text:
Become cartoon designerJobs
i want my short story to be made in short story cartoon with nice any beautiful animated cartoons and deliver me video. i will be using this video on my website i can pay 100 INR only.
i want my short story to be made in short story cartoon with nice any beautiful animated cartoons and deliver me video. i will be using this video on my website i can pay 300 INR only.
I want to make 2 cartoon illustrations from 2 photos. Attaching the pictures and reference. I want a cartoony, a bit funny but modern feel to the pictures. Vector please.
My mom has written a children's book a long time ago and and I wanted to make it into a book as a Christmas present. Looking for someon...children's book a long time ago and and I wanted to make it into a book as a Christmas present. Looking for someone to help out with the drawings in it. Nothing too crazy, just cartoon images with basic backgrounds.
hello, i am looking for a creative artist can help to draw these 2 characters to help me to promote my app....Asian Food online ordering....... the character will be Yummy & Tummy...... the concept that Meet Yummy & Tummy, let order food online together... Yummy character should be tasty ....Tummy i guess should be big stomach after ate....lol..not sure....so i need creative mind put this ...
Hi freelancer, I need an illustrate cartoon art of a girl. I added a photo of the girl. You need to convert it an illustrated cartoon art.
I need an comedic illustration of a man handing money over to a "google machine" but receiving only peanuts in return. The idea is to relate to people who pay for Google Advertisements but don't receive much in return and feel disappointed, ripped off, frustrated. They feel they just get "peanuts" in return for all their money they spend. I have attached an image of the d...
I would like for someone to create an cartoon animated version of myself with the picture will be providing.
Basically multiple sized cartoonish logos of a picture that I got, fit to be a profile picture as well as being placed on Youtube Videos. The budget for this simple project will be 15$~29$ Depending on how good it will be. If I saw that the work is done probably begin the same project but with two new pictures and at a different rate. Thanks
We are a music group hoping to get ourselves drawn up as cartoons for an artwork on youtube.
Find a collaborative project that produces 100 animated youtube videos. long project [log ind for at se URL]
Need to change this face into an outline design cartoon for a t-shirt. Need a circular design. The words OktKERRberfest around the inside top of the circle. 2018 across the bottom and the caricature in the middle. I need a logo designed.
Round 2 is now closed
I have one website in which you have to be author you work will to post articles daily
I need a photo illustrated in to a cartoon type image
I need to find two more to do the same animation like this [log ind for at se URL]
Hi, I have 5 2D characters which I would like to model for Unity. I also need simple walking, idle and angry animation for the characters. This is a very simple project, images are attached. I will explain in more details to the chosen freelancer.
Hello, I need the following picture (low quality) to be used to create a cartoon character (face/shoulders/hands with cymbals, same as picture). I'm not looking for a very caricatural design, something more realistic.
...that are interested in a 50/50% split on royalties for an exciting new project we have been assigned too. We will be designing T-Shirt graphics to a Major USA TV show (Adult Cartoon) that is extremely popular. Believe me when i say you will know exactly who they are.. How it works: We submit designs to the programme. If the designs are accepted they will
Make a script that convert car in cartoon car. Thousand of different people. Each individual will upload a photo of his own car. The script you make must Automatically convert it to a cartoon car.
Hi I need someone to finish off a Project that was not completed by a previous freelancer. I have the sketches I just need color and a few back ground details. I can show you the images once we get a conversation going
looking for someone todo a cartoon logo for a cannabis company
hi i want to learn how can i create this animation video and what software can i used it like in this videos [log ind for at se URL]
I still have not found the right person to work, I want to find someone who is really good, can do animation like this, this is a serious and really long project. [log ind for at se URL]
I'm writing a book on mother-in-laws and it's a quirky overview of what it's like being a guy married and having a bat shit crazy controlling mother-in-law.
WHAT YOU HAVE TO DO 1. I will give 2 existing videos (some real life some animation) and you have create a 2D animation version of that video 2. The existing video will have the STORY, MUSIC, CHARACTERS ETC 3. The animation style should be similar (not direct copy) IMPORTANT NOTES 1. The animation style must be similar to the animation reference I give 2. The animation MUST be smooth 3. De...
I need some graphic [log ind for at se URL] a much much smaller scale make a cartoon style theme park map for a small garden/childrens resort map to appear on their flyer....attached for understanding of style and the gardens limited to small boat pond, ATV track, gardens, bar, pool table, BBQ, children restaurant. There is no rush on the project.
Hello! We are looking for people who can get us projects for our company. We will pay % of the net profit.
I need the photo of the kart cartoonised in a similar style to the one on the tshirts, dont need any of the text or anything just the actual kart. Vector or very high res raster image is ok. PDF preferred
I need a artist that can draw animals that look cute but be able to deliver also violent scenes of war with them in it as well. The main character is going to be a platypus so please send over sample artwork so I can find right style. Also need someone who can do some dialogue and sound effects when needed as well for episode. Looking for a style that has a hand drawn look and not so clean like pe...
I want to create a animated show. Like if you ever seen avatar the last air bender or Japanese anime. But I want to create a trailer to for it probably showing some action and giving an overview of what the show is about I have drawings I made and what the story is about that I can send you That's what I wanted to talk with you about creating and designing the characters and trailer And can...
A moving cartoon of the classic poem, to be used as a segment in a film. Twas the night before Christmas, when all through the house Not a creature was stirring, not even a mouse; The stockings were hung by the chimney with care, In hopes that St. Nicholas soon would be there; The children were nestled all snug in their beds; While visions of sugar-plums
attached is a portion of the cartoon book which is for 0-3 years old children. this cartoon book will go to publish eventually, before that, I need to edit it to meet industrial standard. so I need to find a professional for this project. You can pick one page from attached 12 pages and recreate it into your version. I mean that you should create
I hav..."PoliticalApp" in the Android Store. Please look for the Star Logo with the American Flag. I need to show a little cartoon character explaining the functions and features of the app in an easy to understand way. It will show the cartoon downloading it. finding their politicial representitives, registering to vote, and going out to vote. etc.
I need the photo of the kart drawn up in cartoon style like the other examples i have listed here.
I would like a Kawaii style Baphomet sitting down wearing roller skates. Ideally it would be in "feminine" colors. Teal, purple, some pink. I would like to use this design in full color for printing and online use. Something that could be converted to a one color line drawing for making die cut stickers / decals would be ideal.
Hi. I would like to have a drawing of my daughter as a cartoon figure. She has to be recognizable from it and the defined style has to be complied. I´m thinking about something like Monster High figure. I want to have it just for fun and maybe as a profile picture. Thank you.
Graphic designer required to help create fun, thoughtful, cute cartoons that children will love! This project is well into fruition and as such you will be required to sign a NDA. Please apply and send examples of your work - no examples no response. Australian based freelancers only please!
Graphic designer required to help create fun, thoughtful, cute cartoons that children will love! This project is well into fruition and as such you will be required to sign a NDA. Please apply and send examples of your work - no examples no response. Australian based freelancers only please!
I need a cartoon drawn of this family photo.
I am a home school mom and want to self publish a children's book needing about 12 pages illustrated. Looking for a whimsical fun friendly cute style. Main character is an alligator.
