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Jesus Army Blogs
Hungry Britain?
More than half a million people in the UK – one third of them children – have received emergency supplies from Foodbanks in the last year.Published: 27th Feb 2014The Trussell Trust, a Christian-based charity that runs Foodbanks, describes itself as "a Christian organisation motivated by Jesus' teaching on poverty and injustice". They "serve people of all faith groups and beliefs or none".
But Foodbanks have been criticised by top government figures.
Work and Pensions Secretary, Iain Duncan Smith, accused the...
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Face of The Doctor
Doctor Who's "real face" has been revealed, say researchers.Published: 14th Feb 2014PETER Capaldi replaced Matt Smith as the famous Time Lord at the end of last year. He will be the thirteenth face of The Doctor.
But psychologists at the University of Aberdeen's "Face Lab" have revealed what they claim is The Doctor's definitive face, thanks to their "face averaging" technology.
Images of all the actors who have...
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The Greatest Escape
Did X-men star, Hugh Jackman, have a narrow escape when he pulled out of playing famous escapologist Harry Houdini?Published: 7th Feb 2014The actor, famous as mutant "Wolverine", said he "wasn't able to commit to the time" that playing Houdini in the new Broadway musical would require.
"I know they're well on their way to making something extraordinary" he added graciously.
But maybe the actor who played convict-turned-saint Jean Valjean in Les Misérables...
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Talking to Adam Simmonds
Adam Simmonds is Northamptonshire's Police and Crime Commissioner – and a committed Christian. He talks to James Stacey, a leader in the Jesus Army, about his job, his faith and his vision.Published: 6th Feb 2014Adam SimmondsThanks for taking the time to talk to us, Adam. Could tell us about what being a Police and Crime Commissioner involves?
It's a brand new role – no one has ever done it before – which has its pluses and minuses! On the good side, you get to decide for yourself how you want to work – you're not following in anyone else's...
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Smiley at Miley or Horror at Hannah?
"I've only recently realised that what I did as a child means something to people" said Mara Wilson, child actress probably best known for playing Matilda in the well-loved 1996 film.Published: 31st Jan 2014It's a strange phenomenon, growing up "in the spotlight". We cringe at old photos on Facebook timelines, but imagine a childhood broadcast to a huger audience than your Facebook friends.
Miley Cyrus has caused controversy by shedding her childhood character "Hannah Montana" and appearing naked in her music video for Wrecking Ball, performing in a...
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47 uses a variety of Weapons in his games.
Collectible Weapons
The following weapons may be collected (or purchased with Contract dollars) for use in Contract Missions. This table doesn't include the regular weapons (knife, screwdriver, Ilyon R700, remote explosives, etc.) that agent 47 can find and use throughout the campaign missions.
Collected Weapon | Location |
Agency Kazo TRG | unknown |
Agency Dynamics CPW | Attack of the Saints, Operation Sledgehammer |
Agency HX UMP | Availiable with purchase of the Professional Edition or 80 msp on Live Marketplace and $1 on the PSN |
Agency SPS 12 | Attack of the Saints, Operation Sledgehammer, Absolution |
Agency ARZ 160 | Attack of the Saints, Operation Sledgehammer, Absolution |
Agency JAGD P22G | Attack of the Saints, Operation Sledgehammer, Absolution |
Silverballer | n/a |
SA .44 Auto | Rosewood, Birdies Gift |
Skurky's Mustang Snub | On Skurky after eliminating him "Not Avaliable to Aquire" |
The Absolver | Attack of the Saints (w/ LaSandra Dixon's carcass) |
Layla's JAGD P22G | Blackwater Park Penthouse (w/ Layla Stockton's carcass) |
HX AP-15 | Birdies Gift, Blackwater Park Penthouse |
Travis' Swiss 3000 | On Travis after Eliminating him "Not Avaliable to Aquire" |
STG 58 Elite | Dexter Industries, Death Factory |
Police M590 12GA | Run For Your Life, Hunter and Hunted |
AH 74U | Dexter Industries, Death Factory |
Zug TMP | Rosewood, Fight Night, Skurkys Law |
Swiss Derringer | End of the Road (w/ Lenny's carcass) |
Dexter's Ultramax | Countdown (w/ Dexter's carcass) |
What Links Here
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CO2 emissions in the aftermath of the economic crisis: not any better than before
Figures from the Global Carbon Project, recently featured in an article in Nature Geoscience, brings forward new figures of CO2 decrease as a result of the recent and still actual economic crisis. The carbon emission levels of today are almost at the same level again as they were before the economic crisis, with only a minor decrease of 1,3 percent in 2009 and not the 2,8 percent as anticipated by climate scientists. Originally, climate scientists where expecting bigger carbon emission reductions than 1,3 percent but that was without consideration of the upcoming nations that are industrializing at a fast pace….


text: The Stars and Stripes posted a story about Brig. Gen. Tammy Smith, the first openly gay general officer in the US Military. Though she downplayed the 'first gay' angle, the importance was simply unavoidable. CNN picked up the story, and OutServe provided some great pictures from the ceremony. The article at S&S generated some heated comments. Most of them were spelled wrong, or were simply stupid. The military will be 90% gay, 10% closet straight I am glad my military career is … [Read more...]


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Inside Athletics » News Releases | VALPOATHLETICS.COM |
Crusaders Part of Spring Coverage Tomorrow on SportsTownChicago.com
Friday, March 25, 2011 Fans of Valparaiso volleyball can tune in to SportsTownChicago.com on Saturday to catch coverage of Crusader volleyball, as well as other tournament action, from the Great Lakes Center Collegiate Challenge in Aurora, Ill. Valpo will be featured during its second match of the day, when it takes on either Marquette or Western Michigan. Depending on the day's results, the Crusaders could also be part of a featured match later in the day as well. |
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recipe reviews for:
"This hearty and flavorful casserole is made with sausage, bacon, eggs, bread slices, and two kinds of cheese."
Cooking Level: Intermediate
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Everything you need to party like a leprechaun.
New for spring! Good-for-you food you'll love to eat.
Delicious recipes, party ideas, and helpful cooking tips! Get a year of Allrecipes magazine for just $9.99!
See how to make a cheesy breakfast casserole with bacon and hash browns.
Go easy on yourself with this make-ahead breakfast casserole.
This eggy Easter treat boasts bacon, cheese, hash browns, and veggies.


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Michael Moore
Michael Moore | |
Moore in New York to promote his memoir Here Comes Trouble, September 2011
Born | Michael Francis Moore April 23, 1954 Flint, Michigan, US |
Alma mater | University of Michigan–Flint |
Occupation | Actor, director, screenwriter, producer, documentarian |
Years active | 1972–present[1] |
Religion | Roman Catholic[2][3] |
Spouse(s) | Kathleen Glynn (1991–present/filed for divorce) |
Website | |
michaelmoore.com |
Michael Francis Moore (born April 23, 1954) is an American filmmaker, author, social critic, and political activist.[4] He is the director and producer of Fahrenheit 9/11, which is the highest-grossing documentary of all time and winner of the Palme d'Or.[5] His films Bowling for Columbine (2002) and Sicko (2007) also placed in the top ten highest-grossing documentaries,[5] and the former won the Academy Award for Documentary Feature. In September 2008, he released his first free movie on the Internet, Slacker Uprising, which documented his personal quest to encourage more Americans to vote in presidential elections.[6] He has also written and starred in the TV shows TV Nation and The Awful Truth.
Moore's written and cinematic works criticize globalization, large corporations, assault weapon ownership, U.S. Presidents Bill Clinton[7] and George W. Bush, the Iraq War, the American health care system, and capitalism.
Early life[edit]
Moore was born in Flint, Michigan and raised in Davison, a suburb of Flint, by parents Veronica (née Wall), a secretary, and Frank Moore, an automotive assembly-line worker.[8][9][10] At that time, the city of Flint was home to many General Motors factories, where his parents and grandfather worked. His uncle LaVerne was one of the founders of the United Automobile Workers labor union and participated in the Flint Sit-Down Strike.[11]
Moore was brought up Catholic,[2] and has Irish ancestry.[12] He attended parochial St. John's Elementary School for primary school and later attended St. Paul's Seminary in Saginaw, Michigan, for a year.[8][13][14][15][16] He then attended Davison High School, where he was active in both drama and debate,[17] graduating in 1972. As a member of the Boy Scouts of America, he achieved the rank of Eagle Scout. At the age of 18, he was elected to the Davison school board.[8][18] At the time he was the youngest person elected to office in the U.S.[19]
Moore dropped out of the University of Michigan–Flint following his first year (where he wrote for the student newspaper The Michigan Times). At 22 he founded the alternative weekly magazine The Flint Voice, which soon changed its name to The Michigan Voice as it expanded to cover the entire state. In 1986, when Moore became the editor of Mother Jones, a liberal political magazine, he moved to California and The Michigan Voice was shut down.
