text:
It's Only a Movie: Alfred Hitchcock, a Personal Biographyby Charlotte Chandler
In his films, Alfred Hitchcock found the perfect expression for his fantasies, and he shared those fantasies with the world in such classics as The 39 Steps, The Lady Vanishes, Rebecca, Shadow of a Doubt, Notorious, Strangers on a Train, Rear Window, The Man Who Knew Too Much, To Catch a Thief, North by Northwest, Vertigo, Psycho, and The Birds. In It's Only a Movie, Charlotte Chandler draws from her extensive conversations with Hitchcock, frequently revealing unknown facts and unexpected insights into the man, the director, and his films.
Author of acclaimed biographies of Groucho Marx, Federico Fellini, and Billy Wilder, Charlotte Chandler spent several years with Hitchcock discussing his life and his amazing career. She also talked with his wife, Alma, and daughter, Pat, as well as many of the screen legends who appeared in his films, including Cary Grant, Ingrid Bergman, James Stewart, Grace Kelly, Joan Fontaine, Laurence Olivier, Michael Redgrave, John Gielgud, Gregory Peck, Henry Fonda, Tippi Hedren, James Mason, Eva Marie Saint, Kim Novak, Anthony Perkins, Janet Leigh, and others. The result is an intimate yet expansive portrait of a unique artist who, from the 1920s through the 1970s, created many of history's most memorable films.
A quarter-century after his death, Hitchcock's distinctive profile remains an instantly recognizable icon to millions, while his films continue to grow in popular appeal and critical esteem. Chandler introduces us to the real Hitchcock: a devoted family man, practical joker, and Englishman of Edwardian sensibilities who was one of the great masters of cinematic art.
Editorial Reviews
Product Details
- 9780743279734
- Publisher:
- Simon & Schuster
- Publication date:
- 03/02/2005
- Sold by:
- Format:
- NOOK Book
- Pages:
- 368
- Sales rank:
- 1,193,292
- File size:
Read an Excerpt
My dearest dream," Alfred Hitchcock said to me, "would be to walk into an ordinary men's store on the street and buy a suit, off the rack.
"There are, I suppose, many men who would envy me having the finest tailors to make my bespoke suits of the best material, but my own dream would be to buy a suit -- on sale.
"Now, I have pretty much given up my hope of losing enough weight, which I don't think will ever happen, but that is not the problem. The real problem is not my size, but my shape.
"Even sex is embarrassing for a person who looks the way I do. There weren't enough light bulbs to turn off.
"If I had been given the choice in life, I would have looked like Cary Grant on whom everything looked good, and I would have indulged some fashion fantasies, a 39 Steps raincoat, tossed on, a beige cashmere cardigan thrown casually around my shoulders, or better yet, tied around my waist -- if I had one.
"Some writers say that Cary Grant was my fantasy alter ego. Silliness. When I look into my mirror, I don't see Cary Grant. I look into my mirror as little as possible, because the person who looks back at me has always seemed something of a stranger who doesn't look at all the way I feel. But, somehow, he kept getting into my mirror."
When Alfred Hitchcock showed me his home on Bellagio Road in Bel Air, California, in the mid-1970s, I had the opportunity to see his astounding wardrobe. Most remarkable was not the quantity of suits, nor the quality, all of the finest fabric, but that they seemed to be the same suit, repeated many times.
At second glance, however, it was obvious that there were numerous subtle distinctions. Among the black suits, there were shades of black.
Hitchcock's suits were famous, and it was widely assumed that he invariably wore the same black suit. James Stewart remembered, "Hitch in Marrakech, 110 in the shade, scarcely ever taking off his dark jacket or even loosening his tie." Director Ronald Neame recalled that even as far back as 1928 when Hitchcock was directing Blackmail, he wore a dark suit, white shirt, dark tie, black shoes and socks, in spite of the intense heat from the klieg lights, before air-conditioning.
Many of these suits actually were navy blue. "It is called French blue," Hitchcock told me, a blue so dark that it seems black. Every suit appeared new, in keeping with the reputation of the director for being meticulous.
Another noteworthy aspect of the collection was that there were many different sizes. "Those suits are all in my sizes," he said.
"If my weight changes, up or down, I'm prepared."
I asked him how he kept so many suits paired, together with their mates. He explained that they were all keyed, the trousers with their jackets, the sizes with labels sewn in and dated. Inside the waistband of each pair of trousers was a large number in black, and in each coat was a number. "I don't enjoy any suspense about finding my clothes."
Continuing in a more serious tone, he said, "I never achieved the body I wanted, but I am proud of my body of work. It is tall and thin and handsome."
Henri Langlois, the founder and secretary general of the Cinémathèque Française, introduced me to Alfred Hitchcock and his wife, Alma Reville, at the Plaza Athénée hotel in Paris. Some years before, Langlois's dismissal by the French government from his post as curator of the Cinémathèque had provoked demonstrations that escalated into the 1968 riots, effectively shutting down Paris. Throughout dinner, Hitchcock and Langlois talked about Hitchcock's films, those that existed, and a few that existed only in Hitchcock's mind.
"I once had an idea," Hitchcock told us, "that I would like to use to open a film. We are at Covent Garden or La Scala. Maria Callas is onstage. She is singing an aria, and her head is tilted upwards. She sees, in a box high up, a man approach another man who is seated there. He stabs him. She is just reaching a high note, and the high note turns into a scream. It is the highest note she has ever sung, and she receives a tremendous ovation."
Hitchcock seemed to have finished the story.
"And then? What happens next?" Langlois would have leaned forward on the edge of his chair, except that because of his substantial girth, he already was on the edge of his chair.
Hitchcock turned and indicated his wife, Alma, who had worked with him officially and unofficially for more than fifty years. He said to Langlois, "Ask the Madame. She does continuity."
"I've retired," Alma said.
"The closest I ever came to doing this opera vignette," Hitchcock continued, "was in The Man Who Knew Too Much.
"I've always wanted to do a murder among the tulips, too. When I saw the vast fields of tulips in Holland, I knew right away it was a setting I wanted to use, especially in color with blood on the tulips.
"There's another scene waiting for a story that I've thought about, involving an automobile assembly line in Detroit. The cars are moving along, and the workers are talking about their lives, an argument with the wife, lunch, and other mundane matters. A car rolls off the assembly line, and when the door is opened, a body falls out. That's as far as I got.
"Some years ago, I was in New York for Rope, and the publicist took me to my first baseball game. We watched from the broadcast booth, and I made a few drawings. I asked him how many people were watching the game, and he said sixty thousand. I thought, what a perfect spot for a murder! A murder on a baseball field. One of the players is shot, and there are sixty thousand suspects.
"Then, it actually happened a few years later."
"Sometimes your films seem like nightmares that are really happening," Langlois said.
"I consider them frightmares," Hitchcock explained. "Frightmares are my specialty. I have never been interested in nightmares per se. Frightmares have a great deal of reality. A far-fetched story must be plausibly told, so your nonsense isn't showing.
"Fear of the dark is natural, we all have it, but fear in the sunlight, perhaps fear in this very restaurant, where it is so unexpected, mind you, that is interesting.
"Fear isn't so difficult to understand. After all, weren't we all frightened as children? Nothing has changed since Little Red Riding Hood faced the big bad wolf. What frightens us today is exactly the same sort of thing that frightened us yesterday. It's just a different wolf. This fright complex is rooted in every individual.
"It's what you don't see that frightens you, what your mind fills in, the implicit usually being more terrifying than the explicit. The unexpected is so important. I've never liked heavy-handed creaking-door suspense and other clichés. I like to do a 'cozy.' Something menacing happens in a serene setting. The cozy setting is a wonderful opportunity for danger and suspense.
"I, personally, have always been interested in rounding up the unusual suspects.
"Eventually everything becomes avoiding the cliché. Your own cliché as well as everyone else's. It's not just what you've done. It's what everyone else has done and done and done. I pity the poor people in the future."
Hitchcock was interested in Langlois's activities on behalf of film preservation during the World War II German occupation of Paris. The French film lover had broken the law of the occupation, risking his life to personally save hundreds of films that might have been destroyed or lost.
Hitchcock asked, "How did you choose which ones to save?"
Langlois answered, "Those which came to me and said, 'Save me!' I didn't have the possibility to see them -- only to save them."
"It was very brave of you," Hitchcock commented. "You could have been put into a concentration camp."
"I didn't do anything brave," Langlois continued. "I just hid the films in my bathtub and the bathtubs of my friends. We didn't take so many baths."
"Not taking those baths was a great service to the world," Hitchcock said. "At the end of the war, I made a film to show the reality of the concentration camps, you know. Horrible. It was more horrible than any fantasy horror. Then, nobody wanted to see it. It was too unbearable. But it has stayed in my mind all of these years.
"I don't think many people actually want reality, whether it's in the theater or in films. It must only look real, because reality's something none of us can stand for too long. Reality can be more terrible than anything you can imagine.
"I, myself, was not old enough for World War I until near the end, when I was rejected. I was too old for World War II, but I like to believe I would have been brave."
"Trying to make films you want to make requires some bravery, too," Alma said.
"I have heard of a film," Langlois said, "that you have wanted to make for years, but..."
"Mary Rose," Alma said. "It would be a wonderful picture, but they have typecast him as a director who doesn't make that kind of picture. But we're not giving up.
"My husband is very sensitive to criticism," Alma added. "But when people don't like what he does or won't let him do something he believes in, I'm twice as hurt. I'm hurt for myself, and I'm hurt for him."
"Mary Rose," Hitchcock explained, "was a play by James M. Barrie which I saw in London in the early 1920s. It impressed me very much. In brief, it is the story of a twelve-year-old girl who is taken on an excursion to an island by her parents. She disappears and, weeks later, reappears, with no explanation. As a young woman, she returns to the island with her husband, and disappears again. She is gone many years. Then, when she reappears, her son is a grown man, her husband is middle-aged, but she hasn't changed at all. In the end, she has to go back, but to where?
"I have never forgotten it. I'm trying to attack it now from a science fiction angle, because the public will want to know where Mary Rose went when she disappeared for twenty-five years and then came back as young as she was when she disappeared.
"There was another story I always wanted to do. It was a true story, on which So Long at the Fair was based. A woman searches for her mother who has disappeared without a trace at the Paris Exposition of 1889. The missing person has contracted the plague, and the facts have been covered over to protect the city from panic. It is a story like Death in Venice, also a very good film. I would like to have made both of those.
"And Diabolique; I'd like to have made that one, too, but [Henri-Georges] Clouzot beat me to it. For many years, I thought I would do a John Buchan book, Three Hostages. It's not as good as his 39 Steps, but it's a good story. And, oh, something of Wilkie Collins. What a writer that man was! I admired Dickens, and I'd like to have done something of Poe.
"I was always an avid reader of the newspaper from the time I was a boy. As I became interested in the world of film, I became more alert to stories, especially crime stories that could be the basis for a film. There was one I read somewhere, I don't know where, which has never left my mind. It's not one I could ever use because it's too horrible to show, except in a horror film, and even in a horror film, it would be too shocking and probably would provoke a release of tension resulting in a few gasps, some giggles, and then laughter.
"There was a report of a Chinese executioner who did heads. He was so good at his job that people requested him when they were sentenced to have their heads chopped off. You can imagine how painful botched and sloppy work could be, especially if the whole procedure were dragged out.
"One poor fellow who had resigned himself to his fate, stepped up, and this super-executioner deftly dealt the death blow with the greatest precision, but nothing happened.
"The man said, 'Please don't keep me waiting.'
"The executioner said, 'Please nod.'
"The man did, and his head fell off. What imagery!
"I don't know if the story was true or not," Hitchcock said, "but it's so far-fetched, that maybe it was."
Our conversation was a mix of movies and food, the two passionate interests of which neither Hitchcock nor Langlois ever tired. Langlois was even stouter than Hitchcock.
"I believe that there is a perfect relationship between love of food and a healthy libido," Hitchcock said. "People who like to eat have a stronger libido, a greater interest in sex.
"I was very innocent and sexually repressed in my youth. I was a virgin when I married, you know."
He hesitated momentarily, having noted the disapproving frown on his wife's face, and then continued. "I think that too much sex while you are working goes against the work and that repressed sex is more constructive for the creative person. It must get out, and so it goes into the work. I think it helped create a sense of sex in my work.
"The experiencing of passion, as with fear, makes you feel alive. In the film, you can experience these very extreme feelings without paying the bill."
Before dinner, Hitchcock had enjoyed his then-favorite drink, a Mimosa. Both Hitchcock and Langlois ate rapidly. Since both of them seemed to enjoy food and be so interested in it, I would have expected them to savor the experience more and make it last.
A waiter brought out a splendid multi-layered cake, frosted in butter cream, with pink and yellow flowers and the message Bienvenue spelled out on top. The chef came out, too, wearing his toque blanche and an impeccably white apron. He was glowing as he told Hitchcock that the cake was being presented with the compliments of the Plaza Athénée, and then, in a sort of aside to Hitchcock in French, he whispered that he was a great fan of his films and that it had been such an honor to work on this cake for him. As if embarrassed by his own audacity in daring to speak for himself to the great director, the chef rushed off. As he left, Hitchcock, who spoke French rather well, called out after him, thanking him for the beautiful torte.
The captain then ceremoniously carried the cake away. After a few minutes, the waiter returned with four slices of chocolate cake and a slice was served to each of us.
Hitchcock turned to Langlois and said, "My films, you know, aren't slices of life, but slices of cake."