I am designing a game app for Android and iOS. there willn be the main character who i have sketched up a rough idea of what I want him to look like I just need the design refined as well as a list of patterns/themed outfits and hat's we can switch him in to.
Design cartoon outline of the dragon head
Hello Everyone!!! This will be a unique and successful platform. The business strategy and what we are offering is one of kind. It will be one of top 10 Crypto-Currency entities the world. If you're looking for long term then stop and bid because this is for you, this once in a life time opportunity...DO NOT MISS IT!!! Languages Required: (PHP / BootStrap / MySQL / HTML5 / CSS3). Requireme...
Short Cartoon Video
I need someone to alter some images.
We have a story and illustrations ready. We're looking to make it into 5 minute short animation clips, quality similar to pegga pig for kids. Long term project if successful cooperation.
I need someone to alter some images.
CARTOON COCKATOO FOR CHILDRENS BOOK ( see drawing for general appearance reference) Bird is very smart and has an intelligent but joking personality (I would equate to Sheldon from a popular American sitcom tv show) I welcome your artistic vision in helping to create this character that will be brought to life in a children's book series that involves
Our team focused to create picture books for children. Please take note, our team members all are upper primary school students. We initiate this effort with the guidance of our parents and teachers. We need a cartoonist or an artist to draw the pictures for us. The pictures need to be drawn in lines only and a bit funny and at the same time a little bit scary with limited color shades. Because ou...


text:
BEIJING (AP) — The U.N. deputy chief said Friday he hoped that China would exercise its influence over North Korea to bring Pyongyang back to talks and discourage the regime from further escalating tensions after it conducted a nuclear test last week.
Deputy Secretary-General Jan Eliasson told reporters in Beijing that he was confident that Chinese officials were communicating to Pyongyang their concerns about the nuclear test.
"There is hope from the outside world that China could exert that influence ... that China could have a positive influence on developments now, at least in the direction of de-escalation but also to convey the message to the leadership in DPRK how dangerous this development could be," Eliasson said, using the initials of the North's official name, the Democratic People's Republic of Korea.
Chinese officials who met with him expressed that "they will do what they can but that we should not exaggerate their influence" over the North, Eliasson said.
China is seen as the only major power with any real influence on North Korea as it pursues nuclear weapons. It provides most of North Korea's fuel, a good deal of its food and accounts for an increasing share of its trade and investment.
But despite recurring nuclear and missile tests by Pyongyang, Beijing has been reluctant to take unilateral action against a neighbor it sees as a valuable buffer between U.S. troops stationed in South Korea and Japan.

subset: commoncrawl


text:
Judge rejects claim that Salem carpenter can't be charged over explicit digital photosBy JAMES A. KIMBLE
Union Leader Correspondent
December 10. 2012 8:57PM
BRENTWOOD - A judge rejected a Salem carpenter's argument that he should not have been charged with a crime after a 15-year-old girl scrolled through his digital camera and found sexually explicit photos of him.
William Tinker, 45, is headed to trial on three felony counts of indecent exposure and lewdness for allegedly handing the girl his camera last Dec. 30 while he was working at her home in Hampstead.
Tinker allegedly asked the girl if she wanted to review some of photos of the work he was doing when she found one of the photos, prosecutors said.
Defense lawyer Chuck Keefe said in court papers that his client mistakenly kept photos on the camera for his girlfriend, and repeatedly apologized for the girl's finding the photos.
Keefe argued that the felony charges couldn't be brought because the law was aimed for those who transmitted the photos over the Internet.
"He did not send or transfer them anywhere," Keefe said in court papers. "Showing a picture to someone does not amount to 'transmitting' that picture."
Judge Marguerite Wageling rejected Tinker's argument that the law only pertained to people who "transmitted" digital photos to the girl over the Internet, which is forbidden by law.
"Showing an individual a photograph in person is clearly a form of conveyance of information," Wageling said in a four page decision.
Prosecutors argued that Tinker's actions would be illegal whether the photos were sent over the Internet or kept on a digital camera
The girl told police that after she found the first photo Tinker "held the camera in front of both of them and flipped through five more pictures," including one of his genitals on the girl's underwear, according to Assistant County Attorney Stephanie Johnson.
Tinker faces up to 3� to 7 years in state prison if he is convicted of the felony charges. His trial is scheduled for the week of Jan. 7 in Rockingham County Superior Court.


text:
We hope you are gearing up for a good holiday season. As you know, now is also the season of giving and this year JIGSAW (Joining Intersectionality, Gender, Sexuality, and Allies at Wayne) is hosting a charity drive for the Ruth Ellis Center. The Ruth Ellis Center is a local nonprofit with a mission of providing residence spaces and support services to homeless and at-risk LGBTQ (lesbian, gay, bisexual, transgender, queer/questioning) youth. You can learn more at their website here: http://www.ruthelliscenter.org/ START DATE: Monday, November 6. END DATE: MONDAY, January 15. (Drop-off locations will be unavailable during university holidays.) If you are interested in donating supplies, we are seeking the following items: Winter wear (coats, boots, gloves, hats, scarves, etc.)- new or gently used Hygiene supplies: soap, lotion, shampoo, conditioner, toothpaste, toothbrushes Beauty supplies: makeup, nail polish, hair products (especially for type 4 hair) School supplies: agendas/planners (no dates, so they never expire), composition books NOTE: Please do not gift wrap or enclose supplies.