After four months at Mother Jones, Moore was fired. Matt Labash of The Weekly Standard reported this was for refusing to print an article by Paul Berman that was critical of the Sandinista human rights record in Nicaragua.[20] Moore refused to run the article, believing it to be inaccurate. "The article was flatly wrong and the worst kind of patronizing bullshit. You would scarcely know from it that the United States had been at war with Nicaragua for the last five years."[21] Moore believes that Mother Jones fired him because of the publisher's refusal to allow him to cover a story on the GM plant closings in his hometown of Flint, Michigan. He responded by putting laid-off GM worker Ben Hamper (who was also writing for the same magazine at the time) on the magazine's cover, leading to his termination. Moore sued for wrongful dismissal, and settled out of court for $58,000, providing him with seed money for his first film, Roger & Me.[22]
- Roger & Me
- Moore first became famous for his Emmy Award winning 1989 film, Roger & Me, a documentary about what happened to Flint, Michigan, after General Motors closed its factories and opened new ones in Mexico, where the workers were paid much less.[23] Since then Moore has become known as a critic of the neoliberal view of globalization. "Roger" is Roger B. Smith, former CEO and president of General Motors. Harlan Jacobson, editor of Film Comment magazine, said that Moore muddled the chronology in Roger & Me to make it seem that events that took place before G.M.'s layoffs were a consequence of them. Critic Roger Ebert defended Moore's handling of the timeline as an artistic and stylistic choice that had less to do with his credibility as a filmmaker and more to do with the flexibility of film as a medium to express a satiric viewpoint.[24]
- Pets or Meat: The Return to Flint
- (1992) is a short (23-minute) documentary film that was aired on PBS. It is based on Roger & Me. The film's title refers to Rhonda Britton, a Flint, Michigan, resident featured in both the 1989 and 1992 films who sells rabbits as either pets or meat.[25]
- Canadian Bacon
- In 1995, Moore released a satirical film, Canadian Bacon, which features a fictional US president (played by Alan Alda) engineering a fake war with Canada in order to boost his popularity. It is noted for containing a number of Canadian and American stereotypes, and for being Moore's only non-documentary film. The film is also one of the last featuring Canadian-born actor John Candy, and also features a number of cameos by other Canadian actors. In the film, several potential enemies for America's next great campaign are discussed by the president and his cabinet. (The scene was strongly influenced by the Stanley Kubrick film Dr. Strangelove.) The President comments that declaring war on Canada was as ridiculous as declaring war on international terrorism. His military adviser, played by Rip Torn, quickly rebuffs this idea, saying that no one would care about "a bunch of guys driving around blowing up rent-a-cars."
- The Big One
- In 1997, Moore directed The Big One, which documents the tour publicizing his book Downsize This! Random Threats from an Unarmed American, in which he criticizes mass layoffs despite record corporate profits. Among others, he targets Nike for outsourcing shoe production to Indonesia.
- Bowling for Columbine
- This 2002 film probes the culture of guns and violence in the United States, taking as a starting point the Columbine High School massacre of 1999. Bowling for Columbine won the Anniversary Prize at the 2002 Cannes Film Festival[26] and France's César Award as the Best Foreign Film. In the United States, it won the 2002 Academy Award for Documentary Feature. It also enjoyed great commercial and critical success for a film of its type and became, at the time, the highest-grossing mainstream-released documentary (a record now held by Moore's Fahrenheit 9/11).[5] It was praised by some for illuminating a subject avoided by the mainstream media.
- Fahrenheit 9/11
- Examines America in the aftermath of the September 11, 2001 attacks, particularly the record of the Bush administration and alleged links between the families of George W. Bush and Osama bin Laden. Fahrenheit was awarded the Palme d'Or,[27] the top honor at the 2004 Cannes Film Festival; it was the first documentary film to win the prize since 1956. Moore later announced that Fahrenheit 9/11 would not be in consideration for the 2005 Academy Award for Documentary Feature, but instead for the Academy Award for Best Picture. He stated he wanted the movie to be seen by a few million more people via a television broadcast prior to election day. According to Moore, "Academy rules forbid the airing of a documentary on television within nine months of its theatrical release", and since the November 2 election was fewer than nine months after the film's release, it would have been disqualified for the Documentary Oscar.[28] However, Fahrenheit received no Oscar nomination for Best Picture. The title of the film alludes to the classic book Fahrenheit 451 about a future totalitarian state in which books are banned; according to the book, paper begins to burn at 451 °F (233 °C). The pre-release subtitle of the film confirms the allusion: "The temperature at which freedom burns."
- As of August 2012, Fahrenheit 9/11 is the highest-grossing documentary of all time, taking in over US$200 million worldwide, including United States box office revenue of almost US$120 million.[5] In February 2011, Moore sued producers Bob and Harvey Weinstein for US$2.7 million in unpaid profits from the film, claiming they used "Hollywood accounting tricks" to avoid paying him the money.[29] In February 2012, Moore and the Weinsteins informed the court that they had settled their dispute.[30]
- Sicko
- Moore directed this film about the American health care system, focusing particularly on the managed-care and pharmaceutical industries. At least four major pharmaceutical companies—Pfizer, Eli Lilly, AstraZeneca, and GlaxoSmithKline—ordered their employees not to grant any interviews to Moore.[31][32][33] According to Moore on a letter at his website, "roads that often surprise us and lead us to new ideas—and challenge us to reconsider the ones we began with have caused some minor delays." The film premiered at the Cannes Film Festival on May 19, 2007, receiving a lengthy standing ovation, and was released in the U.S. and Canada on June 29, 2007.[34] The film was the subject of some controversy when it became known that Moore went to Cuba with chronically ill September 11 rescue workers to shoot parts of the film. The United States is looking into whether this violates the trade embargo. The film is currently ranked the fourth highest grossing documentary of all time[5] and received an Academy Award nomination for Best Documentary Feature.[35]
- Captain Mike Across America
- Moore takes a look at the politics of college students in what he calls "Bush Administration America" with this film shot during Moore's 60-city college campus tour in the months leading up to the 2004 election.[36][37] The film was later re-edited by Moore into Slacker Uprising.
- Capitalism: A Love Story
- On September 23, 2009, Moore released a new movie titled Capitalism: A Love Story, which looks at the late-2000s financial crisis and the U.S. economy during the transition between the incoming Obama Administration and the outgoing Bush Administration. Addressing a press conference at its release, Moore said, "Democracy is not a spectator sport, it's a participatory event. If we don't participate in it, it ceases to be a democracy. So Obama will rise or fall based not so much on what he does but on what we do to support him."[38]
Moore has written or co-written eight non-fiction books, mostly on similar subject matter to his documentaries. Stupid White Men (2001) is ostensibly a critique of American domestic and foreign policy but, by Moore's own admission, is also "a book of political humor."[39] Dude, Where's My Country? (2003), is an examination of the Bush family's relationships with Saudi royalty, the Bin Laden family, and the energy industry, and a call-to-action for liberals in the 2004 election. Several of his works have made bestseller lists.
Moore has dabbled in acting, following a 2000 supporting role in Lucky Numbers as the cousin of Lisa Kudrow's character, who agrees to be part of the scheme concocted by John Travolta's character. He also had a cameo in his Canadian Bacon as an anti-Canada activist. In 2004, he did a cameo, as a news journalist, in The Fever, starring Vanessa Redgrave in the lead.
Between 1994 and 1995, he directed and hosted the BBC television series TV Nation, which followed the format of news magazine shows but covered topics they avoid. The series aired on BBC2 in the UK. The series was also aired in the US on NBC in 1994 for 9 episodes and again for 8 episodes on Fox in 1995.
His other major series was The Awful Truth, which satirized actions by big corporations and politicians. It aired on Channel 4 in the UK, and the Bravo network in the US, in 1999 and 2000. Moore won the Hugh M. Hefner First Amendment Award in Arts and Entertainment for being the executive producer and host of The Awful Truth, where he was also described as "muckraker, author and documentary filmmaker".
Another 1999 series, Michael Moore Live, was aired in the UK only on Channel 4, though it was broadcast from New York. This show had a similar format to The Awful Truth, but also incorporated phone-ins and a live stunt each week.
