools and asked for a national day of remembrance. 117 MPs across the chamber joined her and settled for the debate to take place in the commons, during Black History month in October this year. However, on the question of responsibility, which could trigger lawsuits and potential reparations, the government washed its hands of the problem, stating that it “cannot take responsibility for what happened over 170 years ago” even if it recognizes that “the slave trade is one of the worst examples of man’s inhumanity to man” and added that it wasn’t an unlawful act at the time the British government condoned it. 500 Years Later the film’s sequel will be released in 2006, focusing on AIDS/HIV, the colonisation of the African continent, neo-colonisation, the ill-effects of globalisation with a chapter on Bretton-Woods institutions like the World Bank and the IMF.

The film has an obvious quality, for its combination of thoughtful photography signed by the director Owen, retrospective voices and using a multi-media platform to get its point across, which could see him becoming a benchmark in filmmaking history. Although filed with facts, it relies on a gripping narrative infused by the flavour and a soundtrack for poetical freedom and liberation. Showing the chains that tied their ancestors and contemporaries, it also offers a serious path outside of the plantations.

Scriptwriter, Asante Jr is a poet master with an interesting ability to transfer its art from the written/spoken word to the screen and his influence transpires throughout 500 years later. “To have people be so receptive and come up to us crying and embrace us after seeing the film is just amazing,” reveals Asante Jr. “We worked on the project for two and half years, and you just don’t know if people are going to like it; you are just going on passion and what you think is right.”

Right he surely was.

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Work from Peter Ainsworth, Henrietta Armstrong, Emilie Bell, Claire Brewster, Angela Corcoran, Nicola Cunningham, Charlie Danby, Joel Ely, Kirsty Harris, Richard Hubner, Cheryl Lane, Harry Logan, James Manning, Tracy Neal, Johanna Nilsson, James Ormiston, Cara O’Keefe, Scott O’Rourke, Emily Power, Fiona Przybylski, Sophie Ruderman, Lucie Russell, Ben Twiston-Davies, Liam Williams and Mike Young will be for sale, with a percentage of the proceeds donated to Hackney Empire.

Theme Park Charlie Danby’s woodland constructions tell the story of that which is lost, and that which is to be discovered. Remnants of roller-coasters, references to theme parks, ruins, castles, bridges and fortified walls that separate nothing and safeguard even less. Myth and fairytale bring them into a landscape of synthetic idyll, where objects are both visible and invisible. The works are built on platforms that float like islands, scale and reference shift constantly and mirrors present optical recess and provide strange vistas.

Joel Ely’s paintings have been selected for the BP Portrait Award for the second consecutive year. His practice involves researching and combining disparate elements of the histories, theories and fictions surrounding food, nature and figurative art. This is realised through a bastardised approach to painting, performance and installation.

Kirsty Harris’ breakfast scene installation becomes quite unsettling when a closer look at the egg’s shell reveals it was broken by a bullet. Waking up, every day, to the carefully edited images and news reports is the way we gauge how the rest of the world exists. Reliance on corporations to transmit the truth suddenly seems naïve.

Empirical Emily Power manipulates the surface of wallpaper to include words beneath its pattern. Intermarried with the codes and regulations of the pre-made paper, the text looks towards linguistics and habit forming systems of communication, adopting a freeze-frame of gridded language to suggest an arresting of circumstances.

PRIVATE VIEW: SUNDAY 10th JULY 2005 6-9pm
Performance – 8pm Nicola Cunningham
Photography and Disc Jockeys in the Marie Lloyd bar, 8pm till late

OPEN DAILY 11th–14TH JULY 2005 5-9pm
Hackney Empire’s Exhibition Space
291 Mare Street
Hackney, London E8 1EJ

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‘Catalyst’ is a collaborative mix media project based around poems by London writer and visual artist Cat Miranda aka Cat Catalyst. Cat’s poetry explores spiritual and humanist concepts, embracing emotion and looking for a deeper meaning.

Choreographer Briar Adams creates the movement and composer Danbob Clarke contributes electronic beats, with lyrics by director Cat Miranda.

In addition to Cat Catalysts poetry, there are special guest appearances from active poets David J, Tim Wells, Ramshackle Event, Salina Saliva, Baden, Pom Pom Poets and more.

Rhythm Factory
16-18 Whitechapel Road
London E1 1EW
020 7375 3774

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Darren Almond’s work addresses the themes of time, geography and memory. He uses a wide range of media including film, photography and sculpture to explore the passing of time and the marks that it leaves on both social and private histories. He is shortlisted for his exhibition at K21, Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

Gillian Carnegie explores the properties of painting. She works within the traditional genres of landscape, still life, the nude and portraiture, incorporating a wide variety of subjects and techniques to both celebrate and question the medium. She has been shortlisted for her solo exhibition at Cabinet, London.

Jim Lambie makes exuberant installations and sculptures which make reference to pop music and youth culture. He uses everyday materials including coloured tape and glitter to transform spaces and familiar objects. He is shortlisted for his exhibitions at Sadie Coles HQ, London and Anton Kern, New York.

StarlingSimon Starling transforms and reframes existing objects through a rigorous process of research. In his complex sculptural installations he creates poetic narratives by drawing together disparate cultural and historical references. He is shortlisted for his solo presentations at the Modern Institute, Glasgow and the Fundació Joan Miró, Barcelona.