Day | Week | Month | Date Range
- Main
Schools & Colleges
College of Education Education Scholars Alliance Kaplan Collaborative College of Engineering Alumni Biomedical Engineering Chemical Engineering and Materials Science Civil and Environmental Engineering Community Partners Computer Science Data Science and Business Analytics Electrical and Computer Engineering Engineering Career Resource Center Engineering in Medicine Flint Area Community Health and Environment Partnership Industrial and Systems Engineering Mechanical Engineering Nanoengineering Sustainable Water Delivery College of Fine, Performing and Communication Arts (CFPCA) Art & Art History Art Department Gallery Dance Department of Communication Elaine L. Jacob Gallery Music Theatre College of Liberal Arts and Sciences African American Studies Alumni and friends Analytical Seminar Schedule Anthropology Biochemistry Seminar Schedule Biological Sciences Biological Sciences Graduate Student Association Biomedical Physics Center for Chicano-Boricua Studies Center for Peace and Conflict Studies Center for the Study of Citizenship Chemistry Classical & Modern Languages, Literatures and Cultures Communication Sciences & Disorders Confucius Institute Creative Writing Criminal Justice Dietetics Economics English Environmental Science Program Ethnic Layers of Detroit Frontiers Seminar Schedule Gender, Sexuality and Women's Studies Geology Gordon L. Grosscup Museum of Anthropology History Inorganic Seminar Schedule Jewish Studies Labor Studies Labor@Wayne Events Linguistics Program MA in Multidisciplinary Science Master of Public Administration Mathematics Nutrition & Food Science Organic Seminar Schedule Philosophy Physical Seminar Schedule Physics and Astronomy Political Science Psychology Public Affairs Religious Studies Rhetoric & Composition Program SEED Wayne Sociology STEM Commons Undergraduate Research Urban Studies & Planning Wayne State Writing Center Women's Studies College of Nursing Office of Health Research calendar College of Pharmacy and Health Sciences Clinical Laboratory Science Doctor of Pharmacy Forensic Investigation Mortuary Science Nurse Anesthesia Occupational Therapy Pathologists' Assistant Pharmaceutical Sciences Pharmacy Practice Physical Therapy Physician Assistant Studies Radiation Therapy Technology Radiologic Technology Radiologist Assistant Research Graduate School Mike Ilitch School of Business Alumni Association Career Planning and Placement PwC MPREP Scholars Swing for the Students School of Medicine 2014 Academic and Student Programs Academic and Student Programs Academic Success Admissions - School of Medicine Anesthesiology Assessment Assessment and Medical Education Research Ballast Water Verification Biochemistry and Molecular Biology Biochemistry, Microbiology and Immunology Black Medical Association Board of Visitors Body Bequest Body Bequest Body Bequest Brain Imaging Research Division (BRAIN) C. S. MOTT Center Cardiology Career Planning Center for Molecular Medicine & Genetics Center to Advance Palliative-Care Excellence (CAPEWAYNE) - OLD Continuing Medical Education Curriculum Management Committee Dermatology Dermatology Center Development and Alumni Affairs Diversity and Inclusion - School of Medicine DRICTR (CTSA) Edu Science Emergency Medicine Emergency Medicine - OLD Emergency Medicine Interest Group Endocrinology Endocrinology - OLD Faculty Affairs Faculty Senate - OLD [ws3] Family Medicine Financial Aid - School of Medicine Gomez-Lopez Lab - Perinatal Immunobiology Graduate Medical Education Graduate Medical Education (GME) Highways to Excellence Curriculum Horizons Ichinose Lab Immunology and Microbiology (OLD) Internal Medicine Islamic Medical Student Association (IMSA) Kado Clinical Skills Center Kovari Group Master of Public Health Program Maternal-Fetal Medicine Fellowship Program MD/PhD MED SANDBOX Medical Education Support Group Medical Physics Division Microscopy, Imaging & Cytometry Resources ( MICR ) Modeling of the Dynamics of Smoking Behavior MPAC - Medicine and Political Action in the Community Neurology Neurosurgery OBGYN Residents Site Obstetrics & Gynecology Obstetrics & Gynecology Obstetrics & Gynecology - New/Live site Office of Assessment, Accreditation and Continuous Quality Improvement Office of Faculty Affairs and Professional Development Office of Graduate & Postdoctoral Scholars Office of Learning and Teaching Office of Medical Education Office of Medical Student Research Programs Office of Postdoctoral Affairs Office of Testing Ophthalmology Ophthalmology, Visual and Anatomical Sciences Optical Coherence Tomography in Neurological Disorders Orthopaedic Surgery Otolaryngology Pathology Pediatrics Pharmacology Physical Medicine & Rehabilitation Physiology Physiology - OLD PRB Professional Development Prognosis Psychiatry & Behavioral Neuroscience (2017) Pulmonary & Critical Care and Sleep Medicine Radiology Records and Registration School of Medicine School of Medicine Newsletter Student Affairs Student Affairs Student Events Student Senate Students Surgery Teaching Academy Title IV Training Title IV Training - OLD Translational Neuroscience Program (TNP) Urology Urology - OLD Vascular Surgery Veterans Affairs Web & Digital Communications Women's Reproductive Health Research Women's Reproductive Health Research Year 2 Year 3 Year 4 School of Social Work Bachelor of Social Work Doctoral Program Master of Social Work Social Work Continuing Education Social Work Research Wayne Law Alumni Damon J. Keith Center Entrepreneurship and Business Law Law School Admissions Law School Career Services Law School Dean of Students Office Law School Public Interest Law Center Levin Center at Wayne Law Program for International Legal Studies
AAUP-AFT ASPDC ASSC Board of Governors (old) Board of Visitors Community Outreach & Engagement Computing & Information Technology (C&IT) Division of Research Brain@Wayne Division of Laboratory Animal Resources Institutional Review Board Lipids@Wayne Nano@Wayne Office of Environmental Health and Safety Research Development Research Events RoBUST@Wayne Seminars and Training Sponsored Program Administration Technology Commercialization Economic Development Faculty Affairs Government and Community Affairs (Archived) Life@Wayne Office of the President Office of the Provost Office of the Registrar Prognosis Special Events and Services University Activities Committee
- Research Events
Alumni & Friends
Alumni Affairs Alumni Association Board of Governors (old) Board of Visitors Community Engagement at Wayne Division of Development Office of Alumni Relations Calendar Forum on Contemporary Issues in Society (FOCIS) CitizenDetroit Life@Wayne Prognosis Special Events and Services University Activities Committee WDET
Academic Success Center Advising Circle K International Commencement Diversity and Inclusion Engineering Office of Student Affairs Financial Aid Honors Student Association Office of the Registrar Recreation and Fitness Center STEM Commons Student Activities Student Affairs Student Center Student Center Lower Level Student Senate Transfer Credit Undergraduate Admissions
AAUP-AFT ASPDC ASSC Board of Governors (old) Board of Visitors Division of Research Brain@Wayne Division of Laboratory Animal Resources Institutional Review Board Lipids@Wayne Nano@Wayne Office of Environmental Health and Safety Research Development Research Events RoBUST@Wayne Seminars and Training Sponsored Program Administration Technology Commercialization Faculty Affairs Government and Community Affairs (Archived) Human Resources Transformation Office of the President Office of the Provost Office of the Registrar Recreation and Fitness Center Special Events and Services TechTown University Activities Committee Wellness Warriors
- Athletics
- Special Events
- Detroit Area
- View by Audience
View by Category
Art Show Awards Program Breakfast Career Event Class Outing College Fair Community College Visit Community Service Concert Conference Dinner Discount/Special Donor Recognition Exam Fitness Class Fund Raiser Grand Rounds High School Visit K-12 Academic Program K-12 Athletic Program Lecture Lunch Luncheon Meeting Movie Orientation Other Play Reception Recruitment Reminder/Deadline Seminar Special Event Sporting Event Staff Meeting Student Activity Support Group System Maintenance Tour Training Workshop
Main Events Calendar
This event is in the past.
Category: Fund Raiser
Location: JIGSAW Office (SCB Room 361)
Cost: Free
Audience: Alumni, Community, Current Graduate Students, Current Undergraduate Students, Faculty, Staff
For more information about this event, please contact Cara A Mitrano at 313-577-1010 or firstname.lastname@example.com.


text:
this is a discussion within the Saints Community Forum; One thing that does bother me about the Aaron Brooks contract thing is that Ricky did everything imaginable to put down the city of New Orleans, it's team and the team's history, Archie Manning, the fans, and his teammates. But ...
|Thread Tools
|Display Modes
Join Date: Jun 2002
Location: Tennessee
Posts: 44
Aaron Brooks vs. Ricky Williams
One thing that does bother me about the Aaron Brooks contract thing is that Ricky did everything imaginable to put down the city of New Orleans, it's team and the team's history, Archie Manning, the fans, and his teammates. But through all this, most fans amazingly still did not want him to go. Even when Ricky complained about a new contract (Although he signed his contract knowing that he would be the starting back for the Saints carrying most of the load) most fans agreed and said that he should get a new one. Even when he constantly voiced that he wanted to be traded, fans wanted him to stay. Even when he hinted that he wanted to play baseball the fans wanted him to stay. Was it because of the numbers he put up?