He said he was reminded of the first film he was supposed to have directed in Hollywood, Titanic. It was to have been his first American project for David O. Selznick.
"My favorite scene was in the ship's great kitchen where the pastry chef is decorating an extraordinary cake. It has many layers, and with a flourish of his pastry bag, he is putting the final petals on a butter cream rose of which the cake has many. Then, the pastry chef writes out Happy Birthday.
"The chef is smiling slightly with pride as he works. He is so pleased with his creation. He is tasting it in his mind.
"But we all know everything he's doing is for nothing. Nobody will ever eat the cake. The cake is going to a watery grave and maybe the people who were supposed to be eating it, too. Maybe also the chef we have come to know.
"The audience is thinking, 'It's no use.' They want to scream out, 'Stop! Run to the lifeboats!'"
The maître d' asked Hitchcock if he would like to have the rest of the cake kept for him for the next day. Hitchcock declined, telling us that the waiters and the people in the kitchen, the chef included, would be disappointed if they didn't have the chance to taste the cake.
"I want to ask you," Langlois said, "what was it like going from working in London to suddenly working in Hollywood?"
"It wasn't as different as I had expected it to be," Hitchcock explained. "The technical possibilities, because of the bigger budgets and better equipment, were dazzling. On the other hand, everything in America seemed a bit less spontaneous and, of course, more complex because of the bigger budgets and the need for more careful planning."
"In America, were you conscious of making films for a different audience?"
"No. When we make films in America, we are automatically making them for the world, because America is full of people from everywhere.
"Selznick had wanted to buy an old American merchant ship that was being scrapped to play the title role. He was going to sink it in Santa Monica harbor, but we burned down Manderley instead."
"I am glad," Langlois said, "because Rebecca is one of my favorite films. It was brilliant never to show Rebecca except as a painting. She was so beautiful there was no actrice who could have played the part. There could not have been a Rebecca."
"But there was an actress to play Rebecca," Hitchcock said. "A perfect Rebecca. And she even wanted to be in the film, only she wanted to play the wrong part, that of the cringing, meek girl with rounded shoulders who was totally lacking in self-confidence.
"The actress was Vivien Leigh, who was born to be Rebecca, as she was to be Scarlett O'Hara. Scarlett shared many characteristics with Rebecca. Vivien Leigh had the requisite beauty. She and Rebecca were both uniquely strong women who knew what they wanted and how to get it, if not how to enjoy it. They were not girls; they were women.
"Vivien Leigh was absolutely right to play Rebecca, but Rebecca never appears in the film, so neither does Vivien. And for people who knew about the real-life affair between Olivier and Leigh, that would have intruded on any illusion.
"Joan Fontaine was rather outside the little clique of British actors on the set, and that worked well for her character, who was supposed to be alone and apart."
As we were served coffee, Hitchcock suggested "a divertissement."
"Let's play a little game of Murder," he said. "We'll choose a victim, and then try to find the murderer."
He looked around and chose as victim the fattest man in the room, saying he could best identify with him. "Now we need a villain." Looking around again, he selected a good-looking man with blond hair and blue eyes. In a room full of well-dressed people, this man stood out as exceedingly well dressed. "A villain cannot look villainous or no one would let him into their house," Hitchcock told us.
A man and a woman sitting at a table near us who were deep in conversation caught Hitchcock's attention. Her earrings were next to her plate. Observing the couple, Alfred Hitchcock pointed out that they knew each other well. "You can tell she is comfortable with him or she wouldn't have taken off her earrings, which were bothering her.
"See that man? He's wearing very expensive shoes. You can tell a great deal about a man by his shoes," Hitchcock said. Langlois pulled his feet farther back under the table.
Hitchcock then asked Langlois to choose a victim for our little game of Murder. He selected a very thin man at a nearby table who was enjoying a chocolate mousse, saying, "Look at the chocolate mousse he's eating and see how thin he is. That is enough reason for me to hate him."
Hitchcock accepted that as logical. "I understand. I am an expert on losing weight. I have lost hundreds of pounds in my lifetime, and I represent the survival of the fattest."
His weight was unearned, Hitchcock claimed, since he ate so little. "Journalists often ask how much I weigh. I tell them, 'Only once a day, before breakfast.' The number of pounds, though, must remain a mystery."
"Can you believe," Langlois said, "that when I was young I was so thin, women were always trying to force me to eat, my mother, my nurse. I ate chocolates and cake and an entire jar of marmalade in the afternoon. I thought it would always be that way. At that time, I never walked up stairs. I ran up."
"Me, too," Hitchcock said. "I was always heavy, but I was agile. I think the reason that I've never received an Oscar is that I don't look like an artist. I don't look like I've starved in a garret.
"But the real reason is that the suspense genre is not so highly esteemed. It's treated like a switchback railway in an amusement park, just for thrills. Villains and heroes, hisses and kisses."
"You should receive many Oscars," Langlois said. "There is time."
There wasn't, however, much time remaining, and Hitchcock never did receive an Oscar as a director. He had been nominated as best director five times; for Rebecca, Lifeboat, Spellbound, Rear Window, and Psycho. It was Langlois who was awarded a special Oscar, for his contribution to film preservation.
Langlois asked Hitchcock if he liked mysteries and melodrama best.
"Yes, I do. But I like to feel that I don't do mysteries. I do mystifyings. That's my brand of melodrama."
"What is most difficult about melodrama?" Langlois asked.
"Casting. In melodrama, you lay out the plot, and only after you have the story, do you put in the characters. For that reason, I believe in typecasting.
"If you do it right, casting, you don't need to do much direction of actors. The really good ones find their way, and you only need recognize if they are going astray.
"Stars do have an advantage when you are casting. When something is happening to a star, a Cary Grant or a James Stewart, the public feels it more."
"Or Ingrid Bergman or Grace Kelly," Alma added.
"Yes," Hitchcock agreed. "There has been a lot of talk about the Hitchcock blondes and my heroines, you know. There was one very important factor in my selection of leading ladies, which isn't mentioned. The heroine must please women. Women not only represent half of the audience for my films, but very often the man wants to please and impress a woman, and he asks her, 'What film would you like to see?' So she chooses."
"Madeleine Carroll was my choice for The 39 Steps," Alma said. "I saw her first, and told Hitch about her."
As we spoke, Alma was quiet and reserved, a tiny person, pleasant, not eating very much. Hitchcock often looked at her for her reaction to what he had said.
"Do you know the proof of her love for me?" Hitchcock asked, indicating Alma. "She diets with me. She doesn't have to, but to make it easier for me, she eats only what I eat. Then she loses the weight and I don't. I couldn't afford to stay too long on a diet, or the Madame might disappear entirely."
"You are a fortunate man," Langlois said.
"We were so lucky," Alma said. "Our two imaginations met."
"She'd been working in films when I met her," Hitchcock continued, "and she knew more about it than I did. She taught me. I don't know why she married me."
Alma laughed. "Because I liked older men."
"I was born on August 13, 1899," Hitchcock said, "and she was born on August 14, 1899, so I am one day older."
"That is formidable," Langlois said.
Hitchcock agreed. "Yes, it is unusual."
"No, what I mean is, it is the very same thing that is true of Mary and me." Mary Merson was his close associate at the Cinémathèque Française.
"Our birthdays, Mary and me, are only a day apart. I was born on November 12, and she was born on November 13. We are Scorpios. And you are Leos."
"You're like Marlene Dietrich," Hitchcock said. "She wouldn't do anything on Stage Fright until she consulted her astrologer. He should have received a credit."
Langlois asked Hitchcock if he would like to have any of his past films screened for him at the Cinémathèque while he was in Paris.
"Thank you, we don't have time. If we had time, I would rather see someone else's film, Fellini or Antonioni, one of those Italian fellows.
"I have a visual mind, and my past films are all storyboarded in my mind, if I choose to recall them. I do not, however, choose to resee my films in a theater, nor to rerun them in my mind."
"I have heard," Langlois said, "that after you see the script, you can visualize the entire film."
"Yes. Definitely."
"Could you do this when you began to make silent films in the early 1920s?"
"Yes. I believe it's intuitive to visualize, but as we grow up, we lose that intuition. My mind works more like a baby's mind does, thinking in pictures. I have vague memories of my infancy, all visual, none verbal. I can't be certain, but I believe they are true memories."
"I learned to do that from him," Alma added. "Now I can't read a book without dramatizing every scene, every camera angle, every word of dialogue. It takes me forever to read a book."
Hitchcock said, "My life and the Madame's are films. If that were not true, what would we have talked about all these years?"
I asked Hitchcock if it was true that he didn't look into the camera when he was directing.
"I don't have to," he answered, "and I'll tell you why.
"About 1923, before we worked together, young Miss Alma Reville asked me if I would mind shooting some inserts for a picture she was editing. Since it was lunchtime, I walked on the stage and just as I was looking through the viewfinder of a camera, a voice behind me said, 'That's my job. You stick to what's in front of it.' It was Jack Cox, who later became my cameraman on Blackmail and a lot of other pictures. From that moment on, I learned everything I could about cameras and lenses, what they did in terms of angle and perspective. I trained myself to see like a camera, so I never needed to look through a lens again. Now all I need to know is the focal length of the lens, and I know exactly what the cameraman is seeing."
Langlois asked about Hitchcock's often repeated quote that "actors are cattle."
"I have been accused of saying that," Hitchcock answered, "but I believe what I said is, 'Actors should be treated like cattle.' Of course, I was joking, but it seems I was taken seriously. If I had been speaking seriously, I would have said, 'Actors are children.'
"I have always been available to my actors for reasonable help. 'Reasonable' is an actor who, when he walks through the door, does not ask me 'why?' but 'how?'"
As we spoke, someone approached Hitchcock for an autograph, and he drew his famous sketch of himself. After the person left, Langlois apologized. "I'm sorry they disturb you here in Paris, even while you are eating."
"They never disturb me," Hitchcock said. "They are the ones who make it all possible. The public."
It brought him great pleasure that audiences in New York, Los Angeles, London, Paris, Berlin, Tokyo, and Buenos Aires could look at his pictures and feel the same emotions.
"Emotions are universal, and art is emotion. Therefore, putting film together and making it have an effect on an audience is for me the main function of film. Otherwise, it is just a record of events.
"In the distant future, they will have what I call 'the Tickles.' People will go into a big darkened auditorium and they will be mass-hypnotized. Instead of identifying themselves with the characters on the screen, they will be that character, and when they buy their ticket, they will be able to choose which character they want to be. They will suffer all of the agonies and enjoy the romance with a beautiful woman or handsome man. I call them 'the Tickles,' because when a character is tickled, the audience will feel it. Then, the lights come up, and it's all over." Hitchcock paused reflectively.
"And it's a good way to dispense with real actors. Walt Disney has the right answer. If he doesn't like his actors, he tears them up!"
"Were there any actors you would like to have worked with?" Langlois asked.
"Of course. Claudette Colbert. Did you know she was French? I would like to have made a Lubitsch-style picture with her. I also would like to have worked with William Holden. Sunset Boulevard was a wonderful film, one of the greatest. And I would like to have worked with Miss Hepburn. Audrey, not Katharine. Katharine Hepburn wouldn't have fit into my films, but I wanted Audrey, and I almost worked with her, but it didn't happen."
"Would Miss Hepburn, Audrey not Katharine, have been a blonde?" Langlois asked.
Hitchcock shook his head. "No. Definitely not."
I mentioned that Claudette Colbert, William Holden, and Audrey Hepburn were all in Billy Wilder films.
"I envy him," Hitchcock said. "A great director, Wilder. He knew how I felt about those actors in his film. I told him, and he said the actor he most wanted to work with was Cary Grant. So there you are.
"I believe directing actors is really only a matter of getting good actors in the first place. Then, you have a chat with them."
As we finished our meal, Langlois said, "You have a career to be very proud of, Mr. Hitchcock."
"Not Mr. Hitchcock. Hitch. Call me Hitch. I am proud, but I've been lucky. Getting the opportunity is the most important part.
"A few times, it looked like I might fail. There is that thin line between success and failure. I managed to survive the tightrope, even though I don't think I'm built for tightrope walking."
As we left the restaurant, Alma said to me, "In all the years we've been together, my husband has never bored me. There aren't many wives who can say that."
I met Hitchcock several times while I was writing about Groucho Marx. Groucho's favorite restaurant in Los Angeles was Chasen's, which was also the favorite of Hitchcock and his wife.
Groucho's preferred night at Chasen's was Thursday, and Thursday night dinner at Chasen's was a ritual for the Hitchcocks, who frequently came to dinner with Lew and Edie Wasserman, and Gregory and Veronique Peck.
Erin Fleming, Groucho's friend, was frequently with us. Groucho and Hitchcock would greet each other. Each had one of the few tables in the small front room of the restaurant.
Groucho's favorite part of the meal was a specialty of Chasen's, banana shortcake. He would say he ate the dinner "to get to the shortcake."
One night, as we finished our banana shortcakes, Groucho said he wished that he could have a second portion of the dessert. The captain heard him and rushed back with some. Groucho wouldn't accept it, because even in his eighties, he had a great deal of discipline. He said if he had one slice, he could enjoy the memory without feeling guilty.
Summoning the captain, Groucho said, "When they get to dessert, send over a round of banana shortcakes to Mr. Hitchcock and his friends, and be sure to put it on my check and not on his. And see what the boys in the back room will have."
We left and didn't see what happened afterward.
At his home, months later, Hitchcock finished the banana shortcake story.