Music videos[edit]
Moore has directed several music videos, including two for Rage Against the Machine for songs from The Battle of Los Angeles: "Sleep Now in the Fire" and "Testify". He was threatened with arrest during the shooting of "Sleep Now in the Fire", which was filmed on Wall Street; the city of New York City had denied the band permission to play there, although the band and Moore had secured a federal permit to perform.[40]
He also directed the videos for R.E.M. single "All the Way to Reno (You're Gonna Be a Star)" in 2001 and the System of a Down song "Boom!".
Appearances in other documentaries[edit]
- Moore appeared in The Drugging of Our Children,[41] a 2005 documentary about over-prescription of psychiatric medication to children and teenagers, directed by Gary Null a proponent of Alternative Medicine. In the film Moore agrees with Gary Null that Ritalin and other similar drugs are over-prescribed, saying that they are seen as a "pacifier".
- Moore appeared on fellow Flint natives Grand Funk Railroad's edition of Behind The Music.
- Moore appeared as an off-camera interviewer in Blood in the Face, a 1991 documentary about white supremacy groups. At the center of the film is a neo-Nazi gathering in Michigan.[42]
- Moore appeared in the 2001 documovie The Party's Over discussing Democrats and Republicans.
- Moore appeared in The Yes Men, a 2003 documentary about two men who pose as the World Trade Organization. He appears during a segment concerning working conditions in Mexico and Latin America.
- Moore briefly appears in Alex Jones's documentary Martial Law 9/11: Rise of the Police State. Jones criticises Moore for not going into more depth about the World Trade Center attacks in Fahrenheit 9/11, particularly about NORAD standing down, and for portraying George W. Bush as an unassuming frontman instead of an active conspirator in 9/11. Jones manages to ask Moore why he didn't mention NORAD standing down, and Moore swiftly answers that "it would be un-American".
- Moore was interviewed for the 2004 documentary, The Corporation. One of his highlighted quotes was: "The problem is the profit motive: for corporations, there's no such thing as 'enough'".[43]
- Moore appeared in the 2006 documentary I'm Going to Tell You a Secret, which chronicles Madonna's 2004 Re-Invention World Tour. Moore attended her show in New York City at Madison Square Garden.
Political views[edit]
Although Moore has been noted for his political activism,[4] he rejects the label "political activist" saying such a description is redundant as a citizen of a democracy: "I and you and everyone else has to be a political activist. If we're not politically active, it ceases to be a democracy."[44] According to John Flesher of the Associated Press, Moore is known for his "fiery left-wing populism,"[45] and publications such as the Socialist Worker Online have hailed him as the "new Tom Paine."[46]
Moore was a high-profile guest at both the 2004 Democratic National Convention and the 2004 Republican National Convention, chronicling his impressions in USA Today. He was criticized in a speech by Republican Senator John McCain as "a disingenuous film-maker." Moore laughed and waved as Republican attendees jeered, later chanting "four more years." Moore gestured his thumb and finger at the crowd, which translates into "loser."[47]
During September and October 2004, Moore spoke at universities and colleges in swing states during his "Slacker Uprising Tour". The tour gave away ramen and underwear to students who promised to vote.[48][49] One stop during the tour was Utah Valley State College. A fight for his right to speak resulted in massive public debates and a media blitz.[50] The Utah event was chronicled in the documentary film This Divided State.[51]
Despite having supported Ralph Nader in the 2000 presidential election, Moore urged Nader not to run in 2004 so as not to split the left vote. On Real Time with Bill Maher, Moore and Maher knelt before Nader to plead with him to stay out of the race.[52]
Moore drew attention in 2004 when he used the term "deserter" when he introduced Retired Army Gen. Wesley K. Clark at a Democratic Presidential debate in New Hampshire. Noting that Clark had been a champion debater at West Point, Moore told a laughing crowd, "I know what you're thinking. I want to see that debate" between Clark and [George W.] Bush – "the general versus the deserter." Moore said he was referring to published reports in several media outlets including The Boston Globe which had reported that "there is strong evidence that Bush performed no military service as required when he moved from Houston to Alabama to work on a U.S. Senate campaign from May to November 1972."[53] [54][55]
On April 21, 2008, Moore endorsed Barack Obama for President, stating that Hillary Clinton's recent actions had been "disgusting."[56] Moore was an active supporter of the Occupy Wall Street protest in New York City and spoke with the OWS protesters on September 26, 2011.[57] On October 29, 2011, he spoke at the Occupy Oakland protest site to express his support.[58]
Moore praised Django Unchained, tweeting that the movie "is one of the best film satires ever. A rare American movie on slavery and the origins of our sick racist history."[59]
Moore's 2011 claims that "Four hundred obscenely wealthy individuals, 400 little Mubaraks -- most of whom benefited in some way from the multi-trillion-dollar taxpayer bailout of 2008 -- now have more cash, stock and property than the assets of 155 million Americans combined" and that these 400 Americans "have more wealth than half of all Americans combined" were found to be true by PolitiFact and others.[60][61][62][63][64]
In an op-ed piece for The New York Times published on December 31, 2013, Moore assessed the Affordable Care Act, calling it "awful" and adding that, "Obamacare's rocky start … is a result of one fatal flaw: The Affordable Care Act is a pro-insurance-industry plan implemented by a president who knew in his heart that a single-payer, Medicare-for-all model was the true way to go." Despite his strong critique, however, Moore wrote that he still considers the plan a "godsend" because it provides a start "to get what we deserve: universal quality health care."[65][66][67]
Personal life[edit]
Moore married producer Kathleen Glynn on October 19, 1991. He filed for divorce on June 17, 2013.[68] At the time of his divorce, he was estimated to have a net worth of $50 million.[69]
Moore is a Catholic,[3][70] but has said he disagrees with church teaching on subjects such as abortion[71] and same-sex marriage.[72]
Following the Columbine High School massacre, Moore acquired a life membership to the National Rifle Association (NRA). Moore said that he initially intended to become the NRA's president and dismantle it, but he soon dismissed the plan as too difficult.[73][74] Observers such as Dave Kopel noted that there was no chance of that happening;[75] authors David T. Hardy and Jason Clarke wrote about how Moore failed to discover that the NRA selects a president not by membership vote but by a vote of the board of directors.[76]
In 2005 Time magazine named Moore one of the world's 100 most influential people.[77] Also in 2005, Moore founded the annual Traverse City Film Festival in Traverse City, Michigan. In 2009, Moore co-founded the Traverse City Comedy Festival, also held in Traverse City, where Moore helped spearhead the renovation of the historic State Theater in downtown.
Published work[edit]
- Moore, Michael (1996). Downsize This! Random Threats from an Unarmed American. New York: HarperPerennial. ISBN 0-06-097733-7.
- Moore, Michael; Glynn, Kathleen (1998). Adventures in a TV Nation. New York: HarperPerennial. ISBN 0-06-098809-6.
- Moore, Michael (2002). Stupid White Men ...and Other Sorry Excuses for the State of the Nation!. New York: Regan Books. ISBN 0-06-039245-2.
- Moore, Michael (2003). Dude, Where's My Country?. New York: Warner Books. ISBN 0-446-53223-1.
- Moore, Michael (2004). Will They Ever Trust Us Again?. New York: Simon & Schuster. ISBN 0-7432-7152-1.
- Moore, Michael (2004). The Official Fahrenheit 9/11 Reader. New York: Simon & Schuster. ISBN 0-7432-7292-7.
- Moore, Michael (2008). Mike's Election Guide 2008. New York: Grand Central Publishing. ISBN 0-446-54627-5.
- Moore, Michael (2011). Here Comes Trouble: Stories from My Life. New York: Grand Central Publishing. ISBN 0-446-53224-X.
- Roger & Me (1989)
- Pets or Meat: The Return to Flint (1992)
- Canadian Bacon (1995)
- The Big One (1997)
- EDtv (1999) (cameo as himself)
- Lucky Numbers (2000) (as actor)
- The Party's Over (2001)
- Bowling for Columbine (2002)
- Fahrenheit 9/11 (2004)
- Sicko (2007)
- Captain Mike Across America (2007)
- Slacker Uprising (2008)
- Capitalism: A Love Story (2009)
Television series[edit]
- TV Nation (1994)
- The Awful Truth (1999)
- Michael Moore Live (1999)
See also[edit]
- ^ Moore, having been elected to the Davison School Board in 1972 at age 18, was amongst the first persons in the country to hold elected office at this age. He also ran on a platform of firing the existing High School Principal.
- ^ a b Williamson, Marianne (September 18, 2007). "Filmmaker Michael Moore's Spirituality". O: The Oprah Magazine. Retrieved September 16, 2010.
- ^ a b Rahner, Mark (June 26, 2007). ""Sicko", new Michael Moore film, takes on the health-care system". The Seattle Times. Retrieved 2007-06-30.