Now most fans want to run Brooks out of town because he wants a new contract. Well, in contrast to Ricky, Brooks has never complained about the fans, city, or his teammates. His numbers put him in the same ranking with his fellow QBs as Ricky's did with his fellow running backs. Brooks has never missed a game due to an injury. Brooks has stated that he wants to remain a Saint.
C'mon folks, we've got a good one on our hands who actually wants to be a Saints for once. Let's not give up on him yet. I'm sure a middle ground will be found during these negotiations and everyone will wind up happy. Give me Brooks over Ricky any day.
|Latest Blogs
Response to NFL.com "Unpopular Opinions: Drew Brees is most underrated player ever" Last Blog: 10-08-2018 By: jeanpierre
Post PreSeason Game Saints vs Jaguars Observations Last Blog: 08-10-2018 By: jeanpierre
Jay Bromley newest addition to the Saints Last Blog: 06-26-2018 By: joker-saint
Join Date: Aug 2002
Location: Orlando, Florida
Posts: 3
Aaron Brooks vs. Ricky Williams
Well put!!
Aaron Brooks deserves a new contract. It is really sad, in my opinion, that some fans think otherwise. His stats, except for those late season interceptions, speak for themselves. Aaron Brooks is rated one of the top ten quarterbacks in the league, however he is pay is the third lowest of all starting QBs. Back-up Jake Delhomme and third-string QB Jeff Lewis make over $100,000 more than Brooks.
Hopefully as wcassady stated \" a middle ground will be found during these negotiations and everyone will wind up happy.\" If middle ground is not reached, it could be a long season for all Saints fans.
500th Post
Join Date: Jun 2002
Location: Dallas Texas
Posts: 577
Aaron Brooks vs. Ricky Williams
I would like to see AB stay also, but I dont see how you can put him in the top 10 in the league. He has not proved that he deserves the kind of contract he is looking for. His QB rating was awful. His completion % was awful. How many 300 yard games did he have last year? When the game is on the line he isnt the QB I want leading my team until he proves otherwise. On the flip side I think he will be a top 10 QB soon. He probably will be a person I can count on in big games. His QB rating should improve as will his Completion%k, but until he does that I cant see the Saints mortgaging their future for him. Give him a mid level contract and if he proves his worth then reward him. He won the Saints their first playoff game so I have some feelings with him leaving. I just havent seen him prove he deserves a huge contract just yet
1000 Posts +
Join Date: Jul 2002
Posts: 3,020
Aaron Brooks vs. Ricky Williams
I hate to say it but , I never really see it as Brooks giving the Saints their first play off win . I mean Haslett seems to have the Rams pretty well figured out , at least how to semi contain them . That play off game the offense stalls out late in the 4th , the Rams are coming back and Milne falls on a dropped Hakim ball to seal the victory .
We are not talking about Brooks rallying the team from a 21 point defict late in the 4th quarter to give the Saints their first ever play off win .This was not an Elway 2 minute drill come from behind victory . This was a typical Saints here we go again Play off game , with a rather bizzare ending ...
\"Americans play to win at all times. I wouldn\'t give a hoot in hell for a man who lost and laughed.\" - George S. Patton
On another note, I\'ll take a bite of that crow 08. - Saintfan
Brooks is a moron!! - Halo
|Thread Tools
|Display Modes
Linear Mode


text:
Police on Saturday identified two Plantation teenagers as the pair seen on a security video grinning while beating a homeless man Thursday in downtown Fort Lauderdale.
Family attorneys were negotiating the surrender of Brian Hooks, 18, and Thomas S. Daugherty, 17, who will face murder charges in the death of one homeless man and aggravated-battery charges in the beating of two others. Both teens were out of state Saturday, police said.
"Probable cause exists for the arrest of Daugherty and Hooks for murder and aggravated battery," said Detective Katherine Collins, spokeswoman for the Fort Lauderdale Police Department.
Police searched the teens' Plantation Isles homes Saturday evening and an investigator left Hooks' home with a baseball bat.
The two are the only teens named in connection with the videotaped beating attack on Jacques Pierre, 58, on the Fort Lauderdale campus of Florida Atlantic University early Thursday morning. Police also named the teens in the death of Norris Gaynor, 45, who was killed a few blocks away in Riverwalk Linear Park near the Esplanade Pavilion, and in the beating of Raymond Perez, 49, in a Church-by-the-Sea garden. Both survivors were listed in fair condition at Broward General Medical Center Saturday, and doctors expected to release them in the next few days.
Police said Hooks wore black in the video, while Daugherty did most of the attacking.
Police have said as many as four teens, possibly using a white van, were involved in the attacks.
A man at Hooks' home declined to comment to reporters after police finished their search. Both teens' families were unreachable for comment.
Fellow students described Hooks as an avid fisherman and boater who graduated last year. Last year, he was captain of the South Plantation Paladins inline hockey team.
Daugherty recently dropped out of Plantation High School and joined a vocational program, according to students who know him.
Police chased hundreds of tips after releasing the video of Perez's beating.
Police also monitored a racing Web site message board that has several postings about the beatings. One person mentioned Daugherty's name in connection with the attacks within 24 hours of the FAU incident.
Most of the people posting on a thread about the beating denounced the attacks. One poster who said he played hockey with one of the teens said the two claimed they were going camping the day of the beatings and hadn't been seen since.
Most who said they know the two were shocked by the accusations.
"We've grown up with these kids. It's kind of scary," said Julie Lurie, 16. "Now everyone is kind of questioning the people they hang out with."
Lurie described Daugherty as "the sweetest kid, and very down to earth."
Some neighbors in the pair's neighborhood said they had suspected involvement by at least one of the two after seeing the beating on television.
"It's awful. It's just horrible. It's such a quiet neighborhood. I can't believe it," said Phillipa Reading, who walked a dog as police searched Daugherty's home.
As police chased down leads Saturday, advocates said the homeless often endure beatings and theft, in part because roughly 40 percent of the nation's homeless live outside rather than in shelters. The Coalition to End Homelessness estimates there are about 10,000 homeless in Broward County, although a one-day head count in 2005 found 3,314.
Michael Stoops, acting executive director of the National Coalition for the Homeless, gave Fort Lauderdale high marks for its treatment of homeless people, despite the attack. He said the city had boosted efforts to provide more shelter in recent years, and was a "model" community in terms of outreach.
Fort Lauderdale police routinely work with social workers to coax homeless men and women into facilities that can help them, for example.
"Fort Lauderdale is very unique. Social workers team up every evening to go out and interact with the homeless, rather than arrest them for the act of sleeping, or begging," he said.
Looking forward, he said the city could alleviate the problem further by providing more low-income housing.
"A large number of homeless people are forced to live outside. That's the No. 1 issue. If everyone had a home with a key, a door, a lock, they'd be safe for the night." With local housing prices soaring, he added, "That is something Broward needs a lot more work on."