"Everyone at our table that night was on a diet except the Madame and Peck. The Madame doesn't eat much when I'm on a diet, and I'm always on a diet. So Peck got all six of the shortcakes."
Hitchcock indicated the green, grassy view from the window of his Bel Air home. "I own all of that," he said in a mock serious tone.
The huge expanse of property was actually a golf course.
Hitchcock began our meeting by telling me, "To interview me, you would have to interview my films."
"I already have," I said, "and they told me many of their secrets -- but not all."
No visit to the Hitchcock home would have been complete without seeing the kitchen, the most important room in the house for Hitchcock and his wife. It had taken him many years to remake the kitchen and create the wine cellar, all exactly to their specifications.
He showed me the giant refrigerator, of which he was justifiably proud. As I looked in, he stood behind me and put his hand on my shoulder, as if to push me in.
"Just joking," he said.
No matter. It was so full of food, there wouldn't have been room for me.
"This food is our luxury," he said. "We don't have a swimming pool or a tennis court. We don't live to impress anyone else.
"We fly in fish and meat weekly from England," he said. "Dover sole, beef, and lamb."
The lamb reminded him of one of his favorite stories, "Lamb to the Slaughter," by Roald Dahl, done on Alfred Hitchcock Presents, an episode he directed in 1958.
"A woman, played by Barbara Bel Geddes," he said, "learns from her unsympathetic husband of many years that he is leaving her. She kills him with a frozen leg of lamb, the most perfect murder weapon of my entire career. Then she cooks that leg of lamb while policemen are searching for the murder weapon, and she serves them the delicious leg of lamb. That's one murder weapon they will never find. I call that my 'ticking lamb' story, which is a variation on my 'ticking bomb' theory.
"The idea is that you want to let the audience in on everything so they know that a ticking bomb is there while the characters don't know it. That is the suspense, waiting for the bomb to explode, only they are waiting for the leg of lamb to be discovered as the murder weapon."
He said that he never ate leg of lamb without thinking of that story.
"Are you able to distinguish between English Dover sole and French Dover sole?" he asked me.
I'd never given it any thought. I considered that the question might be what Hitchcock referred to as "a leg pull."
I answered, "Only if I saw the fish's passport."
"I only eat Dover sole caught by a net, not by a hook," he said. "Have you ever seen a fish with a hook in its mouth?" He squeezed his lips together and twisted his face like a fish with a hook in its mouth. I assumed he was referring to the pain inflicted on the fish, but I wondered, how did he know if the fish was really caught in a net?
Hitchcock was extremely proud of his wine cellar. He enjoyed the acquisition of great wine and brandy, some of it bought to drink, and some of it to have and hold with the instinct of the passionate collector.
He told me that he had "authentic Napoleonic brandy, bottles of wine from the nineteenth century, and dazzling vintages from the 1920s."
"Do you drink these?" I asked.
"Oh, no," he said, "I could never do that. Those bottles are really irreplaceable. The responsibility for drinking one is too great. It might be the last bottle in the world of its kind. Then, there is the possibility that the actual taste would not live up to the taste buds in my mind. And then, too, perhaps I don't feel I deserve it."
I was shown around the rest of the house, a lovely home, but considered modest by Bel Air standards. I recognized Liberty of London fabrics. "We don't have to move to a bigger house," Hitchcock said. "I do not enjoy the process of moving. I find it like enduring a sickness.
"It's the work that's important. I've made films people enjoyed, and I didn't wish to prove myself with a bigger house. I like to use words such as cozy and snug when I describe my home."
Hitchcock's art collection was impressive, including paintings by artists who hung not only in the Hitchcock home, but also in the great museums of the world. His favorite artist was Klee, and Alma's, Utrillo. His favorite sculptor was Rodin, and he was proud to own a work of his. Hitchcock's own drawings bore a certain resemblance to those of Klee.
During his teens and early twenties, Hitchcock had eagerly visited art museums. At first he went to museums as an art school assignment, but very quickly these visits became one of his favorite pastimes on a Sunday or whenever he had a few hours free. "They also sent us to a railway terminal to sketch people, which I liked even better."
Hitchcock said that if he had become an artist rather than having gone into films, he would have been an abstract painter only because he didn't feel he would have been able to master the technique required by representational art. Ideally, he would have liked to have been a sculptor, like Rodin.
Being interested in dream and fantasy in art, he was fascinated by the idea of having Salvador Dali create a fantasy dream sequence in Spellbound. As it turned out, most of Dali's work was not used in the film.
"Very early, I was immensely struck by the Symbolists. For a time, I had Symbolist dreams."
Hitchcock said he felt privileged to be able to afford the work of Rouault, Dufy, Vlaminck, Rodin, Klee, de Chirico, and other famous twentieth-century artists, but he selected only pictures he enjoyed living with, the kind about which he could make up stories. "Klee could have made good storyboards, you know.
"Mrs. H. and I never acquired a painting unless it was liked by both of us." For a time, they had a mystery drawing hanging on their wall. "It was much admired. There was no signature. It was the work of our daughter, Pat, when she was a child."
As a young man standing in long queues to see a painting, he never dreamed that one day he would simply look up in his own home and enjoy a glance at a great painting. "They become a part of you."
Along with the paintings, there were first editions by George Bernard Shaw and James Barrie, the complete works of William Shakespeare and of Somerset Maugham. He prized an edition of Juno and the Paycock, which had been given to him by Sean O'Casey when Hitchcock was making a film version of the play.
He showed me some dishes.
"Do you remember these?"
I did, because I also had admired the dishes at the Plaza Athénée hotel when we had dinner there.
"I asked at the hotel if I could buy some of the dishes from them,"
Hitchcock continued. "I had in mind a demitasse or two. A few weeks after we returned home, several cartons arrived from Paris. They had sent a whole set, and no bill. They said it was their gift to us."
When my taxi arrived, Hitchcock walked with me to the door, where the driver was waiting. Raising his voice so the driver could hear, Hitchcock said, "Don't worry about the blood. I'll wash off what's left, and then I'll get rid of the knife. Don't worry about the body. I'll see that it's discreetly disposed of. But do check your clothes for bloodstains. Blood spattered on the wall like catsup on a hamburger bun."
The driver showed no concern. I wondered if he recognized Alfred Hitchcock.
When the taxi dropped me off, I gave the driver the fare and a tip. He returned the tip. I said, "That's for you!" When there was no response, I realized that Hitchcock's performance had been wasted. The driver wasn't really English-speaking.
"Every day is a gift, which is why we call it the present."
Alfred Hitchcock said this to director King Vidor and me just before the March 7, 1979, American Film Institute gala honoring Hitchcock. We had stopped to speak with him as he waited to enter the Beverly Hilton ballroom for his tribute evening.
Vidor and I sat down next to Hitchcock, who apologized for not rising, because he couldn't. "Please accept that I have risen in spirit," he said.
"It's your night, Hitch," Vidor said. "You ought to be feeling great."
"Knees. It's all about knees. My knees aren't what they used to be -- even what they were yesterday.
"The problem is, I had to bring along a friend. Well, not exactly a friend, more of a constant companion. Arthur Ritis."
Besides the pain, Hitchcock was apprehensive about his entrance, afraid his knees would fail him at the moment he had to walk through the audience to his table, that he would fall and be mortified. "Worse than dying," he said. "Worse even than forgetting to button your fly. I shouldn't have accepted. It's like Jamaica Inn. Walking the plank, you know."
"But if you felt this way, why did you accept?" Vidor asked.
"I didn't feel like this on the day I accepted. I did it for Alma. I wanted her to see all of these people here because of our films. I wanted to go home with her afterwards and see the look in her eyes. That was what I most looked forward to. The best part of the evening will be when we are back at home together and all of this is behind us. We'll sit and talk about it in the old way, sharing. Another memory for our old age.
"I want to tell everyone how important she has been, not only in my life, but to the Hitchcock films. They are hers, too. And I thought it might be the last time Alma and I could go together to an event like this, my last opportunity to pay public tribute to her."
"You're lucky to have had that kind of marriage," Vidor said. "It didn't work out that way for me."
"I hope I won't embarrass the Madame by not being able to stand up."
"I wish they'd do it for me, an evening like this," Vidor said, trying to cheer Hitchcock, and also telling the truth.
"I hope they do it for you while you're still able to enjoy it."
rd"They'd better hurry!" Vidor, though in better health, was even older than Hitchcock. "Well, at least you'll get a good dinner."
"I could never eat at a time like this, with everyone watching me. I had a ground steak earlier at home with Mrs. H."
"It's my favorite meal," Vidor said. "Do you know where you can get the best hamburger in town?"
"My house," Hitchcock answered.
"I'd like to invite you for lunch, Hitch, at my favorite restaurant, Hamburger Hamlet. And they have a good roll and French fries."
"I'd like to invite you to my house for the greatest beef you ever tasted, but Alma hasn't been well. When she feels better, we can go to Chasen's. That's our favorite restaurant."
Alma was seated with Cary Grant at the honoree's table as Hitchcock entered. Grant was there to assist Hitchcock, should it be necessary. Everyone in the ballroom rose except Alma, who was so small, she could scarcely be seen. Her hair and makeup artfully done, she had hoped to wear high heels, but needed the support of heavier shoes.
Weakened after a series of strokes, it was only with great force of will that she had succeeded in being there at all. Unlike her nervous husband, she had looked forward with enthusiasm to the evening. She watched intently as he entered and inched his way toward her through an audience that included some of the most famous and powerful names in Hollywood. It was as if she were taking every step with him, so great was her empathy.
John Houseman introduced Ingrid Bergman, who was the mistress of ceremonies for the evening. Speaking from the stage were Anthony Perkins, Janet Leigh, James Stewart, and François Truffaut, and from the audience, Teresa Wright, Pat Hitchcock O'Connell, Norman Lloyd, Sidney Bernstein, Victor Saville, Jane Wyman, Edith Head, Rod Taylor, Vera Miles, Ernest Lehman, Tippi Hedren, Sean Connery, Judith Anderson, and Cary Grant.
During the program, some of the tension Hitchcock had been feeling seemed to lift, and he and Alma appeared to enjoy the evening, especially as the end drew near. The strain of the intense scrutiny was nearly over.
Ingrid Bergman came onstage and spoke directly to Hitchcock. "Now, there's just one little thing I'd like to add before we finish this evening. Do you remember that agonizing shot when you had built some kind of elevator? It was a basket or something with you and the cameraman, and you were shooting this vast party in Notorious, and you came zooming down with your elevator and your poor pull-focus man, all the way down, into my hand, where you saw the key in a close-up. So, that was from an extreme long shot to close-up, just the key that we saw. You know what? Cary stole that key after the scene, and then he kept it for about ten years. And one day, he put it in my hand, and he said, 'I've kept this long enough. Now, it's for you for good luck.' I have kept it for twenty years, and in this very same hand, there is the key.
"It has given me a lot of good luck and quite a few good movies, too. And now, I'm going to give it to you with a prayer that it will open some very good doors for you, too. God bless you, dear Hitch. I'm coming to give you the key."
Bergman left the stage and walked past the tables to where Hitchcock was seated. When she reached him, he rose, unassisted, though not without difficulty. He accepted the key, and they embraced tenderly in what was an emotional moment for both.
Ingrid Bergman was also ill, and there was only a little time remaining for them to be together.
After the show ended, I was standing near Ingrid Bergman and Cary Grant as they chatted. "Was that really the same key we used in the film?" I heard her ask him.
Grant smiled and shrugged.
Hilton Green, longtime professional associate of Hitchcock, was there with his wife. Although Green had worked on Alfred Hitchcock Presents, Psycho, and Marnie, his wife had never met the great director.
"I kept my family away," Green told me. "I thought that was the right thing to do. But the AFI function was all over, and my wife said, 'I want to meet him.'
"I said, 'No, this is not the appropriate time.' Mr. H. was at a table, ringside, down there with Mr. and Mrs. Wasserman, and Cary Grant, and Alma. They were all at the same table, and I said, 'You're not going down there with that group.'
"She said, 'I'm going to go and meet him.' I didn't know what to do.
"I'll never forget. Cary Grant was in the middle of telling a story. Hitchcock was seated and I walked up behind him, and all I did was put my hand on his shoulder. He turned and looked up, and he interrupted Cary Grant, and said, 'Hilton.'
"I said, 'I don't want to interrupt,' and he said, 'Please, please.' I said, 'No, I just want you to meet my wife.'
"And he said, 'The Madame is here? Ah! you've kept me away from her for so long!' And he struggled to get up, with a great effort.
"I said, 'Don't get up, don't get up.'
"He said, 'Of course I'm going to get up.' And he did. He turned and kissed my wife's hand and said it was a wonderful pleasure to finally meet the Madame."
The lunch with King Vidor at Hamburger Hamlet never happened.
The AFI event was the last time I saw Alfred Hitchcock.
Copyright © 2005 by Charlotte Chandler
Meet the Author
Charlotte Chandler is the author of several biographies of actors and directors, including Groucho Marx, Federico Fellini, Billy Wilder, Alfred Hitchcock, Bette Davis, Ingrid Bergman, Joan Crawford, and Mae West, all of whom she interviewed extensively. She is a member of the board of the Film Society of Lincoln Center and lives in New York City.
Customer Reviews
Average Review:
Most Helpful Customer Reviews
See all customer reviews
There have been many past biographies published about the master filmmaker, but this very personal memior about the legendary man is a perceptive study of his private life with warm and glowing rememberences by those who knew him, not just as one of the world's most accomplished and revered film directors, but as a very special human being who continues to amaze and impress a future generation of filmmakers and moviegoers. Charlotte Chandler's detailed research and her insightful interviews with his friends and family, collaborators, casts and crews have paid off handsomely with this wonderfully entertaining and informative book that I most highly recommend.