- ^ a b "Michael Moore Fights to Save Theatre in Traverse City". The Detroit News/Theatre Historical Society of America. Archived from the original on June 2011. Retrieved October 19, 2013.
- ^ a b c d e "Documentary Movies". Box Office Mojo. 2007. Retrieved 2011-03-26.
- ^ "Michael Moore releases Slacker Uprising for free on Net". www.meeja.com.au. September 24, 2008. Retrieved 2008-09-24.
- ^ "And Now, for the OTHER Republican Convention" August 13, 2000, Michael Moore.com
- ^ a b c "Michael Moore. Full biography". New York Times. Retrieved 2010-05-12.
- ^ "Michael Moore Biography (1954–)". Film Reference. Retrieved 2007-07-19.
- ^ Rapoport, Roger (2007). Citizen Moore: the life and times of an American iconoclast. RDR Books. p. 19. ISBN 1-57143-163-2.
- ^ Stated in Moore's film, Roger & Me, 1989, and Capitalism: A Love Story, 2009.
- ^ Michael Moore talks 'Capitalism' and how Irish background shapes his views | Irish Entertainment in Ireland and Around the World | IrishCentral
- ^ Schultz, Emily (2005). Michael Moore: a biorgraphy. ECW Press. pp. 7–8. ISBN 1-55022-699-1.
- ^ Richard Knight, Jr. (June 27, 2007). "To Your Health: A Talk with Sicko's Michael Moore". Windy City Media Group. Retrieved 2007-06-27.
- ^ Primeau, François. American Dissident, Lulu Press, 2007.
- ^ Headlam, Bruce (September 16, 2009). "Capitalism's little tramp". New York Times. Retrieved 2009-09-17.
- ^ Gary Strauss (June 20, 2004). "The truth about Michael Moore". USA Today. Retrieved 2006-07-09.
- ^ MichaelMoore.com: The Day I Was To be Tarred and Feathered.
- ^ Garner, Dwight (September 13, 2011). "A Contrarian Since Childhood". The New York Times. Retrieved June 28, 2013.
- ^ Schultz, Emily (2005). Michael Moore: a biorgraphy. 47–54: ECW Press. ISBN 1-55022-699-1.
- ^ Cockburn, Alexander. "Beat The Devil: Michael meets Mr. Jones", The Nation, September 13, 1986.
- ^ Matt Labash. "Michael Moore, One-Trick Phony". The Weekly Standard. June 8, 1998.
- ^ [1] Internet Movie Data Base, Accessed July 20, 2012.
- ^ Ebert, Roger (February 11, 1990). "Attacks on 'Roger & Me' completely miss the point of the film". Sun Times. Retrieved October 5, 2011.
- ^ Diane Katz (September 20, 1992). "'Roger and Me' Revisited". The Detroit News.
- ^ "Festival de Cannes: Bowling for Columbine". festival-cannes.com. Retrieved 2009-10-24.
- ^ "Festival de Cannes: Fahrenheit 9/11". festival-cannes.com. Retrieved 2009-11-30.
- ^ Michael Moore (September 6, 2004). "Why I Will Not Seek a Best Documentary Oscar (I'm giving it up in the hopes more voters can see "Fahrenheit 9/11")". Retrieved March 8, 2011.
- ^ "Film-maker Michael Moore sues Weinstein brothers". BBC. February 9, 2011. Retrieved February 9, 2011.
- ^ Belloni, Matthew. "Michael Moore, Harvey Weinstein Settle 'Fahrenheit 9/11' Lawsuit". The Hollywood Reporter.
- ^ The Philadelphia Inquirer: Inqlings | Michael Moore takes on Glaxo. Michael Klein, September 30, 2005. Archive accessed 2006-07-09.
- ^ Common Dreams News Center: Drug Firms are on the Defense as Filmmaker Michael Moore Plans to Dissect Their Industry. Original Article — Elaine Dutka, L.A. Times, December 22, 2004. Archive accessed 2006-08-09.
- ^ Chicago Tribune: Michael Moore turns camera onto health care industry. Bruce Japsen, October 3, 2004. Archive accessed 2006-07-09.
- ^ CBC Sicko to have unofficial premiere at Democratic fundraiser May 26, 2007. URL accessed 2007-10-14.
- ^ "Shortlist for docu Oscar unveiled". The Hollywood Reporter. November 20, 2007. Archived from the original on May 2, 2008. Retrieved 2008-01-31.
- ^ "Toronto International Film Festival". Retrieved 2007-09-07.
- ^ Captain Mike at the Internet Movie Database
- ^ "Capitalism is evil", says new Michael Moore film Reuters, September 6, 2009.
- ^ Opinion Journal from the Wall Street Journal: Unmoored from Reality. John Fund's Political Diary, March 21, 2003. URL accessed 2006-08-29.
- ^ Green Left Weekly: Rage against Wall Street. Michael Moore, via MichaelMoore.com, date unspecified. URL accessed 2006-07-09.
- ^ "The Drugging of Our Children". at the Internet Movie Database.
- ^ Blood in the Face at the Internet Movie Database Moore details his involvement in the audio commentary on the Roger & Me DVD.
- ^ "Who's Who". The Corporation Film.
- ^ "'I am the balance', says Moore". Minneapolis Star Tribune. South Florida Sun-Sentinel. July 4, 2007. Retrieved 2007-07-06. "Moore rejects the label "political activist"; as a citizen of a democracy, Moore insists, such a description is redundant."
- ^ Flesher, John (June 16, 2007). "Hollywood meets Bellaire as Moore gives sneak peek of "Sicko"". Associated Press. "But the filmmaker, known for his fiery left-wing populism and polemical films such as "Fahrenheit 9/11" and Oscar-winning "Bowling for Columbine", told the audience "Sicko" would appeal across the political spectrum."
- ^ Porton, Richard. "Weapon of mass instruction Michael Moore's Fahrenheit 9/11." Cineaste (September 22, 2004). Retrieved May 15, 2009; see also Davy, Michael. Michael Moore's Fahrenheit 9/11. Socialist Worker. July 10, 2004. Retrieved 2009-05-15.
- ^ Delegates relish McCain jab at filmmaker Moore CNN.com. 2006-08-31.
- ^ "Moore Offers 'Hell raiser' Scholarship During Speech". 10News.com. October 14, 2004. Retrieved December 4, 2011.
- ^ "Michael Moore Offers Slacker Uprising Free Online". Scoop Independent News. September 23, 2008. Retrieved December 4, 2011.
- ^ Hancock, Laura (February 6, 2005). "Film dissects pros, cons of Moore visit". Deseret Morning News. Retrieved December 4, 2011.
- ^ This Divided State official website. Accessed 2006-07-09.
- ^ "Bill Maher: Back for More". Washingtonpost.com. August 2, 2004. Retrieved 2012-03-07.
- ^ "George W. Bush, A.W.O.L". MichaelMoore.com. Retrieved 2012-03-07.
- ^ George W. Bush, A.W.O.L, January 23, 2004.
- ^ Bell, Dawson (October 5, 2004). "Michigan GOP says Michael Moore tried to buy votes with underwear". Detroit Free Press. Archived from the original on October 13, 2004.
- ^ My Vote's for Obama (if I could vote) ...by Michael Moore, April 21, 2008.
- ^ "Something Has Started: Michael Moore on the Occupy Wall St. Protests that Could Spark a Movement". Democracy Now. September 28, 2011. Retrieved October 29, 2011.
- ^ "Michael Moore: Occupy movement killed apathy". CBS News. October 29, 2011. Retrieved October 29, 2011.
- ^ "'Django Unchained' was more than a role for Kerry Washington". DecaPost.com. December 31, 2012.
- ^ Kertscher, Tom; Borowski, Greg (March 10, 2011). "The Truth-O-Meter Says: True - Michael Moore says 400 Americans have more wealth than half of all Americans combined". PolitiFact. Retrieved August 11, 2013.
- ^ Moore, Michael (March 6, 2011). "America Is Not Broke". Huffington Post. Retrieved August 11, 2013.
- ^ Moore, Michael (March 7, 2011). "The Forbes 400 vs. Everybody Else". michaelmoore.com. Retrieved August 11, 2013.
- ^ Pepitone, Julianne (September 22, 2010). "Forbes 400: The super-rich get richer". CNN. Retrieved August 11, 2013.
- ^ Johnson, Dave (February 14, 2011). "9 Pictures That Expose This Country's Obscene Division of Wealth". Alternet. Retrieved August 11, 2013.
- ^ Moore, Michael (December 31, 2013). "The Obamacare We Deserve". New York Times. Retrieved January 6, 2014.
- ^ Staff (January 1, 2014). "Michael Moore: 'Awful' Obamacare is Liberals' 'Dirty Little Secret'". Newsmax Media. Retrieved January 6, 2014.