Killings of homeless people occurred at a rate of about two a month in the United States in 2004, according to statistics compiled by the Washington, D.C.-based National Coalition for the Homeless. That's a large increase from 2003, when there were nine attacks on homeless that ended in death, but much lower than the all-time high of 48 deaths in 1999.
Since 1999, 386 homeless individuals have been attacked nationwide, resulting in 156 deaths.
Gaynor, the homeless man who was killed Thursday, died after three hard years, said his younger brother, G. Russell Gaynor. "Things suddenly went sour and it was a downward spiral after that," he said.
He said he was pleased that police had made progress in the investigation.
"We're trying to cope with the loss. It's one thing to have a death, because life ends," G. Russell Gaynor said. "It's another thing to have it so violently taken away from you."
Staff Writer Macollvie Jean-Francois and Jaime Malernee and Staff Researcher William Lucey contributed reporting to this story.


text:
product description
Related Products:
Global Knives
Japanese/Asian Knives
Paring, Petty and Garnish
Stainless - CROMOVA 18
Stainless Steel
Handle - Metal
Kitchen Knives
Maker: Global Knives (click to see more by this maker)
Price: $71.00
Saving: $18.95
Item num: 83318
Blade length: 3.00 in.Cutting edge length: 2.70 in.Total length: 7.40 in.Blade height (at heel): 0.84 in.Blade thickness (near bolster): 0.07 in.Item weight: 2.80 oz.Shipment weight: 5.8 oz.Blade: CROMOVA 18 molybdenum/vanadium stainless steel, ice tempered and hardened to Rockwell C56-58Handle: Stainless steel
Description: A small curved blade makes the bird's beak garnishing knife a perfect for peeling fruits and vegetables.
The first Global knives were designed in 1985 by Komin Yamada whose task was to develop a range of knives which was truly new and revolutionary, harnessing the best materials available and the most modern design concepts. With an almost unlimited budget he set out to fashion a series of kitchen knives which would appeal to the professional and amateur chef alike, be comfortable and easy to handle, and meet their most demanding requirements.
Global knives are made from the finest stainless steel material. The blades utilize CROMOVA 18 molybdenum/vanadium stainless steel, ice tempered and hardened to Rockwell C56-58 -- resulting in a long-lasting razor sharp edge which resists rust, stains, and corrosion.
Like the Samurai swords before them, each knife is carefully weighted to ensure an excellent balance in the hand. The smooth contours and seamless construction eliminate food and dirt traps, offering the ultimate in safety and hygiene.
Global knives are favored today by many high ranking chefs in the most prestigious hotels and restaurants and are featured regularly on television cooking shows in the hands of the most celebrated chefs.


text:
True Grit: Josh Brolin
There's a certain breed of actor that makes the most of every role, inhabits every bit of the characters he plays, and makes every film he's in worth seeing simply by the power of his presence. Josh Brolin is one of those actors
Reborn as a craggy character actor earlier this decade after snapping a midcareer cold streak, Brolin has worked with the Coen brothers, Woody Allen, and Oliver Stone. He was also the star of Jonah Hex, but we won't hold that against him.
You postponed this interview so you could spend the morning surfing, because you'd heard the surf was good today. How was it?
The ocean was cold, refreshing, but with no surf.
Oh, so you were lied to. You were deceived.
I was deceived [laughs]. I was sorely deceived. I went out with a couple buddies, and we were told it was going to be great. But you know what? Honestly, it sounds so lame, but just to get out in the ocean is almost enough, sometimes.
A bad day surfing is better than a good day doing many other things.
Exactly, right. I've been trying to do more and more, just to equalize a bit, because I get so into manic work mode that I forget to do all those things that you're supposed to do to utilize this money that you're making.
Your leisure time that you bought, with your hard work and sweat.
Exactly. Actors are always saying, y'know, "I tried to read the script. I just got so much that I'm doing right now, man." In reality, actors probably do less than anybody else on the planet. [laughs]
People weren't happy that we used a shot of you smoking a cigarette on the cover. We got letters.
I heard, I heard. And you know, what's funny is, there was a conscious choice during that shoot that we weren't going to smoke during the shoot. So that was a pre-photograph. That was a test photograph, as we were waiting to do a real photograph, and that's the photograph they used. But it's all good.
It made for a good cover.
Good cover—and understandably, people were upset. But I wonder if it does lead to anybody smoking in the end. I hope not.
What made you pick start smoking again?
You know, it's the lamest excuse ever, and hopefully it won't last for long, but I went to Cannes. I had two movies at Cannes. And I got there, and it was just one of those things—nerves, whatever it was, a mask, a veil—and I thought, "Well, y'know, I'll have a couple cigarettes and that'll be it. I'm going on a trip"—my wife and I went on a trip after that—"and then I'll make sure not to smoke on that trip." And then, forget it. I mean, once I had two cigarettes, that was it. I bought a truckload and made sure to carry it in the trunk.
Back up the forklift.
Yeah, pretty much. And I hate it, I really do. I don't like it at all.
You had a window where you saw what it was like to not smoke. You were a different man, for a while.
It wasn't the first thought. That was the biggest thing. You start to realize—it's something you're not conscious of when you're smoking, but when you stop smoking, you realize that it's not the first thought. I was smoking in Indonesia. We went on this surf trip, me and this buddy of mine that I was just with this morning, we went on a surf trip to Indonesia. Not only was I kind of rotund from having done Woody Allen's movie, but I was winded, also, because of the smoking. So you know, I was the KFC guy [laughs]. Hi guys! Everybody looks hot and they're just like all cut up and in shape and getting ready to surf, and then there's me, you know, looking more like a buoy.
You looked like shark bait.
Exactly. "Nail the dude that smells like KFC."
So this package is really just an excuse for us to talk to a bunch of actors we actually kind of like, as opposed to people who have things to promote, necessarily.
The key word is "kind of." A bunch of actors that we kind of like. Or we think we like, but we're never quite sure. I like that. I don't want to be involved in the portfolio that has to do with the actors that we love. I like the actors that we kind of like. That makes me feel much more comfortable in this interview.
You're in here with some heavy dudes. Duvall's in here.
I know! Duvall, whom I know well. And my grand favorite—I don't know if it's more than Duvall, cause I really love him, but: Harry Dean. Harry Dean, whose pictures I saw when I showed up for the photo shoot, who looks fantastic, who brought his Spanish guitar and his little hat, his little cowboy hat. And he was singing them tunes. I've never heard him sing. My wife has. I've only heard him sing on the soundtrack for Paris, Texas, which is an amazing song, a Spanish song, that he sings on that soundtrack. It's incredible. But I know he's a virtuoso for sure, when it comes to Spanish-speaking songs.
