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I fancy this DVD!

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I hope someday I can view Chartres Cathedral for myself, but for now, I am thrilled to have found this DVD. I had no concept about the sacred geometry keen in the construction of a medieval cathedral, the recount relationship of its proportions to the proportions of the human body, and so great more.

It’s enchanting and intriguing to realize that people in medieval times had a wealth of knowledge that we have lost in our scientific, materialistic era. They understood that there is another dimension to life beyond what we can choose with our senses, and they managed to incorporate this knowledge into their sacred architecture. The deep faith which drove their loving, intentionally anonymous work may have been largely left tedious in the intervening centuries, but we unruffled yearn for something beyond what our day to day lives offer. And entering into an conventional cathedral like Chartres affects many people in unexpected and deeply profound ways. Can the spiritual concepts which informed the architecture have something to do with this reaction?

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I highly recommend this DVD to anyone who is fascinated by the spiritual dimensions of the architecture of Chartres, or of medieval cathedrals in general; and also to anyone who simply wants to come by a halt seek at one of one of the most awesome buildings in the world.

When I read several of the negative reviews here, I am struck by how they miss the whole point of the film and essentially the whole point of the cathedral. This documentary, which I regain simply breathtaking in its detailed analysis of the meaning of Chartres, reinforces something that is so lacking in our time- a sense and remembrance of what is sacred. The various scholars who are interviewed for this film reiterate this key frame of mind that was demonstrate in the builders and worshippers of the 12th Century. They knew what it meant to treasure God and secure God note in all things and in all places. That is the whole point, and they directed their mostly anonymous toil and craftsmanship to this end- the remembrance and experience of the sacred.

Not only does this DVD give breathtaking tours of Chartres, it is accompanied by a high degree of historical and theological scholarship that clearly and profoundly explains the methods and purpose slow its higly symbolic make. Certainly worth five stars!

See also the VHS “Cathedral” by Macaulay and the most pleasurable book, “Building the Vast Cathedrals” by Francois Icher! You won’t be disappointed.

Enjoy!
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Shakespeare in Cherish is a film for anyone who loves art and literature

with a passion. Aside from being a glorious treasure fable, the film

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itself is a “admire letter” to the arts. I can only describe

it as a “golden” film, because that’s what I contemplate of when I

picture scenes from the movie…pure gold. I cherish Shakespeare, and

the vivid screenplay manages to do a flesh and blood person out

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of such an enigmatic historical figure – it may not be loyal, but it’s
a lot of fun nonetheless. The acting is helpful – Gwyneth Paltrow is
glorious, Judi Dench is fantastic, Geoffrey Speed is hilarious, and
Joseph Fiennes is the hottest thing to reach along since his older
brother! I savor the ending especially – Twelfth Night is my favorite
Shakespearean play, and the last line honest speaks volumes: “For
she will be my heroine for all time, and her name will be Viola.”
Perhaps the best thing about the film is the scheme it blends comedy and
tragedy together in such a bittersweet arrangement.

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One final note: I too
was surprised that this film won Best Portray, because I also loved
Saving Private Ryan. Both films were cinematic masterpieces of very
different kinds, and both were equally superior. I’m ecstatic the Academy
shook things up a tiny.bfounded while the final credits rolled. Marc
Norman and Tom Stoppard must have loved their subject matter,
researched the period with zeal as well as having the ability to
create a engrossing romantic drama.

The whole thing was created
out of the barest glimmer of fact concerning Shakespeare’s life. It
focuses on the gap between his marriage in London as a young man and
his eventual return to London as a successful playwright. The theory
states that “suffering is the mother of creativity”, so
Young William must have had a astronomical deal of hardship indeed. Hence,
the opportunity for a improbable movie to be made.

A handsome
young Shakespeare is introduced to us during a unlit period of
writer’s block. He is portrayed as any other writer we could imagine;
poor, horny, suffering from professional jealousy and not particularly
respectable. He’s over-committed to two theatres and selling vaporware
for all he’s worth. Poorly named vaporware at that, “Romeo and
Ethyl the Pirate’s Daughter”.

But fate has more in store
for this hopeful scribbler than even he would dream. Enter stage left,
the treasure of his life, in the guise of an actor, shyly auditioning for
a section in his fresh play. (Shades of Blackadder here) . He is immediately
taken by this youthfull stage strutter because of a seeming preference
for Bill’s work over that of the leading playwright of the day,
Christopher Marlowe.