- ^ Noam Schieber (January 5, 2014). "How Obamacare Actually Paves the Way Toward Single Payer". The New Republic. Retrieved January 7, 2014.
- ^ "Michael Moore divorce: Flint native splits with wife of 21 years". mlive.com. Retrieved 19 July 2013.
- ^ "Hollywood Producer Slams Michael Moore for Goldman Sachs Hypocrisy". hollywoodreporter.com. Retrieved 28 January 2014.
- ^ Elliott, David (June 29, 2007). "Moral outrage, humor make up Michael Moore's one-two punch". SignOnSanDiego. Retrieved 2007-06-30.
- ^ Moore, Michael (September 12, 2003). "Michael Moore to Wesley Clark: Run!". MichaelMoore.com. Retrieved 2009-09-23.
- ^ News Service, Canwest (June 11, 2007). "Moore may tackle gay rights". Canada.com. Retrieved 2009-09-23.
- ^ Collins, Andrew (November 11, 2002). "Guardian/NFT interview: Michael Moore". The Guardian. Retrieved August 22, 2011. "...I became a lifetime member after the Columbine massacre because my first thought after Columbine was to run against Charlton Heston for the presidency of the NRA. You have to be a lifetime member to be able to do that, so I had to pay $750 to join. My plan was to get 5m Americans to join for the lowest basic membership and vote for me so that I'd win and dismantle the organization. Unfortunately, I figured that's just too much work for me so instead I made this movie."
- ^ Lawrence, Ken (2004). The World According to Michael Moore: A Portrait in His Own Words. Andrews McMeel Publishing. p. 81. ISBN 1-4494-1332-3. Moore is quoted from Entertainment Weekly, October 25, 2002.
- ^ Kopel, Dave (April 4, 2003). "Bowling Truths". National Review Online. Retrieved December 12, 2011.
- ^ Hardy, David T.; Clarke, Jason (2005). Michael Moore Is a Big Fat Stupid White Man. HarperCollins. p. 114. ISBN 0-06-077960-8.
- ^ Joel Stein (April 18, 2005). "Michael Moore: The Angry Filmmaker". Time. Retrieved 2007-07-19.
External links[edit]
Wikisource has original works written by or about: |
Wikiquote has a collection of quotations related to: Michael Moore |
Wikimedia Commons has media related to Michael Moore. |
- General
- Official website
- Michael Moore at the Internet Movie Database
- The Populist: Michael Moore Can Make You Cry / New Yorker (February 16, 2004)
- America's Teacher by Naomi Klein, The Nation, September 23, 2009
- Interviews
- A 2007 NOW on PBS interview with Michael Moore
- Michael Moore on His Life, His Films and His Activism – video interview by Democracy Now!
- Michael Moore on 2010 Midterm Elections, the Tea Party, and the Future of the Democratic Party
- In Depth interview with Moore, October 2, 2011
- Michael Moore
- 1954 births
- Living people
- Directors of Best Documentary Feature Academy Award winners
- Male actors from Michigan
- American activists
- American Roman Catholics
- Anti-globalization
- American alternative journalists
- American anti–Iraq War activists
- American anti-war activists
- Anti-corporate activists
- American dissidents
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- People from Traverse City, Michigan
- Roman Catholic activists
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- Writers from Michigan
- Writers Guild of America Award winners
- Youth empowerment people
- Youth rights people


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recipe reviews for:
"Ana and Lydia's cannoli, recipe invented on July 31st, 2005. I spent a lot of time looking for a good recipe for cannoli shells and filling. Since no two were alike, and since instructions were a bit sketchy, I worked with a friend to come up with a good recipe, including some tips that we came up with along the way. Special equipment is needed such as cannoli tubes, a pasta machine and a pastry bag to help make these cannoli come out just like the ones at Italian restaurants and bakeries. Start with 1/2 cup of confectioners' sugar, and then add more to taste."
Cooking Level: Expert
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Even though we just revealed a few days ago that Tekken: Dark Resurrection was in development for the PSP, we've managed to obtain the latest information about the game.
Aside from the fact that the game will include thirty characters, as well as two new ones including Dragonuv and Lilli there will also be new stages as well as PSP exclusive features like a wireless multiplayer mode.
Tekken: Dark Resurrection is still at least six months off and is currently set for release in Q3, 2006 in Japan. We've included the first of the game in action and we must admit that it is looking very impressive. We'll have more on the game as it nears release.
17 Feb, 2006
17 Feb, 2006
Tekken fights it's way onto the PSP
PSP News | First images of the game revealed.
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6/8. Jimmy Gunn @ Paddy's Coffee House. 3900 Smith St. Union City. 8:30PM. Free. Featuring Curtis Taylor III, Dan Allenderwest, Stefani Silverman, Tyler Hinz, Eric Cash, Sam Meeker and Thomas Mayfield. Hosted by Molly Sokhom.
[Dear South Bay. I love you. I am from you. I've rolled in your hills, blasted past memory, front-flipping through dubstep day raves. I've eaten foreign cookies with your residents. You have a good thing going, South Bay. This event series is in said pocket of perfection. Great comedy for the great price of nothing. Check it out if you want wiggle, giggle and fall in love.]
Tags: Molly Sokhom Jimmy Gunn Union City South Bay comedy comedian bay area event stand-up free Curtis Taylor III Dan Allenderwest Stefani Silverman Tyler Hinz Eric Cash Sam Meeker Thomas Mayfield
Bay-Area, CA based comedy blog from Bay-Area, CA based comedian blogger. News, event reviews, room reviews, journals, highlights, videos, links, and anything else from the San Francisco/Bay-Area comedy community.
If you have any shows happening in the Bay-Area or photos or anything comedy related shoot it over to firstname.lastname@example.com


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Dewey: The Small-Town Library Cat Who Touched the Worldby Vicki Myron
Synopses & ReviewsPublisher Comments:How much of an impact can an animal have? How many lives can one cat touch? How is it possible for an abandoned kitten to transform a small library, save a classic American town, and eventually become famous around the world? You can't even begin to answer those questions until you hear the charming story of Dewey Readmore Books, the beloved library cat of Spencer, Iowa.
Dewey's story starts in the worst possible way. Only a few weeks old, on the coldest night of the year, he was stuffed into the returned book slot at the Spencer Public Library. He was found the next morning by library director Vicki Myron, a single mother who had survived the loss of her family farm, a breast cancer scare, and an alcoholic husband. Dewey won her heart, and the hearts of the staff, by pulling himself up and hobbling on frostbitten feet to nudge each of them in a gesture of thanks and love. For the next nineteen years, he never stopped charming the people of Spencer with his enthusiasm, warmth, humility (for a cat), and, above all, his sixth sense about who needed him most. As his fame grew from town to town, then state to state, and finally, amazingly, worldwide, Dewey became more than just a friend; he became a source of pride for an extraordinary Heartland farming town pulling its way slowly back from the greatest crisis in its long history. Synopsis:How is it possible for an abandoned kitten to transform a small library, save a classic American town, and eventually become famous around the world? This "New York Times" bestseller answers that question as it tells the story of Dewey Readmore Books, the beloved library cat of Spencer, Iowa.
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Other books you might likeRelated SubjectsHome and Garden Pets » Cats » Care and Ownership Pets » Cats » Cats by Breed Pets » Cats » General Pets » Cats » Novelty Pets » Pet Tales Reference » Bibliography and Library Science |


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I wanna be the very best, that no one ever was!
29 9 / 2013
Wreeeeckiiiin' baaaaaaall!
Permalink 22 notes
23 5 / 2013
After what seems like an eternity, I have finalised the design for "Adrian".
Haha! I better be careful or my new drawing tools might make me look professional!
Permalink 3 notes
22 5 / 2013
New stretch pad!!
Permalink 7 notes
18 1 / 2013
If there is one thing I hate, it's paper work. With students handing in all their end of term assessments this is how I can best sum up my feelings.
Permalink 1 note
05 1 / 2013
My love of giant robots knows no bounds, and now I have my very own!(I do realise I have terrible hand writing, which surprises most people since I can draw).
Permalink 2 notes
11 12 / 2012
Had 15 minutes spare while waiting for dinner to finish cooking. With my recent Pokemon fever drawing Pikachu was bound to happen.
Permalink 4 notes
09 12 / 2012
It's you and meI know it's my destinyPokemon!You're my best friend,In a world we must defend.Pokemon!(Dedicated to my new life partner, Snivy!)
25 8 / 2012
New Character ^_^
23 8 / 2012
Character turnaround sheet.