Do you know him through Sean Penn, or—
I know him slightly through Sean. I know that there was a moment when I was about 19 and Sean was like 25, 26, that I actually was desperate to just make my mark as an actor, or in any way, really. And I saw he and Harry Dean, out at Barney's Beanery, of course. Back then—this was like the '80s, I think. Some point in the '80s. I think I was doing that series Private Eye, so I had a pompadour at the time. And it was around the time that The Color of Money came out. I was playing pool, and it looked like I was trying to do my own rendition of what success might like, which was Tom Cruise in Color of Money. It was like I had a sign on my back that just said "Beat me up, now." And I think Sean threw out a few comments based on that. That was before I knew him. But yeah, that's really my only run-in with him. With the exception of—there was one time, at a restaurant. I sat at the table with him, and I don't know if he remembers it or not, Harry Dean, but—yeah, well, he consumed. Just say that, consumed. But I don't really have any close ties with him. I wish I did. The closest ties I have with him are once-removed, and that's through the movie that I love so much, Paris, Texas. I've probably seen that movie 20 times, if not more. I just love it. Love it.
Great soundtrack, too.
Amazing soundtrack by Ry Cooder. I asked Bob Dylan to do The People Speak, and luckily he had seen No Country or something and was really smitten with that movie, so we were able to communicate, kind of, via that. So we went down to Malibu, where Bob was cool with doing it, and we had some cameras and some recording equipment and all that. And Bob came down there, and then in walks this other guy. And I'm like, "Fuck, why does that guy look so familiar?" Bob had just decided he'd bring Ry Cooder along, you know, to back him up during "Do Re Mi" and one other song. I think he did two songs, maybe three. My mind was completely blown, having no idea, really, how to deal with this duo. Cause it's just amazing. Just the history involved, and the juggling that they've done. "Okay, now we've done this. Now what should we do?" "I don't know, let's take all our talents and kind of throw them in the air and see where it lands." And then that turns out to be brilliant, and they're like, "Okay, let's do it again and bring somebody else in and see what happens." It was just an amazing experience to be able to watch them do their thing.
What was their rapport like? Did they communicate verbally?
It was very unverbal. Nonverbal communication. Just a real laconic understanding. More of a tilt of the head, or an index-finger communication. They were rehearsing, and they just got into this groove. After a few of those finger communications, or, y'know, glances at each other, they just got into a groove that was mind-blowing to me. I mean, it really was. It was like other-worldly, you know. And I know, with Bob, from what I've heard, it's like he's always great. But then it just went into this other place. And you understand why he's Bob Dylan, and still around, playing as well as he is, and respected as much as he is. We were just sitting there with our jaws down to the floor, going, "How are they—what is that extra thing?"
There's some kind of fourth dimension that people like that get into.
There really is. It was really something. I'd never really experienced it. I experienced it with Eddie Vedder. That was another time. Where he was playing "Masters of War" and he almost became rabid while he was singing it. There was something that happened there during that song, that, again, he reached this place that separates them from the norm. From the typical, the common geniuses.
Right. Your run-of-the-mill geniuses. Did you get to talk to Dylan at all? Does he make small talk?
There was a little small talk. There was a little movie small talk, there was a little music small talk. I don't really…yeah. We've spoken. And it's, you know, there was nothing other than just kind of brotherly sweetness about it, you know. But I do remember that after that whole thing happened, we didn't speak a lot. It's not like we got to know each other really well. But we had enough communication to say that we know each other somewhat.
And there's a buddy of mine who was involved in The People Speak, [director] Anthony Arnove. I was in New York. I don't know what I was doing, I was doing something, working. And he said, "Do you want to come up and see Dylan with me?" I think it was in Washington Heights. Up at this amazing theater. Amazing. It used to be a church and they converted it. But anyway, I said, yeah, I would love to. So he had these seats that were kind of, you know, halfway back on the left side of the aisle. And we went, and I guess somebody had told Bob that we were there, they ran up to us in our seats halfway through the gig and said, "Bob would love to see you backstage. Maybe two songs before he ends, you can go backstage."
And so, my buddy Anthony, who's seen him probably 60 times, said, "Listen"—he felt like he had some inside information, from just seeing him so many times, and studying like he has—"what Bob does after a show is, he runs out. He runs to his bus and he doesn't really stop and say hello. He doesn't have a full conversation. But what he likes to do is, he doesn't like to shake hands or anything, so just put your fist out there. He likes to fist bump."
I was like, "really?" He said, "Yeah. It's just a fist bump. And it's kind of common knowledge now, for anybody who's been backstage." And I was like, "Oh." So we go backstage, and he finishes the last two songs, and he steps off for a second and we didn't say anything to him. And then he went back on stage and did an encore. An amazing encore. And then, finally, he left and you could tell that was it. And then Bob was coming our way, headed outside. You know, it was kind of dark. So I had my fist up there high, where he could see it. I don't know if Anthony did, but I wanted to be respectful. I guess if you're into fist bumping, that's the thing to do. So Bob comes and he sees me and I go, "Hey, man." And I had my fist up there, like, "I'm ready." And he gave me this huge hug. This huge hug. He was like, "Josh, oh my God, I'm so glad you made it. How are you? Thank you so much for allowing me to be a part of The People Speak. You know, I saw it and it really came out well. And I'm just so proud to be a part of it, and thanks man." I didn't know what was happening. And I said, "You remember my friend Anthony?" And he's like, "Yeah, yeah." And Anthony's sitting there with his fist up in the air, waiting to be bumped. But that never happened.
Do you find yourself looking to guys like that for lessons? About longevity, how to sustain your creativity in a long-haul career, stuff like that?
Y'know, it's like what I said, about throwing things up in the air and then seeing how they land and saying "Let's try that." I think there's a little more strategy to it than that, but they keep mixing it up. And there's integrity behind what they do. They seem to stick—all of 'em—seem to stick with something very personal. Eddie's the same way. Dealing with these people—they all seem to have a real respect for their own personal sensibilities. Not an arrogance, just a respect. They just know, like, "If I do that other thing, I'll probably start feeling really shitty and I'm kind of tired of that." And it's important to be respectful of the fans. I mean, look at what Eddie did with Ticketmaster, y'know. That was a moment where I said, "God, I have so much fucking respect for that band." It wasn't them going head-to-head with a big corporation just to say, "Hey, look, we're real artists, we're going to go up against a big corporation just to make a point." It was a very specific thing, always, with the fans in mind. I really think that was the intention. Like, when we were kids and we wanted to go see our favorite band, there was no reason we couldn't pay $28 to go see them. It wasn't like, "Okay, I'll work for a month so I can go out one night and see this band that I love." I have a lot of respect for that.
I remember when they were actually playing off-the-beaten-track places, like state fairgrounds and stuff like that, just to get around the whole Ticketmaster monolith. I don't know if they really changed anything, but they at least demonstrated that it was possible to cut those guys out of the process. Exactly, exactly. And why not? "Oh, we can't do that now because we're too big and it will make it seem like we're losing our edge, or that we're not as popular as we used to be, so therefore we can't play lesser venues or smaller venues." That doesn't seem to be the case with them. They seem to continue to do what they want. So, what I think you may be asking, ultimately, is how does that affect me? Yes. I try and do the same thing, with that lesson in mind. It doesn't just come out of my own intelligence, for sure.
Trying to mix it up, you mean?