This interest takes him to the actor’s
home, where Tomas Kent transforms himself into Viola De Lesseps the
refined daughter of a wealthy merchant. This magic act is only
possible because of the artful protection offered by Viola’s nurse and
part time confidant, played by Imelda Staunton. And as with Clarke
Kent, no one can penetrate the cunning disguise of Mr Thomas Kent,
except for a suited ferryman. And it is this very ferryman that puts
William on the proper path in his pursuit of the lady Viola.

And so we catch the privilege of watching William Shakespeare give
birth to the Renowned Romeo and Juliet as a counterpoint to his torrid
and uncertain affair with a woman betrothed to Lord Wessex; one of the
most influential and mighty men in the city. The ups and downs, ins
and outs of this relationship, and its eventual waste, are all
delightful to scrutinize as well as being grist for the mill of
Shakespeare’s future plays.

For anyone that has even a passing
familiarity with the Bard’s work or impartial likes a helpful romance, take
the time to savor this special movie. In fact, engage a few times
because it gets better with every viewing.

I honestly did not know what to demand when I first sat down to gawk “Shakespeare In Esteem.” Perhaps that was for the best, since this film teems with unexpected moments and twists, turning literary history upside down and giving it a clever and bawdy twist.

Gywenth Paltrow plays a young noblewoman who is expected to be demurely betrothed, but who wants none of the life ahead of her. She yearns for the theater, and, in her headstrong, ambitious drive, dresses like a boy to score a piece in Will Shakespeare’s newest drama. Of course, the two drop in appreciate (hence the title!) and their duplicity leads to area complications that fetch more and more contemptible. Literary jokes abound, but you don’t need to know a whit about Shakespeare to bask in this romp. This is a romantic comedy cloaked in Elizabethian times, an anachronism that is thoroughly satisfying.

Paltrow’s Viola is gutsy, luminous, and torn, a portrayal that deservedly earned her an Oscar. Joseph Fiennes makes a lovable, bumbling Will Shakespeare. The two show a chemistry that brings the witty script to life and elevates this film to a level above most romantic comedies.

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This film should appeal to a wide range of viewers – even those who hated studying Shakespeare in school.
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“Jack Frost” tells the record of how the frosty sprite is transformed by his fancy for someone very special to him! And the sizable teach actor Paul Frees (best known as the divulge of Boris Badenov in “The Adventures of Rocky and Bullwinkle”) does an incredible job as the philosophize of the villain, Kubla Kraus. Don’t miss him singing the “Rub-a-Dub” song! (Which is usually prick from TV broadcasts of this film.) “Jack Frost” is another amazing film by Romeo Muller, who also wrote the classic Animagic, Rankin/Bass Christmas films, “Rudolph, the Red-Nosed Reindeer” and “Cool the Snowman,” among many other lively tales.

This was the first of many Rankin/Bass holiday specials I saw on TV (the only ones I owned on video being the accepted “Rudolph” and “Peter Cottontail.”) I was delighted by this one too. In fact, I choose seeing section of it once last year on TV too–it also seems to be one of the more favorite ones. Anyway, the view that a girl is in savor with “Jack Frost” and then Jack Frost, who’s lonely, becomes human because he thinks she really loves him, was, I notion, quite adorable. So “Jack Snip” the tailor moves in with the girl’s family. I liked the song they sang while unwrapping an empty box and pretending it was “unprejudiced what they’d always wanted.” It was unlit, yet cute. Snip, the snowflake-maker, followed Jack to Earth to abet him advance his human-like goals by spring and remain a human, and also to support out of distress. The chronicle only began to accelerate a miniature when the “k-nights” came into it, and the snowed-in castle. In the waste, the girl marries the man she truly loves, her “knight in golden armor.” And of course, Jack Frost is display at her wedding. It’s really a very nice narrative.
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First and foremost this anime is very BL, and has kissing between members of the same gender. If this doesn’t appeal to you then this anime is not for you. This anime is an hour of very expeditiously paced adventure, perhaps too hastily. It seems that two guys are grand friends then suddenly they’re not because one got “changed”. Changed??!!! Some characters objective seem to pop in from nowhere (the guy with the gun) . A lot of the back-story is narrated so we are left with some questions even after the slight explanation at the kill of the hour. They go off to face the unpleasant guys and the narrative objective stops so we are left with a immense “THAT’S IT?? ” According to a blurb this anime was based on the approved video game, so it was created as a fan service. One anime that also was based on a video game was Gakuen Heaven, which was considerable better done, and a chubby season. One could contain that if the creator had do a shrimp more conception (and money) into the project it could have been gigantic. Need a dose of stunning, then RENT this anime but if you are looking for something to really entertain then pass on buying this one. (Unless there is a sequel) . English Subtitled.