21 8 / 2012
Never negotiate with the undead, something about being a reanimated corpse with the single drive to eat the brains of the living makes you not have the same moral values as regular folk. I think the hardest part of a zombie viral outbreak would be to pretend I am not excited. If you are wondering, my zombie slaying theme song is "Lovin is really my Game".
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Have Digital Cameras Made Light Meters Pointless? Ryan E. Walters Explains Why They're Still Important
Light meters may seem like relics of a different era, but they are still consistently used by filmmakers working with digital cameras. We've shared a fantastic guide about using light meters from Ryan E. Walters before, and now we've got a great post on why light meters are still relevant and how they can help you light and expose your shot, and get a far more precise image overall.
This is a guest post by Cinematographer Ryan E. Walters.
With the proliferation of digital cinema cameras these days, I often get asked, "Do you really need to use a light meter? After all, isn't the whole point of working with digital 'What You See, Is What You Get?'" While a case can be made for that perspective, I believe that by doing so you miss out on the power, efficiencies, and knowledge that working with a meter adds to your skill set. Here is why I think the light meter is a critical tool to use with digital cinema cameras.
Using A Meter Gives You Power
Precisely control the look of your images: Great lighting doesn't just happen by accident, or by blasting light everywhere on set and recording it. Great lighting happens through control and precision. If you want your images to stand out from the crowd, I would suggest that you need to be purposeful and intentional with your lighting. That means you need to know how your camera responds to light, and then you need to precisely place those values where you want them in the frame through careful lighting. The only way to know precisely where those values fall is through the use of a meter. A waveform or histogram can give you a good overview of a scene, but it can't tell you that you need 10 more foot candles of light, or that you need a half stop less of light to get to where you want to be. It only tells you that you need more or less light.
Ability to match shots or scenes shot at separate times or at different locations: If you know what your light levels are for a given scene, then you can come back and shoot pickup shots for that scene weeks or months later and they will intercut perfectly. (Even if you end up using different lighting instruments then what you initially shot with). Furthermore, by knowing the light levels of the initial scene you can make a completely different location match the original location through lighting and creative camera work. I have worked on several projects where I have had to keep a consistent look throughout the project, but the scenes were shot over many months in different locations, and yet the end result looked and felt like it was all shot in the same place, using the same location. (This is especially helpful for interviews for documentaries). If I didn't have my meter and didn't know the light levels for each shot the look would have been inconsistent.
Know if a specific look will hold up: Today's digital cameras offer a lot of flexibility in the looks that they create both in camera, and then later through the final grade. If the time is taken during preproduction to test various looks, you can transfer the information you learn in prep to your meter. Then by taking readings on set you will have an accurate way to know for sure if the details in that black car will hold up after the shot has gone through the final grade. Having the power to know this in advance is a lot more affordable than having to reshoot something, or take the final look in a completely different direction because it didn't hold up.
Using A Meter Makes You Efficient
Makes you faster on set: It seems like these days there is a continual push to work faster and get more done in a day. So I am always looking for tools that allow me to be more efficient as well as allow me to deliver the quality imagery I desire. My meter does just that. By using a light meter, I can take measurements and know exactly what changes need to happen instead of guessing. It also gives me a clear, precise means of communication. I can tell my Gaffer I need 23 foot candles of light at this location, or I can say I need a double scrim in that light over there. During preproduction, I can also talk with my Gaffer and say: I want my key to be at T4 @ ISO 800 and 24 fps, my fill at T1.4, and my kicker to be at T8. Or I can say I want a key to fill ratio of 8:1. And then she can make informed suggestions on the type of lighting units we should use to get my desired results. This a lot faster than just saying, "I need more or less light here," and then making several adjustments to get to the correct levels.
Ability to light multiple locations at the same time, or pre-light the day before: Lugging a camera system around with you to light your locations not only adds extra work, but it can also incur additional expense and time that can easily be avoided. By knowing how your camera system responds to light, you can use your light meter to light a secondary set while you are shooting on the first set. Or you can be lighting the set the day before to make the shoot day go smoother and quicker. I have worked on productions where we had to shoot in 4 locations in one day and we did not have the budget to rent 4 different camera systems. We also did not have the time to transfer the camera back and forth to preview the scene, nor was there the budget to add an extra days camera rental for the pre-light day. By knowing how the camera system responds to light, I was able to have each set lit and ready to go before the camera arrived, allowing us to make our day, and keep the budget reasonable.
Post production is easier, quicker, and more affordable: By maintaining consistent light levels within a scene it means that when it comes time to grade the footage less tweaking and shot matching has to be done in-between individual shots. This speeds up the grading session, and it allows for more time to finesse/grade the footage rather than correct/balance it. And, consequently, it also reduces the post production costs. I have also worked on productions where the turnaround was so tight that there wasn't time to do any grading, or correction. The end deliverable was a straight edit of the footage. Because I had controlled the light levels and maintained a consistent look shot to shot, post production was a breeze and no one ever knew that the footage was not color corrected or graded.
Using A Meter Gives You Knowledge
How a camera responds to light: The one consistent with digital cinema cameras these days is that they all place mid-tone at different values. Depending on the camera system and the recording format, mid-tone can fall anywhere from 38% IRE up to 55% IRE. These are huge differences in placement, and you may or may not like where that placement falls. By using your meter and testing your camera system, you can get an accurate representation of how that camera responds to light. And then, if you use a program like the DTS software, you can map the camera response to the meter. (Examples of different mid-tone values can be seen in the Best Practices section HERE).
Able to scout a location and know what you need in terms of light levels: By carrying your meter with you on a location scout, you can measure the light levels and know exactly what it will take to get your exposure to the levels you need, and what challenges the location presents. Knowing this information beforehand will enable you to be better prepared going into the shoot, and save you a lot of time and headache on set.
Trains your eye to judge light levels: The more you work with a light meter, the more you can train your eye to get a better sense of what different light levels and lighting ratios look like. As you train your eye to see these levels, you will also gain the knowledge of what the lighting requirements are to get there. Over time, as you train your eye you will be able to light faster, and make more informed lighting choices. At some point, you may even become skilled enough to light completely by eye and not even need a meter. You will just walk into a location and know that what you need is a Tweenie bounced into a 4×4 card from camera left about 4 feet away from the talents position. :)
For me, the point of using a meter in the digital age is to take my lighting skills and knowledge to the next level. Lighting off of the monitor, via the histogram or waveform, does not offer me the same power, efficiencies, or knowledge that I get from using a meter. You can light using those other tools, and many people take this approach. But for my style of working, those tools do not offer the same benefits that my meter gives me.
If you want to learn more about how to use a light meter or how to profile a camera, check out my Sekonic Page. I also have a Review of the 478D, as well as information on the Urban Legend of 18% Grey.
What are your thoughts? Do you see the light meter as a helpful tool or as an antiquated piece of kit better suited for film? How do you prefer to light a set and set your exposure?
This post originally appeared on Ryan's Blog.
Ryan E. Walters is an award-winning Oregon-based cinematographer. His work has allowed him the opportunity to travel worldwide in the pursuit of telling stories that are visually compelling. His experience includes feature films, documentaries, commercials, and shooting for Comcast, TLC, Oxygen, and the Discovery Channel.
Related Posts
- How to Use a Light Meter - an Excellent Cinematography Tutorial from Ryan E. Walters
- Custom Camera Profiles on Your Sekonic Light Meter with Ryan E. Walters
- How to Use a Light Meter (Sekonic's Low-Cost L-308DC with the Panasonic AF100)
ycab on 12.25.12 @ 3:35PM
Recently shot on 16mm and practiced with a Sekonic a week before the shoot just taking it around with me with my film stock setting on getting a feel for light levels.
I now bring a light meter even on digital sets. It really changed the way I perceive light and I am now more comfortable with knowing which light I need (i.e. 150w vs 650w, 750w vs 1.2k, etc.). This really makes things faster on set.
Awesome! Nicely done. :) It is always great to be able to talk more confidently, and with better knowledge of what you need. :)
Robert on 12.25.12 @ 3:59PM
You are right on the money, Ryan. It absolutely drives me up a wall when I work with a gaffer or a DP who has no knowledge of how to control their light with the precision that a light meter offers. It's the most important tool out there when it comes to effectively communicating with your crew.
I will say that since I started diligently metering my light, I've become much more confident in my ability to light by eye, which is great for quick projects, but sometimes I feel as though I rely too much on my eyes and it makes me feel lazy.
Great post, Ryan. I'd love to see some more cinematography posts from you in the future.
Thanks. :) I do have more content & posts here on No Film School as well as on my blog: http://www.ryanewalters.com/Blog/blog.php
marklondon on 12.25.12 @ 4:05PM
And your point re post-production. Infinite post malleability is nice, but the DPs who get hired back are the ones where it's exactly what was asked for straight out of the can. Ten minutes with a meter on set can save hundreds if hours staring at a screen.