Trying to mix it up, and then also realizing that a good part is just a good part. And if I'm going to do True Grit, it may not be a huge part, but it's an integral part for great filmmakers who I love, who I love as people, first and foremost, and that I love as artists, absolutely. And you know, I did that thing Jonah Hex recently, which I think we all had the best intentions for. I think that movie could have been a really, really fun and great movie. But y'know, that's what happens when you go outside of that trajectory and you go "Okay, let's mix it up, and let's give a new [director] a break and see what happens. Somebody who seems to have a lot of energy and a lot of creativity." It was just a bad call on my part.
Since you brought it up—what do you think went wrong there, with Jonah Hex? What was the biggest problem?
The biggest problem initially?
I think there was a guy who presented himself as one thing and turned out to be something else. I think that was the biggest problem, and I think I can say that with total confidence. There's people who you might not think are professional, you know, or who you think might be a problem on the set. And then they get on the set—I'm just talking generally now—you get on the set, and you're like, "Wow, this person really cares about what they're doing." However they come off publicly is one thing, but then you see them on the set—I'm talking about people I've worked with, really wonderful actors—and you go, "God, man, they're not only respectful of other people, but they're respectful of the process and they're workhorses. They go out there and when they decide to do a job, they really lend themselves to it absolutely and entirely, you know." And even if you're having fun within what you're doing, it's the conviction level is still a thousand percent, which I love. I love being around that.
You seem to have had positive experiences with collaborators who seem like they'd be pretty challenging to work with. Oliver Stone, for example, seems like a complete lunatic.
I've never had a bad experience, with the exception of—and even this wasn't horrible—except for Jonah Hex, because you knew something was really fucking wrong.
Something was amiss.
Yeah, I felt like something was wrong and it wasn't okay with me. It wasn't okay how people were presenting themselves, necessarily, y'know? 'Cause I really do think that could have been a really fun film. A fun rendition of that type of genre, or whatever hybrid genre that we were trying to create at the moment. I still think it could have been really great. But no, I haven't—other than that, I've never had a really bad [experience.] I keep hearing about them. And I keep hearing about them with some of the people that I've worked with. And I just don't see it, at all. Oliver's fantastic, one of the most sensitive and incredible people I know. And I'm not just saying that. That's purely how I feel. Who else? Sean, Denzel, Russell. Whoever.
Presumably you've heard the same things about a lot of these guys that we've all heard.
You do hear things, and maybe that's part of it. Maybe I hear things, and I get to the set and I'm like, ready. [laughs] And I realize there's nothing to be ready for and that I'm all fucked up and I don't know what to do with myself. No, they've all been very gracious, in my experience. Very.
And you seem to like to go back to those situations. The next few things you've got coming out are all re-teams with directors you've worked with before.
Yeah, I know. Which I hope to continue. You know, the Coens, I just have a ball with. And we're always talking about what we can do together. And then Oliver and I are always talking about things. I just love working with him. Strangely enough—to just stay on the subject that we're talking about—there's an extreme lack of pretense in my experience of these people. They just want to do the work. I was just with the Coens in San Francisco. I try to keep my mouth shut—I do my very best—and watch them edit, which I've done on several of their movies, just to experience it, just to watch them do what they do. And it's a very simple, economic process with them. And that's why I love being around it. Cause it doesn't have to be chaotic, it doesn't have to be this thing. Two perpendicular desks and a bellman's bell. That's it.
What's the bellman's bell for?
For Ethan to let Joel know that he's just dragged a preferred take over to his [computer.]
So it's nonverbal between them, too.
It's absolutely nonverbal. And there's never any argument, you know. There's hardly debate. It's just, like, "You think that one, really? Wasn't there another one?" 'Oh yeah, I think there might have been another one. Yeah I'll look for that one." "Okay. No, no that didn't work. You were right." "Okay, on to the next scene."
I love that they use a bellman's bell. It's very Barton Fink.
It is, right. But it's easy, y'know? Not easy, but simplified. Economic. I think economic is the best word. Economic.
Right. There's not a needless expenditure of energy.
It sure doesn't seem like it. Not in my experience. Whereas Oliver's different. Oliver may have quite a few people involved [in the editing process], several different rooms, but when it comes down to it, it's the same thing with him. It's very pointed and focused, whether on the set or editing or whatever. And it's just what I respond to. It's a much more collaborative arena than a status thing.
**It's interesting, because you seem to have had these great experiences working with directors like the Coens, or Woody Allen, who aren't known for being real hands-on directors of actors. **
Which is so not the case. I mean, Woody, maybe, a little bit. Y'know, Woody would let me do my thing. But Woody makes you focus, man. I don't know if he makes you focus more than normal, but he creates an ambiance [where] you really want to please him, and you don't know why. You know, maybe it's his age. I don't know what it is. The fact that he's done 41 films, or however many he's done.
Maybe it's the fact that he's Woody fucking Allen.
[Laughing] The fact that he's Woody fucking Allen. That's true. That could be it. I don't know why. We seem to get along very well, and he was confident in what I was bringing to the table. He'd say, "Really make it your own, don't worry about fucking up so much and really allow it to be your own." And I don't think I made the mistake of trying to do Woody, to be Woody, you know what I mean? I don't think I could if I tried. I think most people can't, but I didn't even attempt it.
People do try, though. It's really weird. They do a Woody impression.
I don't understand that in the least. I don't. It's like, Woody's not in the movie, so therefore you're playing Woody? Why? Is it the cadence in which he writes? Is it that thing? That's part of it, I think. There's a very specific vernacular that's his. But I think if you can find a different rhythm within that vernacular, I think it pleases him, y'know? It's another rendition of the song. It's like when you hear Chris Cornell doing "Billie Jean," and you're like, "Jesus Christ." That's unbelievable. And not to take anything away from what Michael Jackson did, but suddenly you're hearing the poetry in it and you're just like "Wow, this is a completely different deal. I'm feeling different things, and I'm hearing the song in different ways." Just a different impact. It's the same thing with Woody. I think he feels that way. He's happy to see somebody come in and kind of twist up the rhythm and the cadence, but still using his vernacular. But once in a while, Woody would come up and he'd be like, "Josh, you—that's [supposed to be] a contraction. You broke the contraction." And I'd go, "Yeah, it says 'didn't,' but I said 'did not,' cause I was trying to emphasize that that did not happen.' He says, "Yeah, I know. But it says didn't." And I'm like, "C'mon, man. You said make it my own." He says, "No, no, no, I understand—but it says didn't." And I'm like, "Fuck, okay. Okay, I understand. You want to do the whole thing again because I didn't say didn't. Alright, man. Whatever." But I think those guys enjoy the fact that I try not to take it all too seriously.
And that you care enough to push back on them about something like that.
But ultimately they know I'll say "didn't," you know what I mean? So there's some fun volleying, going back and forth, but I do believe in and respect the fact that the directors are the directors. It's their vision, especially if they've written it. I can bring what I bring, and I'll try and mix it up as much as possible, and either they go for it or they don't, but ultimately you're seeing their vision through. Like, when Sean and I were doing Milk—the drunk scene, my scene at the party, that wasn't written as a drunk scene. It was just a pretty straight scene where I give him this bottle of alcohol and I say "Here's your gift, sorry I was late." And I'm kind of pissed at him, that he didn't vote for the bill that I had up.
Right, I remember—he's slighted you in some way.