It’s an moving myth, but they did not earn it, in my belief. They did not deepen into the characters lives so that we really do not care about what happens or not to them.
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The recent MY SIDE OF THE MOUNTAIN by Jean Craighead-George is outstanding. The 1969 movie based on the book is not nearly as a valid. The movie strays away from the myth entirely too remarkable. I really don’t notice the reason why the movie does this either. The modern would have made the perfect screenplay. The worst change of all is the death of Sam Gribley’s falcon, Hideous, by a hunter in the middle of the film. Another vast change is the addition of a pet raccoon named Gus, which also was not in the book. The ending was a yet another disappointing change. There were at least 25 other differences that I spotted between the book and the movie too.

As a teacher I level-headed consume this movie after my students have read the fresh. However, I spend it to expose my point that the modern is usually better then the movie. I also have my students try to regain as many differences between the two as they can.

I assume that an updated version of this movie, that follows the writing of Jean Craighead-George, would be gargantuan a expansive hit today.

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If you never read the modern then the movie is fairly superior. It does remind you of the musty Sunday night Disney movie that exercise to be on television. If you have read the book, then it is disappointing.

As a fifth grade teacher who shows this movie to my class AFTER they read the new, I pick up that they buy the book. Why? There is more detail in the book, and they don’t savor the unrealistic scene with Horrid in the middle. However, the movie does befriend a vital purpose, which is why I explain it each year. We win to meet the majestic Frightening, hear her shrill wail, enjoy her soaring beauty. It’s also lively to view the inside of Sam’s tree, and to have a sincere face achieve to Bando. But, for the lawful experience, the book by Jean Craighead George MUST be read!!
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Many people will survey at this film version of Andrew Lloyd Webber’s classic musical spectacular, THE PHANTOM OF THE OPERA with mixed emotions. There are people who will be upset that Sarah Brightman and Michael Crawford, who played the modern Christine and Phantom respectively, were not allowed to recreate their signature roles. There will also be people who’ll be disappointed that this version is not a literal translation of the stage musical. Finally, we have the critics of both Webber and director Joel Schumacher, who have both been accused of sorrowful excess in previous projects in their individual careers. Taken as a film version however, this PHANTOM stands the test of time, not only as a amazing musical film, but as one of the more faithful versions of Gaston Laroux’s romance/horror new.

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Starting with a dusky and white prologue, the film tells the epic of budding opera star Christine Daae and the two men who fight for her heart: the advantageous Viscount who she knew in childhood, and the mysterious Phantom of the Paris Opera House who hides his ugliness late a half-mask while sponsoring Christine’s career. Like the stage production, this film is awash in heavenly colors and sets that would establish many epics to shame. It’s well balanced by solid performances that benefit propel the romantic, if melodramatic, account along.

Gerard Butler makes for a wonderfully dusky and obsessive Phantom, while allowing the character to hold the audience’s sympathy. Miranda Richardson is solid as the dour Madame Giry, who knows the Phantom’s secret. Minnie Driver easily gets the most laughs as the over-bearing diva, Carlotta. (It’s keen to designate that Ms. Driver’s singing is dubbed in the film respectable, while she actually sings the recent closing credits melody “Learn to be Lonely.”) Patrick Wilson makes for a stalwart, if somewhat bland, Viscount. But the strongest impression is made by the pretty Emmy Rossum. Only in her leisurely teens when filming, she turns in a astounding performance with a crystal certain drawl that does justice to Webber’s salvage. Joel Schumacher does a strong enough job in directing this film, allowing the music and the screenplay that he co-wrote with Webber to shine.

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In the demolish, THE PHANTOM OF THE OPERA is a delicious spectacle that does justice in its gain procedure to both the stage fresh and Laroux’s book. As such, this is a film I highly recommend.