Yeah it can. :) Great point- someone who can provide reliable, consistent results is doing a lot to ensure future employment. :)
Kyle on 12.25.12 @ 4:54PM
I don't even get why this an an article. What kind of a cameraman out there doesn't use a meter? Seriously, are people doing this?
There are many different styles / preferences for how to work, and with the advent of digital many people do not use a meter nor do they see a need to use one. While that is not my preference (obviously …) I'd be cautious against assuming that everyone works with a meter. We've all got to start somewhere, and I've noticed that people that are just getting started since video DSLRs have a higher tendency to not use one, nor see a need for one.
Gary Simmons on 12.27.12 @ 8:49PM
I am one of those who started with a DSLR and the only reason I do not use a light meter is my budget hasn't caught up to it yet but its on the list. I am striving to become a real professional one day and articles like this plus books by pros are the only educational opportunity I have where I live on the Texas coast my images are getting better as is my editing but the learning curve is steep I have not put out anything worth talking about but I hope this summer I will do the first short I am in the planning stages for but if it wasn't for no film school and a few other sites I wouldn't even be close.
Way to go Gary! Keep at it. :) It is all about forward momentum, and doing whatever you can to further you skill set and craft. :) Meters can be expensive, especially when the budget is tight. I'm sure that as you grow you'll get to the place where you can add that tool to your tool box. :)
c.d.embrey on 12.25.12 @ 4:56PM
_"At some point, you may even become skilled enough to light completely by eye and not even need a meter." _ If your Gaffer can't do this, then he isn't a Gaffer. In Hollywood the Key is set by meter, and the rest is done by eye.
Teamwork leads to speed and efficency. When the Gaffer places a light, the Key Grip tells his crew what nets , toppers, bottomers, siders, etc are needed. The Director and DP decide on the look, and the DP relays this to the Gaffer and Key Grip.
Daniel on 12.25.12 @ 5:21PM
Hi Ryan, thanks for the great post. I'd like to know if you have any techniques to calculate how much light you loose when you bounce it and how do you decide the power of your lights knowing they're going to be bounced. I know it depends on the bouncing material, distance and the type of the light… The point is that it's possible to calculate (distance x angle) the amount of lux/footcandles when using direct light, but how can I do that if I'm bouncing it? I'd appreciate if you can give some tips about that.
That is a great question. :) I'm sure there is someone out there who is much smarter then I am, who has developed some charts, etc, unfortunately I haven't done that. For myself, what I have done over the years, is experiemented with different lighting setups using smaller lamps (Like a small arri kit) in my garage, and then taken that information and extrapolated it from there. If I found that a 650w lamp was giving me about half the mount of output that I needed, then I knew that a 1k would probably get me there.
My own style to working with bounced light, has been to work backwards. I'll experiment with different bounced light to create the look I'm after, and then I'll take my readings to see where they fall. (I do this all before showing up on set for the shoot.) I haven't developed any formal rules from doing it this way, but rather feelings for how things work from experience. You're question has inspired me to see if I can't come up with a more forumliac approach. So thanks for that. :) While I haven't completely answered your question, I hoipe that I have aleast given you an idea of how to approach it. :)
john jeffreys on 12.25.12 @ 6:01PM
where timur at tho?
Mike on 12.25.12 @ 7:49PM
+1 on that timur civan post. Plus it tells you why you should buy the cheaper sekonic. :D
Robert on 12.26.12 @ 12:00AM
+2 on the Cimur Tivan post. I had no idea that Sekonic had released the 478D until today, and let's just say that I'm no longer saving up for a 758cine.
Timur is a talented and great guy. :) And that post is helpful for sure. :)
Back in September I did this writeup about the 478D, and it is my new favorite meter: http://www.ryanewalters.com/Blog/blog.php?id=7895130764209546506
However, as I noted in my review, I still find it lacking in some areas. (Detailed in the post.) The biggest of which is the spot meter. If the spot meter is crucial to your style of working, then the 758Cine will still be your best bet. But if you don't use the spot meter, then the 478D is the way to go. :)
Robert on 12.26.12 @ 3:27AM
Unfortunately, I actually prefer spot metering, and I love the accuracy of the 1% meter on the 758 Cine. But the price is just so high that it's really hard to justify the expense. I do feel as though I could make the 5% meter attachment on the 478D work for my limited needs, especially considering that the 478 and the attachment are only about 2/3 the cost of the 758.
Also, I realized that I spelled Timur's name wrong. My bad.
Yeah, I know what you mean- the price is high for sure. :) Here is a little trick around that, if you need to get a 758Cine due to the spot meter: Check ebay for photography stores in Japan that sell the 758Cine. I was able to pick up one for about $450 Australian dollars. When I bought it, the exchange rate to American dollars was about 20%, so after shipping & handling, I paid $375 American dollars. It took me a while to find a deal like this, but it is possible.
There is a BIG gotcha if you do this that you need to be aware of- the meter you get from these stores will NOT be compatible with the flash packs for American strobes. For that you have to buy one that is made for the US, which will be the full price. So if you do any flash / strobe (photography) work at all, then this WILL NOT work for you. If, on the other hand, you are like me and you never use flash / strobes then this option will work for you, and save you some cash. :)
Awww shucks….. ;)
Only reason i don't own the 758 is that i already had a spot meter. So i just went for the incident Unit.
Awesome write up Ryan. Keep em coming. :)
Nice! That makes perfect sense. :)
Is it cumbersome to have two meters hanging from your belt? I know personally, I'm always trying to find ways to lighten what I carry on my belt, so personally, I would find it annoying to have an extra meter hanging around … However, I'm still looking to find a more comfortable way to wear my meter, as I'm not entirely happy with how it hangs off my belt in the first place … (But the smaller size of the 478D is helping with that …
Thomas on 12.25.12 @ 9:30PM
Am I a terrible DP, then, for not knowing exactly the output I'm looking for? This author seems to hammer home to point that you should know "T4 here, T8 there" etc. and I know for sure I'm lacking in being able to call out what stops I want. I know exactly what I want the camera to be set at and then throw enough light to get it there.
Any suggestions on how to build up to this?
Robert on 12.26.12 @ 12:29AM
Thomas, if you're creating strong images that tell stories through lighting, composition, camera movement etc, then you are a good DP. But what Ryan was getting at in this post is that, even though light meters aren't a necessity for digital like they were with film, they can still be an incredibly helpful tool in the digital age for all of the reasons mentioned above. For me, the biggest reason to meter light on set is to be able to communicate effectively with my lighting crew. I can tell my gaffer to cut the backlight by a stop and a half, and he can go do it in 30 seconds, as opposed to me looking through a monitor and having the gaffer putting in scrims or backing up the light until it looks right. Essentially, it's just a far more precise and efficient way to work.
As for how to learn, I'd say that you should first read and watch everything that you can about metering light. The link John Jeffreys posted above and Ryan's tutorial video about metering light are great places to start. Just try to figure out how it all works on a theoretical basis.Then, if you're able to, get your hands on some kind of meter. It doesn't have to be a 758 Cine or anything like that, just something that you can play with to put the concepts that you learned into action.
Lastly, try your hardest to rent one next time you DP a project. Force yourself to use it for all of your lighting needs, and make sure you communicate with your crew using the common terminology from the meter (whether that's with t-stops or footcandles). All of that should get you thinking about light in a much more conceptual, yet practical way, and it should make a world of difference in how precisely and efficiently you'll be able to light. And like everything, it definitely takes a ton of practice to really get good at it.
Hope that gets you on the right track.
c.d.embrey on 12.26.12 @ 1:13AM
You don't need a meter to tell your Gaffer to drop the back-light by a stop-and-a-half 8-) I can see a stop-and-a-half by eye. And if you were working with a good Gaffer and Key Grip, the back-light would never be that hot 8-)
BTW, most lighting pros can see one-quarter-stop, that's why the grips have blues (lavanders).
Motion photography is a team endevor, if you have a good team you don't need to micro manage. A case in point. A good 1st AC will check for light reflections in windows, and pass the information along.
That is awesome that you can see and know all of that by eye. :) Seeing a stop and a half by eye is easy to do for sure. :) However, for myself, it wasn't until I got a meter, that I was able to put words to what I was seeing- it gave me the vocabulary, and helped me to know what I was looking at. :)
Robert on 12.26.12 @ 3:37AM
Yeah, that was a pretty crappy example of why a meter is important haha. Maybe a better one would be bringing up the ambience of a large space by 2/3 of a stop. I think that would be insanely difficult to do without metering.