text:
I'm Sorry
It's robins birthday
and Starfire tries to give him
a present but robin looses his temper
with her now she's been kidnapped and he has
to find her by the deadline and learn how to say I'm sorry
Disclaimer: I do not own Teen Titans
"Go talk to him Starfire he needs you just like you need him." Starfire gave Raven a small thank you hug before flying off to talk to Robin when she arrived at his door she knocked softly and waited for him to open it
"Yes??" Robin opened the door to find Starfire!!!!
"Oh Uh Hey."
"Um why are you here?"
"If you wish for me to leave then..." She turned to leave but Robin grabbed her arm
"No! I mean I just though you were you really mad at me I mean you still are." Robin had a very sad look on his face Starfire sighed she hated when he looked like that especially knowing she was the reason she looked down and noticed that in his hand was a package the package she had given him for his birthday
"You have not opened your day of birth present?"
"No I didn't think it was right for me to open it and you weren't here and now I really think I don't deserve it so here." he tried to hand her back his present but Starfire just shook her head
"It is for you..you should open it after all your day of birth only comes once."
"Are you sure?" she nodded her head Robin slowly opened the package when he did he was stunned it was a picture frame but much more beautiful the sides were made of steel and the frame was sapphire blue the same color of Robins eye's the picture wasn't really so much a picture more like a holograph it was a picture of Robin and Starfire then it changed and it was A picture of the Titans and then Finally picture of his own Family his real family
"Wha Where did you get this?" He asked quietly
"Friend cyborg helped a little the picture I got from the Batman through the E of mail."
"You made this for me?"
"Why it must have taken so much work!"
"It was worth it."
"I really don't deserve it Star."
"No I don't Star and you know what you have every right to be angry with me I was a total jackass I yelled at you I called you horrible names which I didn't mean that but that doesn't matter because I still made you cry "Robin?" and then I got you tortured and kidnapped by Slade I don't know why I do half the stuff I do you know I really don't and then you don't help you know with you being so perfect"Robin I am not..." I'm serious you never do anything wrong and if you do its only an accident"But you..." not like me I just lash out at the people I care about maybe I'm so board line obsessed with Slade is because I'm worried he'll hurt you and the other Titans but mostly you and the worst thing is all you tried to do was give me a birthday present you were just trying to be nice!! and what do I do I throw it back in your face I treated you like dirt and I loved You can you believe I treat the one person in the world that I love like dirt I really am an idiot not to mention..." Starfire slapped her hand over Robins mouth to stop his rambeling
"What did you say?"
"Oh I said that you were perfect and that I care about you and..."
"No the last time before the saying that you treated me like dirt and that you were an idiot." She gave a small smile
"Oh I said I love Oops!!! I uh Love er um(What rhymed with you goo food nah she was an alien but she wasn't stupid) er uh um..."
"I believe you said you...if I recall correctly." She added quietly
"I uh Starfire listen I'm Really Really Sorry I never meant to hurt you like I did."
"That is what friend Raven said."
"Oh Uh well um er uh what do you say?"
"Friend Raven asked me if could picture life without you and the truth is I cannot you are my best friend and although you did hurt my feelings and you were a korfblag I think I might be able to as you say try again."
"So uh does that mean you forgive me?" Starfire did not answer him instead she gave him a kiss which he eagerly returned as they parted Robin said "So I guess that means a yes?" Starfire once again did not answer him but instead kissed him again while three very happy Titans watched them
The End
AAAAAA (Sniff) I really enjoyed writing
this and I want to say thanks and I mean it
thanks to all my great reviewers I'm writing
new stories so if you liked this you should check them out
I hope you liked the ending and I hope the story was good
once again Thank you and Happy Reading Princess Starfire