You know that a movie works when it follows you long after you’ve left the movie theater. I saw the Broadway tour of “Phantom of the Opera” a few years ago and it has been my accepted musical since. I esteem it more than Cats, 42nd Street, West Side Chronicle, Les Miserables, Miss Saigon…you name it. Its romanticism and handsome songs objective blew me away.

I was then somewhat hesitant to glance the film version, fearing that it would not live up to my expectations. A small over two hours later and I found myself crying over the Phantom (Gerard Butler) and his adore for the young Christine Daae (Emmy Rossum) as she decides between him or the nobleman Raoul (Patrick Wilson) .

In short, I savor this movie! It was everything I had hoped it to be and more. The legend is faithful to the stage version but it also gives the audience a closer view into the lives of the three main characters. The art direction, sets and costumes are gorgeous and breath-taking. And the songs are brought to life superbly by the talented cast of young newcomers (Rossum, Wilson) and film veterans (Miranda Richardson, Ciaran Hinds, Simon Callow) .

I know many would argue that Michael Crawford was a safe Phantom…that is, except for me. I always felt that Crawford’s narrate was too high-pitched and not manly enough. To me, Gerard Butler is more effective Phantom. Apart from being incredibly pretty (under that make-up), broad and well built, he also has this rough and raspy stammer that is very masculine and bulky of passion. He IS the Phantom! Emmy Rossum has a hauntingly radiant relate and has an innocence and sweetness that fits perfectly for Christine. Her vow gives me goosebumps! Patrick Wilson’s romantic notify contrasts well with that of the Phantom’s. After all, one is supposed to be a nobleman and the romantic hero while the other is gloomy, mysterious and brooding (like the misunderstood Quasimodo of “Hunchback of the Notre Dame.”) But even without the singing, Gerard Butler turns in a memorable and passionate performance as the Phantom and you really do feel for him in the kill. If there was one fault to this film, for me, it would be Minnie Driver’s Carlotta. She was so over the top that I sometimes found her grating.

All in all, however, I walked out of the theater wanting to watch “Phantom of the Opera” again and again (I’ve now seen it twice and counting) . I couldn’t procure the music out of my head and have since purchased the CD. I can’t wait for the dvd to reach out so I can gawk it over and over. I highly recommend it to fans of the stage version, music lovers and incurable romantics everywhere. And if you loved the songs, be certain to consume up the equally marvelous soundtrack. This phantom will haunt you long after you’ve left the movie theater….and I have gladly fallen under its spell. Excellent!

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Sonic X Vol.2 The Chaos factor was a spacious movie! It is pudgy of action, suspense, and drama!

Episode 5 The Chaos Emerald Chaos: Some garbage men experience a haywire in their system’s machine when they locate a chaos emerald! The news paper reporters exhibit the whole thing on television. Sonic and friends eye the news and space off to rep the chaos emerald but the inferior Dr.Eggman is trailing not so far gradual and he too is after the Chaos emeralds. It’s a hurry for who gets to the emerald first. Will it be Sonic, or The evil Dr.Eggman!

Episode6: Cracking Knuckles: Dr. Eggman finds Knuckles in the dump and tells him a bunch of lies. He tells him that sonic and his friends were trying to sustain them in this world for eternity and he also deceives knuckles that he has changed his deplorable ways and wants to leave in peace! Knuckles, fooled by eggman’s lies challenges sonic to an outraging battle! The winner will bring the Chaos emeralds home and the looser will perish a very awful death! You won’t want to miss this action packed adventure!!!

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Episode 7: Techno teacher: Dr. Eggman decides to expend his Techno-Teacher robot to do his bidding and posses the students so that they will obey only him! But techno-teacher refuses to listen to Dr. Eggman’s commands and teaches the school nice things and the students fancy HIM! Dr. Eggman, exasperated and in rage threatens to pull techno-teacher apart if he doesn’t do what Dr. Eggman tells him to do. Techno teacher, with no other choice reluctantly obeys dr. Eggman and puts the students in detention. Will sonic gather there in time before Dr.Eggman captures the students and get them obey only him?!

Episode8: Party Hardy When Chris’s movie star mom plans a party; Chris has to finish on his toes to withhold his novel friends a complete secret for the party guests. And once Chris’s Uncle and Mr. Stewart glean invited, Chris knows his friends will gain exposed! Can Chris manage to withhold his friends out of stare?