Exactly. Thanks for the reply- well said. :)
Another suggestion I have, is to go to a local photography store and look into getting a used meter. My first meter was a $30 analogue incident meter.
c.d.embrey on 12.26.12 @ 12:51AM
As a retired professional, I think he spends to much time talking about things that no-one cares about in the real world. The things he says are true, but on a Hollywood set, no-one-cares about metered stops … just what looks good. In over twenty years of working for the studios I never saw anyone metering back-lights, lamp-shades, etc on a live film set. About the only time you'll see a meter used is to rough-in the lighting on a three camera show. Then you fine tune by eye once you have actors doing their walk-throughs.
The best way to learn is to apprentice with some-one who can light by eye. Or pracrice, practice practice on your own. Set-up a scene and light it to get the look you want, then walk around the set and meter everything (and write-it-down in your note-book). As you and your crew get more practice, the easier it gets.
Lamp shade too hot, just spray the camera side of the light bulb with Black "Streaks & Tips" — get it at your local drug store.
Lighting isn'r Brain Surgery, just simple physics.
You are obviously correct that it is all about what looks good in the end, and the technicalities do not matter as much. And being able to apprentice under someone who can light by eye would be a HUGE benefit. However, I'd hazard a guess that the vast majority of people reading here do not work in Hollywood, nor will they have those kinds of opportunities. So then the practical question comes up, how do you learn, experiment, and grow? If you can do that without a meter, great, no shame in that. :) For myself, I want to know what I'm working with so that I can repeat it again the next time I need to create that lighting effect. :)
Daniel Mimura on 12.27.12 @ 9:15PM
On my first big movie and only big budget movie, I found the opposite to be true. Everyone had a light meter. Gaffer and best boy electric metered backgrounds all the time while the DP was metering the stand ins.
This was film where you had more latitude and they were working harder to get it right.
Awesome! That is nice for sure. :)
These days with digital I am finding it to be a very mixed bag- and it has a lot to do with the budget level of the project. Of course my first preference is to have the budget to work with my crew of choice. And for these projects my Gaffer is top notch and uses a meter. On the lower budget projects I work on, that isn't always the case, and for the really small projects, it may just be myself and a grip or an assistant- and there I'll use my meter myself to ensure that I can tell my assistant what tool I need to get the job done. Which really helps speed up the process on a small production. :)
Nope, that doesn't mean you are a terrible DP. Honestly, we work in a results oriented business, and as long as you can deliver the results your clients need consistently and reliably, then at the end of the day that is what matters. Even if that means you do not use a meter at all. :)
It is not so much about being able to call out stops and it is more about being able to communicate effectively with the people you are working with. And I have found the light meter to be the tool that has allowed me to do just that. :)
Quick question, if you're just shooting interviews and some B-roll is it ok to use the in camera meter. I have the t4i and the in camera meter has been helpful on my sit down interview shoots… Great article though, any iphone light meter apps out there that you like or care to review? thanks!
There is nothing wrong with in camera meters. They are SUPER helpful. After all, they are telling you exactly what the camera is seeing. :) If it is getting the job done, and allowing you to deliver the results your clients want, keep at it. :) If, however, you need to accomplish any of the things that I talked about above, or you want to grow in a new / different way, then I'd encourage you to look into getting a light meter.
There is an iPhone app (Light Meter) http://www.pocketlightmeter.com/ that is VERY affordable. I've been playing with it off and on for a while now, comparing it to my 478D & 758Cine, and it hasn't been as consistent as I personally like. However, I know of a BSC cinematographer who uses it to set his key light. He will use it to take a reading off of skin tones in his key light, and when he does that, he has gotten good results. So if you use it in that manner, then it could work for you. :)
+1. I used this Light Meter app for a recent commercial shoot. For 99cents, it worked GREAT on set. Even more valuable, during location scouting the app allowed me to email screenshots with light reads to my crew in advance. I'm a fan.
Great point about location scouting and being able to email photos- that is a huge plus for sure. :)
shoeshine on 12.26.12 @ 7:03AM
My light meter is a mainstay on my hip at all times if I DP. I shot a decent amount of film in school, so I'm used to that workflow, but even in digital I consider my sekonic the most important piece of kit I carry. Whenever I light by a monitor the image feels flat and uninteresting. If I light with a meter and ignore the monitor until rehearsals, I find the image to have greater depth and be more interesting.
Nice. :) Some times that monitor can make us be more conservative, and take less risks by playing it more safe and create less interesting images for sure …
Is the meter you recommend in this article worth the extra $ over a Sekonic L-398A? That is one I'm familiar with from a short run at film school. This article along with another about exposing within 4 stops to maximize grade-ability out of DSLR footage has me wanting to be more intentional about my lighting. I don't want to overspend on tools, however I do want something I don't have to buy again.
Personally, I think the 478D or the 758Cine are worth the extra money over the 398A- but it is all about ease of use / convience & flexibility for me. The 398A is a solid meter and you can do many of the things with this meter that you can do with the 478D & 758Cine, however, you are going to do a lot more math in your head. For example, if you want to know what the contrast ratio of a scene is, with the 478D & 758Cine, it is just a matter or pressing a button and taking measurements. With the 398A, you have to take two readings, and then do the math yourself to figure out the contrast ratio. Another benifit of the two more expensive meters, is that you have a lot more options for shutter speed, and frame rate. The 398A is limited to 128 fps. And then there is the ability to store profiles, multiple exposure readings, as well as incorporate filter compensations that cannot be done in the 398A. So for these reasons, I think they are worth it- especially for someone just starting out.
It sounds like you are familiar enough with the 389A and doing math in your head that the extra expense may not be worth it- at that point it is about ease of use. If you were looking for a good incident meter that will last you a long time, then I would go with the 478D. If spot metering is very important to you, then the 758Cine is going to be a better meter for you, as the 1 degree meter in the 758Cine is A LOT more precise then the 5 degree in the 478D.
Daniel Mimura on 12.27.12 @ 9:24PM
I wish more non-film era filmmakers used light meters…
…it sucks to be doing steadicam and you're doing an extra rehearsal just for lighting because it takes too long to get the camera in and out of the rig. I'd take my own meter with me so they could use it…
…but most younger DP's don't know how. (I have an old Gossen Luna Pro with a spot attachment and it's like using a medium format camera where you look downwards and it's all backwards and people can't figure it out.) Been saving up for a 758c.
Great point! Helping out the rest of the crew, as well as the actors goes a long way to getting better results on screen. :)
I just purchased a 478D plus the spot viewfinder attachment. i'm very curious. thanks for pointing this one out, Ryan.
Clayton Arnall on 01.2.13 @ 3:22PM
Thanks for the post… I love any type of lighting info I can get. I've never used a 5 degree spot meter. Is it just a matter of taking a few steps forward to get a similar reading as the 1 degree? From 15′ back, how big is the area you'd be metering?
Ryan Farner on 01.4.13 @ 12:09AM
Great article, I've been wanting to pick up a meter for a long time now. I think this article has just made it a priority for me. Any meters you would recommend on a budget? Or is it worth it to just stick with the 2 you've been mentioning. Thanks alot!
Mick on 01.8.13 @ 10:55AM
hi Ryan,
Thanks for your post.
On every shoot I start to take a reading with my meter but lots of times I put it back. It's confusing me when I look at scope's, monitor's in diferent LUT's and LOG and ISO values. Do you have any tips on how to test each different camera to find out how to expose.Canon C300 for example puts middle grey on 30% at the scope, what ISO do you chose than on your meter? With Sony F3 and Alexa my readings are closer to what I expect from the camera. But I'm still not confident with it.
I still use a Minolta meter but consider to buy a Sekonic so I can use the different camera profiles. Will that help finding out how which ISO to chose?
Thanks again for your help
6 pingbacks
- Why Light Meters Are Still Important For Cinematographers « Movie City News on 12.26.12 @ 6:11PM
- Have Digital Cameras Made Light Meters Pointless? Ryan E. Walters Explains Why They're Still Important | FilmMaking Hub | Scoop.it on 12.27.12 @ 6:39PM
- Have Digital Cameras Made Light Meters Pointless? Ryan E. Walters Explains Why They're Still Important | Color Passion on 12.30.12 @ 6:20PM
- Have Digital Cameras Made Light Meters Pointless? Ryan E. Walters Explains Why They're Still Important. At NoFilmSchool | Digital Cinema Tools | Scoop.it on 12.31.12 @ 1:09PM
- blog | leopold fuchs on 02.21.13 @ 3:14PM
- turn your iphone into an incident light meter, way cool | Fuzzypictures's Weblog on 03.1.13 @ 11:00PM


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