Last year, Gordon’s increased the value of the Turner Prize to £40,000, with £25,000 being awarded to the winner and £5,000 each to the other shortlisted artists. The Prize, established in 1984, is awarded to a British artist under fifty for an outstanding exhibition or other presentation of their work in the twelve months preceding 11 May 2005. It is intended to promote public discussion of new developments in contemporary British art and is widely recognised as one of the most important and prestigious awards for the visual arts in Europe.Turner Prize Shortlist

Work by the shortlisted artists will be shown in an exhibition at Tate Britain beginning on 18 October 2005. The winner will be announced at Tate Britain on 5 December during a live broadcast by Channel 4.

The members of the Turner Prize 2005 jury are:
Louisa Buck, London Contemporary Art correspondent, The Art Newspaper; Kate Bush, Head of Art Galleries, Barbican Art Gallery; Caoimhin Mac Giolla Leith, art critic and Lecturer, Modern Irish Department, University College Dublin; Eckhard Schneider, Director, Kunsthaus Bregenz; Nicholas Serota, Director, Tate and Chairman of the Jury.

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Dogwoof Digital in partnership with Tiscali, Genesis Cinema & Silverscreen is releasing Cottonopolis films production EMR simultaneously in cinemas, on the internet and on DVD after its London premiere on 15 July 2005.

Directed by James Erskine and Danny Mccullough and financed on a micro-budget, the film is a triumph of the spirit of Independent film making under adverse circumstances. Made for less than $100,000, the film was shot on the highest quality digital cameras available (High Definition), the very same cameras that George Lucas shot the latest Star Wars on. Moreover, the film makers were able to shoot the film in both the UK (London, Essex, Hampshire) and the USA (San Francisco, Los Angeles).

Whilst talk of simultaneous releases has been underway in the US recently, with Steven Soderbergh’s deal with 2929 Entertainment, this is the world’s first simultaneous release. As the release windows between cinematic releases and DVD releases have been narrowing, this pre-empts a logical move by the studios and bigger players. Not surprisingly the lead has come from the more flexible independent sector.

This release will collapse traditionally staggered release windows and gives consumers a choice for the first time, regarding how and when they want to see a film. The filmmakers believe that the choice as to how consumers view films should rest with the consumer and that theatrical, DVD and internet forms of distribution need not threaten each other, and may indeed be mutually complimentary.

Londoner Adam Jones (Adam Leese) is stuck in a dead end job; lives alone with his cat and spends his free time obsessing over the latest conspiracy theories on the internet. Taking an experimental drug for his epilepsy, manufactured by the Pfenal corporation, Adam begins suffering from seizures, black outs and terrifying visions. When he wakes up in a hotel room in Mexico missing a kidney, Adam becomes convinced that he’s unwittingly stumbled into the middle of a conspiracy. Drugged by mysterious paramedics (Gil Belows), Adam finds himself back in his London flat. Just as he assumes it’s just been a bad dream, the pain of a scar on his back serves to convince him that something dark and disturbing is indeed happening.

Worse still, Adam’s one friend at work, Tracey (Jemma Walker), informs him that he’s been missing from work for a week and as a result he’s been fired. He turns to his doctor (Lara Cazalet), but she seems to be overly zealous in prescribing the drug company’s medication. His only confidant is his beautiful and mysterious internet correspondent, whom he knows only by her screen name CyberBunnyLily (Whitney Cummings) and who lives in San Francisco. With his reality becoming more and more fractured, and unable to trust anyone, let alone himself, Adam sets about trying to uncover the truth about the mysterious drug company Pfenal. The transatlantic connection seems ever more prominent in solving the mystery. Will he escape his torment and be united with his beloved Lily, and if so, at what cost?

Just as he finally feels that he is able to rid himself of the ordeal of his medication, Adam finds himself confronted by two of the drug company’s agents (Guy Henry, George Calil). And the reality of his situation turns out to be worse than his wildest conspiratorial nightmares. Raindance was the first public screening of the completed EMR and the film won the Jury Prize for Best UK Feature 2004. Previously it was shown as a work in progress at the Washington DC Independent Film Festival where it won the Audience Award for Best Film. It has also screened at the San Francisco Independent Film Festival and at Germany’s cult ‘Weekend of Fear Festival’ where it won the Golden Glibb (Best Feature). Moreover, EMR was official selection at Jeonju Film Festival 2005, Korea; San Francisco Independent Film Festival 2005; and Dead Centre Film Festival, Oklahoma. The cast of EMR features some of the hottest emerging British acting talent. In his breakthrough role, Adam Leese stars as Adam Jones, supported by an Anglo-American cast.

British actors include Guy Henry, George Calil, Tom Hardy, Ross McCall. As well as debut film roles for Jeremy Edwards and Eastenders star Jemma Walker.

American actors include Gil Bellows, star of Ally McBeal and The Agency, Kevin Christy, Anthony Azzizi and Whitney Cummings. The film was produced by John Lentaigne, Erskine and McCullough and George Calil. Original screenplay by James Erskine and Danny McCullough. Directed by Erskine & McCullough and Director of photography John Halliday.

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