I recommend this DVD for people over 4! Assume it! You’ll cherish it!

I have been watching the series and this DVD includes episodes 4,5,6, and 7. In my idea the coolest episode is episode 5 “Cracking Knuckles” the fight between Sonic and Knuckles is awesome!!! Episode 6 has a lot of silly parts in it and so does episode 7. This DVD has icy episodes in it, definetly worth the money.
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Watch The Getaway Movie Online. Movie Title: The Getaway Average customer review: The Getaway is available for streaming or downloading. Click Here to Stream or Download The Getaway

This film has it all, and I cannot understand those who say it hasn’t used well. It’s a substantial bank robbery film. It’s a colossal prison film. It’s a immense ride film. It’s a broad admire myth. It fires on all cylinders. The depth and complexity of the narrative and the performances are peerless. It’s a sprawling myth over several days, with many famous and complex characters, all of whom you feel you know with some depth. Even the microscopic roles are standouts, including Ben Johnson as the curved sherriff, and Dub Taylor in what should have been a throwaway allotment playing a hotel clerk. The only obsolete status for me over the years is Ali McGraw who, although pleasing and believable, seems to be playing it so minimalist that she becomes nearly transparent. But that’s a miniature nit to remove – her by-play with McQueen is plot on. When I saw it for the first time the first plan that came into my mind was “these kids really explore and act MARRIED…” which is a tough bit of business to play. Their violent esteem for one another is the undercurrent here, their desire to simply be left alone, to get it in life, to come by away from their problems.

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The artistry is in the details, in the miniature brush strokes – the method McQueen holds and uses his .45 automatic are perfect. He is definitely more than unprejudiced another actor handed a pistol and said “Here, maintain this…” Slim Pickens has a limited gem of a role at the destroy and in a few brief sentences we learn volumes about his sweet, dim life, and cheer his profitable fortune for running into our heroes. The Sherriff’s flunky sidekicks provide some objective humor, all expansive cowboy hats and beer guts crammed into a Cadillac convertible.

McQueen was such an artist, and this is a exact masterpiece of his almost haiku draw of acting. He’s the master of the petite gesture, the subtle ogle, the deadpan line that unprejudiced turns you icy inside. What a shame he left us so soon. The Getaway stands as a valid testament to his genius.

Unpredictable, volatile, abrasive, and the only man Charlton Heston ever threaten on a position of a movie (Major Dundee) …I’m talking about `Bloody’ Sam Peckinpah…savor him or detest him, the man knew how to express a epic, one that could entertain not only the average film patron with loads of action and violence, but also the haughty, oft-times snobby film critics with his thoughtful and insightful characterizations…actually, I mediate these same, snobby critics actually got off secretly on being able to savor the more visceral elements of his films while calm being able to tout them on a cerebral level…like a guilty pleasure without the guilt. But that’s not to say Peckinpah’s films were always critically approved…I know his film Bring Me the Head of Alfredo Garcia (1974) took a beating, but I enjoyed the hell out of it, in all its ravishing dirty, sweaty, dust-caked, fly-ridden seediness…based on a original by Jim Thompson (The Grifters) and adapted for the cloak by Walter Hill (The Warriors, 48 Hrs.), The Getaway (1972) stars Steve McQueen (The Glorious Seven, The Tremendous Hasten), the man many enjoy to be the penultimate in machismo and icy, on and off the camouflage. Co-starring with McQueen is the very fine Ali MacGraw (Adore Account, Convoy), who became so enamored with her co-star she actually left her husband at the time, movie producer Robert Evans, to be with McQueen, and thus gave up the opportunity to star in several high profile films like Chinatown (1974) and The Gargantuan Gatsby (1974) …yes, the lure of the McQueen is a strong one…also appearing is Peckinpah approved Ben Johnson (Major Dundee, The Wild Bunch, Junior Bonner), quintessential heavy Al Lettieri (The Godfather, Mr Majestyk), Sally Struthers (Five Easy Pieces), whose most novel work include the tearful pleas to feed the starving children (which would probably be a lot more effective if she wasn’t so heavyset…there I said it), Slim Pickens (Blazing Saddles), Richard Incandescent (The Godfather), `Rub a Dub’ Dub Taylor (The Wild Bunch), Jack `Howard Sprague’ Dodson (“The Andy Griffith Demonstrate”), and Bo ‘Knows’ Hopkins (The Wild Bunch, White Lightning) .