subset: commoncrawl


text:
Models > McKenzie Lee > McKenzie Lee And Tanya Tate Fucking Together
McKenzie Lee welcomes a thick beef bayonet deep inside her fat taco. Her muff gets so soaked with anticipation. Wow! She has such a sweet kitty; got to love it. Really though, McKenzie Lee's favorite thing to do is to suck dicks.
Pornstars: McKenzie Lee + Save Video


text:
James Wilson is recommended in the major legal directories as one of the world's foremost maritime lawyers.
Wilson was elected as Ince & Co's senior partner in March 2008. He has been with the firm since 1983, when he joined as a trainee upon graduating from Magdalene College, Cambridge.
He is a director of Maritime London, a not-for-profit professional body for UK-based companies that provides professional services to the international shipping industry.
Wilson is a qualified and practising commercial mediator. He was instrumental in the development of the Maritime Solicitors Mediation Service (MSMS) — an initiative by maritime firms in England to promote the use of mediation in the maritime sector.


text:
La Mariposa
Elion Sanders is a normal 16 year old girl. She enjoys shopping and hanging with friends and hopefully finding that special someone. That is until a strange, new and deadly orginzation called Alpha appears, and the world is thrown into chaos, and the only ones that don't seem to be affected by Alpha are the children. Thus Elion begins a long journey not knowing what she has anything to with a legendary spirit called "Mariposa,". But will she be really saving the world and what she believes in or
Tall looming shadows towered over her, blocking out the bright white light that she considered was the sun. She swallowed before turning around on her heels and running away, her legs carrying her way from the nightmarish creatures. She slid to a stop and looked behind her, and watched as the creatures raced after her slithering like snakes. She swallowed and took a deep breath and started to run again. She wasn't going to get captured by these beasts, no she never was.
"Elion. Come to us Elion!"
"No!" Elion hollered as she continued to run, closing her eyes. Her lungs stung as she run and her heart raced as the adrenaline raced through her. Her instincts were kicking in, get as far away as possible. Suddenly she lost her balance and fell to the ground, knocking the wind out of her.
Gasping for breath she managed to sit up and look back only to see the shadows gaining on her, their blazing white eyes focused solely on her. They opened their mouths revealing razor like teeth that she was sure were going to rip her into shreds. Suddenly as if out of nowhere a golden butterfly appeared in front of her large and beautiful. It's wings flapped gently as it hovered there, protecting her from the shadowy beast.
"I protector of the maiden abjure you. Leave the girls spirit! I command you! I abjure you!" a strong and powerful voice screamed. It echoed around the world, moving around them like a wave of water. The shadows wriggled in pain before doubling over and melting away. The golden butterfly then turned around, it's tendrils aimed at her, "I wish you good luck. I know you can do it. Be brave Elion. Be brave,"
With that the butterfly disintegrated into dust and she was alone in the empty world, of destroyed buildings and lost echoes. It was a ghost town, and she wondered if this was what her heart was like, lonely and desolate. Suddenly she was over come with a dizziness and she toppled backward onto the ground drifting away.
"ELION! Do you hear me? Elion wake up!"
The voice sounded familiar but as Elion opened her eyes everything was meshed together in a colorful blur.She blinked once and watched as the room, returned to normal and she could make out who was screaming at her. It was her sister Emilia. She frowned sitting up, just as the door flew open and her sister entered holding a spatula in one hand and a pan in the other.
Her face was bright red from yelling at her, and her long brown hair was pulled back into a ponytail. She frowned at her sister before she spoke, "Get up you lazy bum! Your going to be late for school!"
"Emilia...can you stop yelling please?" Elion asked.
"Not until your out of bed." Emilia replied, waving the spatula at her sister.
With a sigh Elion threw the covers off her and swung her legs off the bed and rose to her feet stretching. With a satisfied smile on her face Emilia turned around and walked away back toward the kitchen. Elion smiled a bit before she clapped her hands and watched as the lights turned on.The bright blue walls of her room, made it seem even brighter. She looked up at the ceiling seeing the clouds that she and her sister had painted a few years back. It was beautiful and had taken them hours.
Most of the walls were covered in different photo's or had a bookshelf pressed in front of it. She was a reader, and it was a bit addicting. She smiled before she turned and opened a window to let in a bit of fresh air. Their was something about the air in the morning that she loved. It was strangely sweet, and strong.
Elion opened the nearest drawer and pulled out her school uniform, a white button up shirt, a black sweater vest and black skirt. She then retrieved her knee high socks from the lowest drawer and grabbed her shoes that were under the bed. Once she had everything she made her way to the bathroom and washed up. Once she was washed up and dressed she exited the bathroom and made her way into the kitchen.
Her sister was making her plate as she entered, and her brother was all ready sitting at the table, swirling his eggs around, a bored look on his face. That was nothing new to her, he always sat there looking bored and sad.
"Are you all right Evan?" Elion asked she as sat down and stuffed scrambled egg into her mouth.
"Huh...oh yeah. I'm just thinking about Rosemary is all." he replied blowing his black bangs way from his face.
"Jeez, didn't I all ready tell you to let her go. She wasn't good enough for you Evan," Emilia said as she sat down and started to eat, "So stop moping and eat something all ready."
"I'm to sad to eat. All I want is my Rosie." he said sternly as he pushed his plate away.
"Jeez, what is it going to take for you to forget her?" Emilia asked.
"You have to give him time. It just happened and he was in love with her, so he is a bit heart broken right now sis. He should be better in a couple of days though," Elion explained.
"Fine, I guess your right. When did you become the wise and smart one?" Emilia asked as she looked toward the clock, "Dang! Sorry but we have to cut breakfast short. Grab your bags we have got to get going!" Emilia said as she rose to her feet and raced around grabbing her car keys and purse.
I thought I all ways was the wise and smart one, Elion thought with a chuckle before she scarfed down the last of her food and set the plate in the sink. She grabbed a cup from the cupboard and poured herself some orange juice before she grabbed her bag and followed her sister out the door of their large condo and out to the garage. When she arrived her sister had all ready started the car and was creaming for them to hurry up. Elion slid into the passenger seat beside her sister, setting her book bag on her lap and looking out the window.
It was a bright and sunny fall morning. The trees had begun to change colors, but it was still quite warm and not the right weather for a jacket just yet. Elion loved this time of the year. It wasn't too hot or too cold, it was just right.
"Hurry up Evan your going to make us all late!"
"I am not," Evan said as he slid into back of the silver Porsche.
Throwing the car in reverse, she backed out of the garage and took off down the street, swerving wildly as she went along. Elion wrapped her arms around her stomach as her sister made a sharp right turn, Elion's face turning slightly green.
"Emi, how the hell did you get your drivers license?" Evan cried from the back seat.
"What I am a good driver when I'm not in a hurry. But since I'm in a hurry I tend to be a little reckless." Emilia explained.
"A little reckless?!" her two younger siblings cried out in unison.
"Hang on we're making a sharp turn!"
"Emilia!" Evan screamed.
Whilst trying to survive her older sisters maniac driving, Elion took a look out the window, looking at the city of Cranebrook Meadows as it flashed by. It was a mixture of old and new. On the western side of the city were old Victorian style homes, on the east more urban and modern homes. To the north was the business district and two the south was the commercial district, that every teen knew by heart. Elion loved this city and she wouldn't trade it for the world.
The car slammed to a stop as her sister parked along the side walk of Cranebrook High. Several students looked at the car and laughed in shock while others just stared frozen to the spot.
"Have a nice day. Now...get out of my car!" Emilia hollered.
Elion and Evan quickly got out and watched as their sister drove away the screeching sound or her wheels echoing all around. Evan sighed, turning around and walking toward the school, Elion followed after him. "She is going to kill us one day." he said to his sister.
"You got that right," Elion said as she ran a few fingers through her long black hair. Her gray eyes focused on the three story school that stood before them. Students were scattered everywhere talking happily to each other. She noticed several girls flirting around with, when out the corner of her eye she saw a football heading directly for her. She froze on the spot unable to move away.
"Elion!" a voice screamed, as she was pulled away. She watched as the football bounced off the side walk. She slumped against the person holding her before she straightened up, a rosy blush coming to her pale cheeks. She turned around to see her savior. Maika Heart.
"Thanks Maika," she said quietly.
"Sure no problem. I didn't hurt you or anything did I?" he asked, as a soft wind blew rustling his golden blond hair.
"No, I'm fine,"
"Good, man those guys are jerks, they could have at least said sorry," he said.
Elion watched as his soft large blue eyes suddenly turned hard, "No, no it's fine. I wasn't hurt and I would have forgiven them anyway. It's all in the past,"
Maika smiled, placing a hand on her shoulder, "Your all ways so nice Elion. I can't see why anyone would want to hurt you." he said kindly.
She smiled, just as the bell began to ring, "Come on lets get to homeroom,"
"All right." Maika replied.
Elion waved good bye to her brother who didn't notice her. His eyes were focused on a girl with silvery hair and gray eyes. His ex girlfriend Rosemary. She shook her head, before she climbed the front steps of the school with Maika, her heart beating out of her chest.


text:
"You're a vampire don't deny it" Sam whispered.
Maybe she should have forced laughter and joked it off but she couldn't. "What are you talking about?" She finally gasped. But of course it wasn't convincing.
He raised an eyebrow. "You know what I'm talking about?" He turned and walked away slightly then turned back to face me.
"If you thought I was a vampire you wouldn't turn your back to me" I mutter. Sam looked confused.
"Its strange though..... With you even though I know you're a vampire. You seem trustable" Sam whispers. He shakes his head and I know he thinks he's acting weird.
He is for being human. Human's are meant to be scared of their preadtors just like any other living creature.
"I need to go.." I head away.
"Wait!" Sam demands he chases me grabbing my wrist. I spin kneeing him in the stomach.
"Keep quiet" I whisper to him. "I'm saving your life"
"What do you mean?" he chokes out.
"If they know you know...... they'll ever kill you or........ turn you" I look away then take off back down the corridor to where I meet Azril.
"Are you okay?" she asks seeing the threat of my tears. One spills and she quickly drags me into the girls bathroom and gets tissue.
"What happen?" She asks. "I won't tell anyone"
And I know then that she won't.


text:
Improvisation Music and Dance Performance PastSaturday, Sept 21, 2013 ,
7:00 PM - 9:00 PM- Richmond, CA, United States
With Sahar Dehghan (dance), Kamran Thunder (ney, setar), Ali Bazyar (percussion), Lamine Diagne (sax & duduk), Agathe Di Piro (piano)
Contact the organizer for latest event info. Kodoom.com is not responsible for any changes made in the above information. Report or Flag this event


text:
|Home > Music Genre > Corporate Music > Radio/Multimedia > Track Summary >
Track Summary
Music Track Title: Motion Pictures Logo (Open Sea)
Catalog ID: 328389 ISRC: US5UL0773364
Description: Full Symphony orchestra. Elegant dynamic and dramatic, for big movies like Warner 20th Century Dreamworks. Stunning, beautiful for fantasy fairytale or magical mystery. Corporate promotions, high fashion, tales of intrigue and suspense. Hitchcock, murder, crime investigations, breaking news coverage
Social Media Link: https://www.audiosparx.com/sa/archive/Corporate/Radio-Multimedia-Production-Elements/Motion-Pictures-Logo-Open-Sea/328389
Artist or Group: Stoyan Ganev
Keywords: Logo Dreamworks 20th Century Fox TV Company Film Production Indent Corporations Fox Warner Bros Broadway & Theatre Video Games Hollywood March TV
Music Genre > Sub-genre
Corporate Music
Radio & Multimedia Production Elements
Extended Properties
Duration: 0:29 Tempo: No Tempo
Arrangement: Orchestra, Full
Instruments: Bassoon, Clarinet, Flute, Horn, Horns, Oboe, Percussion, Trombone, Trumpet, Tuba, Harp, Brass section, Woodwinds, E-Flat Clarinet
Vocal Mix: Instrumental
Moods: Beautiful, Bright, Building, Delicate, Dramatic, Driving, Emotional, Fiery, Flowing, Grand, Heroic, Inspiring, Intelligent, Joyful, Painful, Sophisticated, Sweeping, Tender, Triumphant, Vibrant
Styles: Broadway & Theatre, Corporate, Fanfare, Film Instrumental, Film Noir, Hollywood, Indie, Movie Trailer, Romantic New Love, TV Instrumental
Extended Keywords: Full Symphony orchestra. Great logo for Warner 20th century Dreamworks movie. Absolutely beautiful, elegant, vibrant. Film Logos, Hollywood opening, advert, important announcements. Magical cinematic lush alluring and mysterious Full Symphony orchestra Great logo for Warner 20th century Dreamworks movie. Absolutely beautiful, elegant, vibrant Hollywood opening, advert, important announcements, fantasy fairytale, corporate video Magical cinematic lush alluring and stirring. Rhythmic epic promo or commercial idents TV news broadcast "weather report" "late news" Politics "breaking news" media fox bbc abc television nbc night "fox news" reporter daily network "bbc news" msnbc friday anchor running eddy coverage marathon time cable twilight danger channel out journalism "news part" bulletin local latest satellite today evening digital soundtrack lullaby "graphics software" trailer music logos direct canal corporation movie soundtrack ripoffs


text:
PortCityDaily.com is your source for free news and information in the Wilmington area.
Mildred Aileen Brazeal Abbott, of Wilmington and formerly of Virginia, died Sunday, Aug. 23, 2015, at New Hanover Regional Medical Center, at the age of 86.
The family will hold a service at a later date.
Please leave online condolences for the family at Wilmington Funeral & Cremation.
To view the full list of Port City Daily obituaries, click here.


text:
You are currently using an unsupported web browser.
We support the latest versions of these browsers:
If you have any problems while attempting to download a browser, you should contact your organization's system administrator.
For any questions related to Cvent, feel free to contact our Customer Care team.
Penzion Benz Trebic provides quality accommodation in Trebic. It offers accommodation in double and triple rooms and suites. All rooms are equipped with shower, WC and a mini fridge. We can arrange business meetings and training in the lounge with 30 seats.
You must be logged in to view contact information for this supplier. Sign up for a free Cvent account today.