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The film begins with scenes of a Texas prison, focusing on one inmate in particular, that of Carter ‘Doc’ McCoy (McQueen), who’s in his fourth year a ten-year stretch for bank robbery. After being denied parole, Doc agrees to chop a deal with a politically noteworthy and sinful individual named Jack Beynon (Johnson), who fair happens to also be a member of the parole board (that’s convenient) . The deal involves, on being released from prison, that McCoy pull a bank job for Beynon, which he does, and while McCoy’s meticulous planning nets the robbers a grand amount of cash, things snappily plunge apart as there’s a couple of jokers in the deck (one of them being one of the men McCoy got saddled with by Beynon), and the double sinister is in, but McCoy isn’t going down without a struggle, and he’s certainly not going benefit to the joint. Now McCoy and his wife Carol (MacGraw) must execute their device to El Paso with the money, avoiding remove by the authorities (by this time McCoy’s face is plastered all over the news), Beynon’s trigger-happy goons, and one of the aforementioned jokers, all in a exertion to build it safely across the border into Mexico.

While not my approved Peckinpah film (I’ve always been partial to The Wild Bunch), The Getaway is peaceful an superior film with strong themes and unprejudiced an all around gripping memoir, assisted by beneficial cast. One thing I’ve noticed about Peckinpah is his ability to picture distinguished aspects of account through visual means, carefully crafted shots and sequences, and originate it witness easy. A perfect example in this movie is the opening sequences with McQueen’s character in prison. We learn mighty about him, and feel a sense of the frustration and oppressive nature of his incarceration on his mental well-being to where desperation finally pushes him to the point of doing something he would normally wouldn’t in that of working for Beynon. Of course, this wouldn’t have worked as well with out McQueen playing the role, as his presence is the strong point throughout the film. I’ve heard some comment of MacGraw’s acting abilities (or lack of), but I believe this was impartial a case of having to part the hide with McQueen, and who could complete with that? Not many…I assume she did really well, avoiding some over dramatic pitfalls others would have succumbed to in the role…and then there’s supporting cast and the sense they were truly hand picked for their roles, providing, complex, distinctive, and believable characters. I’ve also heard complaints about how the tale drags at sure points, and the action sequences uneven and too short, but I’d disagree. I conception the strength was in the serene moments before the storm, the pacing intentional, to allow for the audience to execute an idea of the characters and scrutinize them not as two-dimensional constructs but living, breathing individuals willing to do what they have in order to procure what they want…to me, the action sequences, while certainly a plot for me to this film, were a fraction of a grand larger fragment. There were a couple of really challenging aspects about this movie for me, one being that while Peckinpah’s trademark usage of dead motions shots during the violent sequences is point to, it seemed a small toned down from some of his other films, but that wasn’t a poor thing. The 2nd aspect was the sort of upbeat ending, which was a genuine departure given that many of Peckinpah’s films are permeated with fatalistic characters arrangement down inevitable paths of self-destruction. Some scenes to peruse for…Steve McQueen going to town with a shotgun…oh yeah, kiss that squad car good-bye (quite a few cars were killed in the making of this film) …Steve McQueen slugging Sally Struthers in the mouth…hey, you can’t have a Peckinpah film without a shrimp misogyny, and while I would never advocate the employ of violence against a woman, I doubt there’d be few who wouldn’t agree that her highly annoying (and fairly sleazy) character was somewhat deserving…all in all this is a broad film (worthy better than the 1994 Kim Bassinger/Alec Baldwin remake, in my plan), with an exceptional script, acting, and direction, one that entertained me throughout, and reaffirms my idea of the possibilities of the cinema when in the hands of people who know (or knew) what they’re doing…

The relate, presented in widescreen anamorphic (2.40:1), enhanced for 16 X 9 televisions, looks provocative and smart, and the Dolby Digital 1.0 audio comes through very well. The `Deluxe Edition’, which is the one I have, has a few extra features in that of a commentary track with producer Sever Redman, and Peckinpah biographers/historians Paul Seydor, Garner Simmons, and David Weddle. Also included is an current theatrical trailer, along with a `virtual’ audio commentary track with Sam Peckinpah, Steve McQueen, and Ali MacGraw that consists of 1972 audio interview material from the three, spliced together and played over the film.

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