text: Non-Thermal Dielectric Barrier Discharge (DBD) Effects on Proliferation and Differentiation of Human Fibroblasts Are Primary Mediated by Hydrogen PeroxideJulian Balzer, Kiara Heuer, +7 authors Mohammed YousfiPloS one2015The proliferation of fibroblasts and myofibroblast differentiation are crucial in wound healing and wound closure. Impaired wound healing is often correlated with chronic bacterial contamination of the wound area. A new promising approach to overcome wound contamination, particularly infection with antibiotic-resistant pathogens, is the topical treatment… (More)


text:
SiS Corporation SIS 630 Free Driver Download
Manufactured By:
SiS Corporation, SiS
File Name:
Graphics Card Drivers, Video Drivers, Display
Video Tutorial: How to Download & Install a Driver
Device Name
220.127.116.110 (2000-03-27)
Supported Operating Systems
Windows 2003, Windows XP, Windows 2000, Windows NT4, Windows ME, Windows 98SE, Windows 98, Windows 95
Link to Page
Uploader Notes
Es el driver para la tarjeta Grafica SIS 630. Este driver viene incluido en muchas tarjetas madre. Este en especial es de una ECSP6STP-FL. Cualquier comentario puedes dirigirlo a email@example.com
Uploaded By
Francsico Hernandez (DG Member) on 12/4/2003
Driver Package
sis630.zip (667.9 KB)
Related Drivers
Search All SiS Corporation SIS 630 Drivers
DriverGuide.com - Download Choice
Direct download is available only to our Premium Members. Free members are required to use our DriverGuide installer or consider these Premium options:
DriverGuide.com - Using DriverGuide's Installer
DriverGuide's installer software (Windows only) simplifies the driver installation process. It safely downloads and verifies your driver and then assists in the installation of it.
You may notice that the file size of the installer software is much smaller than the file size of your actual driver. The reason is that first the installer setup file is downloaded, and then the installer software does the work of fetching your driver from our fastest download server.
The installer setup file has been certified safe by leading-class virus and malware scanners.
Sometimes anti-virus software can report false positives. If this happens to you, we encourage you to submit the file you download to VirusTotal (a free, independent service which identifies malicious content) where you will see dozens of other anti-virus scanners report the file is perfectly safe.
The installer setup file may include a purely optional advertising offer which you are free to decline. We only work with trusted advertising partners.
Note: Windows only. Mobile, Mac OS and Linux users can choose other download options by deselecting the installer checkbox below the download button.


text:
HIV +ve body builder - mascot of AIDS society
Subscribe to Oneindia News
Manipur, Apr 14, 2008 : Pradeep Kumar, an AIDS patient and a body building champion of Manipur has been appointed as the brand ambassador by Manipur AIDS Control Society or MACS. 37-year-old Pradip Kumar Singh feels that more and more people should come forward and fight the disease and the stigma attached to it.
Related Videos
More Videos
Please Wait while comments are loading...


text:
Crowne Plaza Perth
Select your stay dates to check availability
Crowne Plaza Perth
About the hotel
Property Location
A stay at Crowne Plaza Perth places you in the heart of East Perth, minutes from Langley Park and close to Kings Park and Botanic Garden. This 4.5-star hotel is within close proximity of Queens Gardens and Perth Mint.
Make yourself at home in one of the 189 air-conditioned rooms featuring refrigerators and LCD televisions. Satellite programming and iPod docking stations are provided for your entertainment, with wired and wireless Internet access available for a surcharge. Bathrooms have complimentary toiletries and hair dryers. Conveniences include safes and desks, and housekeeping is provided daily.
Be sure to enjoy recreational amenities including an outdoor pool and a fitness center. This hotel also features wireless Internet access (surcharge), concierge services, and wedding services.
Grab a bite to eat at the hotel's restaurant, where you can enjoy drinks at a bar and dine alfresco (weather permitting). Or stay in and take advantage of room service (during limited hours). Quench your thirst with your favorite drink at a bar/lounge. Full breakfasts are available daily for a fee.
Business, Other Amenities
Featured amenities include high-speed (wired) Internet access (surcharge), a business center, and complimentary newspapers in the lobby. This hotel has 5 meeting rooms available for events. Extended parking is available onsite.
Hotel Facilities
- Luggage storage
- One meeting room
- Wired (high-speed) Internet access - surcharge
- Number of meeting rooms - 5
- Computer station
- Dry cleaning/laundry service
- Coffee shop or café
- Porter/bellhop
- Fitness facilities
- Free newspapers in lobby
- Smoke-free property
- Safe-deposit box at front desk
- Total number of rooms - 189
- Multilingual staff
- Valet parking (surcharge)
- Outdoor pool
- Accessible bathroom
- In-room accessibility
- Concierge services
- Tours/ticket assistance
- Restaurant
- Business center
- Breakfast available (surcharge)
- Laundry facilities
- Roll-in shower
- Number of floors - 12
- Wedding services
- Bar/lounge
- WiFi (surcharge)
Room Facilities
- Coffee/tea maker
- Hair dryer
- Cribs/infant beds (surcharge)
- In-room safe
- Free newspaper
- Pillow menu
- iPod docking station
- Satellite TV service
- Premium TV channels
- Refrigerator
- Minibar
- Rollaway/extra beds (free)
- Wired high-speed Internet access (surcharge)
- Desk
- Daily housekeeping
- Pay movies
- Connecting/adjoining rooms available
- Bathrobes
- Free toiletries
- WiFi (surcharge)
- Iron/ironing board
- Air conditioning
- Room service (limited hours)
Hotel Policy
National Rating
This property has been awarded a star rating from the Australian Star Ratings Agency, Star Ratings Australia.
Know Before You Go
- The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.
The following fees and deposits are charged by the property at time of service, check-in, or check-out.
- Fee for full breakfast: AUD 35 for adults and AUD 15 for children (approximately)
- Fee for in-room wireless Internet: AUD 19.00 per 24-hour period (rates may vary)
- Fee for in-room high-speed Internet (wired): AUD 19.00 per 24-hour period (rates may vary)
- Fee for wireless Internet in public areas: AUD 19.00 per day (rates may vary)
- Fee for high-speed Internet (wired) in public areas: AUD 19 per day (rates may vary)
- Valet parking fee: AUD 34.00 per night
- Crib (infant bed) fee: AUD 65 per night
- Onsite credit card charges are subject to a surcharge
The above list may not be comprehensive. Fees and deposits may not include tax and are subject to change.Show all hotel policy Show less hotel policy


text:
Grizzly | Model: T26544
LED Light with 30lb Mag Base and Flexible Arm
Price: $21.95
Recently Added ×
You May Also Like
Grizzly T26544 - LED Light with 30lb Mag Base and Flexible Arm
Need it by Fri. May 26th?
Just order by 2:00 PM PST today and choose expedited shipping during checkout.
|Buy Now!
This high intensity LED flashlight is ultra-bright and zoomable, allowing you to focus or disperse the light. Has three modes: high beam, low beam, and an emergency flash. Fish eye lens is 1x2000 zoom. Also features a powerful magnetic base, so you can attach this wherever you need light. Base has a 9" flexible clamp arm for additional mobility. Includes the LED light, base, plate, and 3 AAA batteries.
Accessories and Related Items: View All
You May Also Like:
Customers who purchased this item also purchased:
4 Customer Reviews (4.8 out of 5 stars): Sign in to write a review
Great product 1/27/2017
Purchased this when we bought the 14" Deluxe Bandsaw hoping that it would attach to the side of it and aid as a work light when cutting. Works great for this!
This is just a flashlight with a mag base, I already have two or three of this flashlights.
Animation for T26544


text:
Block is a mobile side table on wheels that has a light and airy expression. It is a versatile piece of furniture with many different functions in the home.
Block can be easily moved around using its four handles, which are natural extensions of the legs. Use Block as a side table, tea table, coffee table or bedside table.
The Block side table has been launched in white, black, light grey and dark grey.
Clean with damp cloth Easy to assemble without use of any tools. Delivered in a flat package. Load capacity: 10 kg pr. shelf ×
Simon Legald
Simon Legald graduated from The Royal Danish Academy of Fine Arts in the summer of 2012. His work consists of both small- and large scale products. Simon's designs are often created in a dialogue between craftsmanship and industry. He also likes to incorporate the techniques that are necessary for the structure of a product into the design by highlighting them visually.
"Honesty is what makes a product understandable and is what describes the products functionality. If you understand the product, it doesn't need any explanation. The essence of my design is for it to be bought and used. Therefore it has to satisfy not only the functional aspects, but also the psychological and aesthetic needs. For me simplicity describes the true identity of objects and makes them trustworthy. In my design I try not to add any unnecessary details. I work with simplicity by highlighting the necessities instead of hiding them. It gives the product a simple and honest expression."
We are a Danish design company with the mission to create original, bold and eye-catching products in a simple and contemporary design that withstands the test of time.


text:
Katrina: Lost and Found
Our group pressed on, not sure of where we were or exactly where we were going. Many of us were not of this area and were just as lost as the rest. Though another woman, who was mainly silent up until this point, took the head, leading us as best as she knew to where she thought to be a river.
Fortunately, we heard the soft murmur of water up ahead, and the woman, named Gertrude, said that this was the Blue River, where we could quench our thirst and then follow it to civilization. But what were we going to do once in civilization? Would it not appear odd that a gathering of ragged women-which we were-and several children showed up in a village like a group of gypsies? Would it not arouse great suspicion? Gertrude only answered that "lost in the woods is no place for women", suggesting rather revealing ourselves in town and gaining some shelter would be safer. I glanced to Nellie, the small child holding her hand. I would beg to differ, yet for now I said nothing.
The sun was quite high and hot as we reached the shore of the Blue River, the simmering heat only lessened slightly by the woodland umbrella of leaves. We were thirsting from all the "adventure" of the day and of the previous night, and eagerly did we bend to cup the water in our hands and sip from our makeshift containers. A few others waded into the river, soaking their skirts and washing away the grease of sweat from their limbs. Half smiling, I watched as two of the children charged inside and began to splash playfully at one another, Gertrude quick to scold them. It half-ways appeared….normal.
I briefly tossed away my shoes, stepping into the river after the others, Nellie at my side. "We should not spend long here," she murmured, glancing about. I nodded, looking briefly into the brush where a spy could easily be veiled.
"We shall be quick about it," I returned, leaning over to splash water across the back of my neck. The biting chill against the searing heat made me shiver involuntary, something of a pleasure as it dribbled down my back and too reached into my hair. I held back a wince as the damp trails stung at the arrow wound at my shoulder. I brushed aside the slight pain, sighing half-contentedly, the cool current moving about my bare ankles. Nellie followed my motion, dousing her arms and face in the water. I laughed slightly as she dunked her whole head into the river, standing up and shaking her hair out like a dog.
"Ah," she grinned mildly, running her hands through her hair. Happily I did as she did, soaking my hair as well.
"Where to now?" came another woman's voice, who I had come to know as Marianne.
"We will follow the river's current south," Gertrude instructed, beckoning the children from the water and to the shore. Silently, we did as she bade us, and went after her once more. We mainly walked in quiet, like a strange mourning parade in our rag-tag appearance. The lack of noise left me pondering over the previous night, the horrifying screams, the fire……I shuddered. Thus was the nature of war; indeed, I had offered to enter into its terrifying affairs voluntarily.
One particular pair of younger children did not remain quiet for long, deciding to splash through the river, giggling, instead of walk along the shore. Gertrude and some of the other women sharply hissed to them; their noise could lead enemies directly to us, and they seemed not to understand the impending danger we strolled through.
A rustle in the underbrush caught all of our attention, and for a brief moment we froze, and the only noise was the pounding of my heart in my head. It did seem the children's play noise had led something to us. We all glanced about; there seemed to be no way of organized escape, almost walled in by the slight hills of which the river was surrounded and the river itself, deep and quick moving in the center. For what seemed like the longest moment, we all waited, tense.
From the dense forestry stepped a single man, one who we had all least expected to see. I most of all felt like falling over from relief and something of a sheer joy, for it was the one of the most familiar face from home and among the closest to my heart, Jon Hanway.


text:
[Back to Main Health Informatics & Management Page]
This program of study fosters the ability to make administrative decisions based on sound management and
policy principles, methods and analytical techniques with emphasis on improving the quality of care given
to patients while providing satisfying and rewarding work experiences to all members of the organization
staff, from the top level managers to the direct-care, frontline workers. The program accommodates working
professionals seeking to further their professional training and college graduates preparing to enter the field.
For specific questions on this program, please call Dr. Robert Holmes at 978-934-5318 or email email@example.com.
Although a background in health is not required for admission to the Program, applicants with significant
health-related work experience are given preference when program capacity is limited. For applicants
without health-related work or educational experience, one's academic and professional history is important.
Applications can be submitted and evaluated at any time. Nevertheless, we recommend that applicants
seeking admission for the Fall semester have applications complete by May 15, and that applicants seeking
admission for the Spring semester have applications complete by December 15. All application materials must
be submitted to the Office of Graduate Admissions.
Print and complete the Non-Degree Course Registration Form
or print and mail-in/fax-in the completed
pdf form following the instructions on the form.
Register online using your UML student account at https://www.uml.edu/enrollment/sis/
Provides a systems overview of the organizational structure and behavior of individuals in healthcare institutions, along with an examination of the role of managers, clinicians and other leaders. The course applies organizational, behavioral and social science practice and theory to healthcare organizations. 3 credits.
The course teaches analytic methods that can be used to improve the decision making of healthcare managers, clinicians and others within the healthcare industry. Students learn the following: the conceptual foundations of quantitative analysis - e.g., what statistics is all about, how to think statistically and how to understand and interpret statistical findings; the importance of quantitative methods in supporting healthcare decision-making and developing evidence-based practices; bivariate and multivariate statistical methods for analyzing data and testing hypotheses; and how to use an industry-standard data analysis and statistical software in developing and reporting analytic findings. 3 credits.
Prerequisite: CSCE Graduate Restrictions
Provides broad exposure to the concepts and practices of healthcare finance and healthcare financial management. Teaches a practical understanding of basic healthcare financial issues, financial reporting and analysis, and provider payment structures. The course enables students to read, analyze and use healthcare financial information in today's healthcare environment. 3 credits.
This course teaches a multi-disciplinary approach to operations analysis, process redesign and quality improvement in healthcare. Students study the history, development and principles of quality improvement in healthcare; how quality improvement processes have been used in various healthcare settings; the tools and processes used in quality improvement; how to structure and implement a quality improvement program; and how to collect, analyze and interpret quality improvement data. 3 credits.
Prerequisite: Graduate level or permission
This course provides a framework for addressing management problems in healthcare organizations, providing an overview of how healthcare institutions are organized and governed, the role of the management, physicians, nurses and other clinical and support staff in these organizations, and the management systems designed for their efficient and effective operation. 3 credits.
This course introduces graduate students to the theory, practice and application of health economics to contemporary health policy issues in the United States. No prior coursework in economics is assumed. 3 credits.
Students learn the fundamentals of planning and marketing and how they are applied to the different aspects of the health care system. 3 credits.
This is the introductory, first-recommended course in health informatics. It provides a broad-ranging overview of the healthcare information systems industry, its history, recent developments and continuing challenges, and a practical understanding of healthcare information systems acquisition and implementation. Topics include meaningful use, EMR, CPOE, and health information exchange. 3 credits.
This course presents and overview of legal and ethical issues facing managers and providers in health care. It provides students with a foundation of health law and ethics and reviews health care legal and ethical situations and dilemmas. The goals are to provide students with practical knowledge of health law and ethics and their application to the real world of health care. 3 credits.
This course provides students with a basic framework for health policy analysis and examines major aspects of U.S. health policy. Detailed consideration and discussion focus on the relationship of national policy to the planning, implementation and funding of healthcare services. The course covers topics such as the healthcare policy environment in the U.S, government-funded healthcare through Medicaid and Medicare, and the Massachusetts healthcare reform. 3 credits.
Prerequisite: CSCE Graduate Restrictions
The purpose of this course is to encourage students to carefully analyze their leadership style and skills within the context of health care. The course includes the study and application of leadership theories, concepts, and skills. Students will also assess their own leadership potential through the completion of readings, personal and leadership self-assessments, values exploration, and leadership skill exercises. 3 credits.
Prerequisite: CSCE Graduate Restrictions
The course explores the relationship between social and economic justice and public health. Focusing primarily on the U.S., the forces that either establish and exacerbate or prevent socioeconomic inequities will be analyzed to understand the intricate links between social, behavioral, physical, and biological determinants of health. Several theoretical orientations will be reviewed in order to better understand how each frames research and public health strategies that have been used to address health inequalities. Students will be able to competently articulate the relationships between social and health inequalities. They will be able to explain the strengths and limitations of different theoretical orientations to these issues and frame the policy needs to positively reduce health disparities. 3 credits.
Prerequisite: CSCE Graduate Restrictions
A course examining contemporary healthcare information system requirements and focusing on the design, implementation, and modification of these systems. Actual or hypothetical health system related projects are used to support the theoretical framework. 3 credits.
Prerequisite: CSCE Graduate Restrictions
A practical approach to the design, and development of a relational database with an emphasis on healthcare. Analyzing the requirements of the database proceeds to the design of the structure of the relational database, which is then developed in a Relational Database Management System (RDBMS). Microsoft Access is used as the RDBMS platform. 3 credits.
A graduate level course providing a comprehensive foundation for project management as it applies to healthcare. Students will be introduced to the theory and concepts of project management, and the tools to manage projects with a specific focus on health information technology. 3 credits.
A graduate-level course introducing healthcare professionals to strategic planning for the information systems organization. Skills learned in this course will enable the student to work effectively with and support the information systems planning effort and assure business alignment. 3 credits.
The course addresses Electronic Health Records (EHR) integration with patient care flow, clinical decision making and patient engagement, as well as clinical quality reporting. The students also learn core EHR functions. The course uses industry-leading EHR software as a learning tool to demonstrate how electronic health record technologies are used in a clinical setting. 3 credits.
Near the end of one's Master's Degree program, students register for Capstone Project and complete an independent study under faculty supervision. The Capstone Project applies concepts and skills learned in the program. It involves research and development, and culminates in a substantial (20 pages or more) business-type report. Many working professionals develop projects related to work assignments. Students are also required to present their Capstone Projects to students, faculty and alumni at a semester-end student recognition event. 3 credits.
Special Notes: Requires Instructor Permission.
OR Request Information by Mail
Visit Graduate Admissions
Approximately 2 months prior to the start of each semester, Online and Continuing Education posts the new
course schedule to the website. Once you've decided which course(s) you would like to take, returning
students can register using SIS Self-Service, while new
students must use the Non-Degree Registration Form.
Note: If you previously completed an academic program through UMass
Lowell but haven't already applied and been accepted into this program, please use the Non-Degree Registration Form to register.
Email our Student Support Center
for assistance, or call
for advising at (800) 480-3190 and press 1 to speak with an advisor. See links at the bottom of this page for
technical assistance with your online course.


text:
(Image credit: YVCC)
This guide will help you find criminal justice information. Click a link below to get started.
|Locate law enforcement and criminal justice related articles and journals
|Books & E-Books:
|Borrow a book from the library, or access e-books from home
|Reference Materials:
|Use reference books to find background, trends, theory, and statistics
|Videos & Images:
|Find image collections or stream videos from home
|Use the Web to find associations, government agencies and other websites
|Give credit to your sources by citing properly in APA format
|More Help:
|Student support services and more can be found here
Find articles, books, videos, and more with Smart Search. Refine your results by material type, date, and more.
For additional search options, use Advanced Search. To log into your account, see Managing Your Smart Search Account.
Mobile users: If you can't see the Search button, push Go on your device's keypad instead, or visit the Smart Search homepage for a mobile layout.
Related Guides
Library Tutorials
Library Login
When accessing journal articles, e-books, and streaming videos through the library, you will be asked to log in.
View the Library Login Help guide.
We enjoy assisting our students, faculty, and staff. Let us know how we can help you!
|(858) 367-0904
|(858) 541-7900
|Toll free:
|(866) 682-2237 ext. 7900
|Ask Us (Chat & FAQ)
|Schedule a Consultation
|Library Hours & Location
|Find us on Facebook
May 20: Today is National Armed Forces Day, and the Library would like to express its sincere gratitude for all of those who have served or are currently serving in the U.S. Armed Forces. We are deeply thankful of your service to this country!
May 10: Classes move pretty fast. If you don't stop and look at your study habits once in a while, your grades might suffer. Check out our Study Skills Guide for videos, tips, and resources that might help you during your time at NU!
May 6: Remember the Library Inked story we published recently that highlighted the tattoos of NU Library users? We just updated it with video interviews of our two subjects. Check them out!