Exactly. So I was bored by the scene. It was a boring scene. And I didn't want to be in a boring scene. And I said, y'know, "What if he's so pissed at this guy, he's so resentful and he's so kind of repressed also, that maybe he just starts drinking his gift. Maybe he thinks that's the ultimate rebellion, the ultimate fuck you. And he just starts drinking his gift on the way over. And then now, because he is so repressed, the alcohol surfaces a bunch of shit that you wish it hadn't the next day. So what would that be? What would that look like? That might be kind of fun, pathetic. You know, let's explore that." And then we did. We explored that, and really had a good time. So that's the other end of the spectrum, y'know. Of Gus [Van Sant] saying, "Fuck. This needs to work, so why don't we just go with it?" And then he used what he used, which I think was the tamer version of what we were doing. To his credit—but it turned out to be a pretty decent exchange. An uncomfortable exchange.
It's a really uncomfortable moment. It is a genuinely uncomfortable moment.
I think it was genuinely uncomfortable for Sean. I remember looking at his face during takes and wanting to laugh and trying not to.
And I assume any time you can create a genuine moment, even if it's a genuine moment of uncomfortableness, you feel like you're doing something right.
Yeah, genuine. Exactly. Exactly. That's exactly right. Not to mix it up just to mix it up, and not to create something that you find compelling, masturbatorily compelling just for its own sake. You want it to lend to the story in some way and you want it to be the better decision, the more compelling decision, within the story. You always have to look at the global part of it, the big picture, and say "Does this fit into the story, or am I just being selfish?" Like, "Oh, this would be great for me. This is a great moment for me."
Right. You don't want to be just creating an Oscar moment yourself.
Yeah, I try not to do that. Which you'll see, in the Woody film. [laughs] Don't fucking write that, Alex. Don't write that.
You have no compelling moments in that one?
Not one compelling moment. [laughs]
So, True Grit. You're not in it that much, but your character is important to the story. You're the guy Bridges is going after. You're the bounty-hunted.
Yeah, Bridges, having been hired by this young girl. They're tracking this character down. Tom Chaney. And then you eventually see him—he surfaces. He climbs out from under a rock, figuratively.
Although it could be literally, since it's a Western.
It could be. Well, when you see him, you'll know what I mean. It very well could be literally.
So you're a scummy dude in this, then?
There's no adjective that could do it justice. And it'll either be awful or it'll be good. I don't think there's any gray area.
So this one was not for your ego then?
No. Not lending to the leading man status. Nope. Whatever No Country did for me, this will take away.
You're trying to undo that.
Yeah, happily. The Coens are like, "We put your career in another place and now we're going to take it away." And I'm smiling too, which I don't really understand. I'm like, "Yeah, okay, take it away. That'll be fun." No—it was really fun. It was really, really, really fun. And the only thing that I'm sorry for is that we couldn't have done more. But it just didn't belong in there. We thought about it, but [the Coens] were true to the book and what was written. I think it's fun, you know. I've seen enough of it now to realize really how not only extremely beautiful, but how interesting it is. I mean, really, really interesting. What they choose to hold on is fascinating to me. You know, the moments that they let play out, and the moments that they kind of quickly play through. It's a really interesting sensibility. I personally completely understand it, which is why I like to be around it. Because it's not that this is so off the beaten path—it's just their sensibility. They don't know any other sensibility. And they're so true to it at this point. You know, it's not about, "What can we do to make sure people see this movie?" They want people to see their movie, but again, you know it's that thing we were talking about before—it's not a conscious decision on their part, at all. In the least.
They're not thinking, "Oh—here's an opportunity for us to do a quirky thing."
Exactly, exactly. The only evidence of that is both of them laughing, which you don't see often. But when it happens, it's so infectious and so wonderful, that you don't even want to say anything, even if you hate it. It's just like, "God that just made them laugh. That's wonderful. [laughs]. Just go with that."
It's the only clue that they know they're doing something slightly perverse.
[Laughing] I don't even know. It could be that. It could be a lot of things.
But I know what you mean. Having Llewelyn get killed off-screen in No Country, that seems like an example of that sensibility at work. A very Coen Brothers decision.
Yeah—but no, though. Because that was in the book, man. You would think that was their decision…
**Well, sure—but a lot of people, adapting that story, might have felt the need to give the audience the closure of seeing you actually die. **
Oh, most people would have. I would say 99.9 percent of even the great directors I know would have. But no, it was never an issue with them. The only issue with them was whether or not to do a closer shot of Llewelyn to make sure that you knew it was Llewelyn, because, as it was, it was kind of a medium shot of him lying on the ground dead, and yet the clothing looked very similar to the Mexican that was crawling around in the parking lot before you got to the room, before Tommy Lee got to the room. But I liked that a lot. I voiced that loudly. The fact that you're not sure. So as you go into the next scene, not only are you dealing with the fact that you were raped of the tête-à-tête [between the main characters]—that's a little strong, but you know what I'm saying.
I know what you mean, though. They didn't worry about people feeling cheated of that movie thing, that confrontation that they've been anticipating throughout the rest of the film, and thinking—
"I've been cheated of the movie thing that I always complain about, because it's so Hollywood. And now I'm getting what I've hoped for, and not be pandered to, and now I'm pissed about that." So it's a great lesson, man. It's the greatest lesson. There's no way to please everybody, obviously—but even pleasing a small amount of people, you might as well not even worry about it. You don't want to confuse anybody, but I don't think there was any confusion there. I think it was disbelief.
And it works—there's a shock factor when you actually realize what happened that's arguably greater than it would have been if they'd given you a big operatic death scene.
Right. And the greatest thing, at least financially, from a Scott Rudin point of view or from a Paramount or Miramax point of view is that—like with Inception, I guess—is that people came back to see it again just to make sure they saw what they saw, that they experienced what they experienced. I remember I got pulled over by a cop once. And the cop looks at me and goes, "Hey, are you the guy in that frickin' 'Old Country for No Men'?" Everybody fucks up the title, for some reason. "Was that you?
I fucking hated that movie." I was like, "Wow—a cop just told me that. Why? A cop's angry at me right now. Not because of anything I did on the highway. He's mad that I did that movie and he got sucked into watching it." I was like, "Are you going to give me a ticket, based on that? That's amazing. Wow." It was a great compliment, y'know? It was like the greatest compliment ever. Because what it meant was, "I got sucked into the story, man. And I felt raped, that you were stolen from us, the great protagonist that was going to win, that was going to beat evil incarnate. And then you just died. And you got killed by the banditos, even worse." I love it.
You don't even get killed by the villain.
No. I don't get killed by the grim reaper himself.
You just kind of get unceremoniously whacked on the side.
Exactly. So, no—True Grit I think is really great. I really do. I think Jeff's amazing and I think Matt's fantastic and I think the girl they got, that they finally hired was really top-notch, really great. That's another thing about those movies—everybody's doing the work. Everybody's really doing it. You know, they're messing with each other most of the time, but when it comes down to the work, everybody's very studied and really gung-ho about making it the best thing that they can make it. So that's great.
Did you get a chance to watch Bridges work?
I watched him work a little bit, and it was nice, cause I had never seen him work. And I had seen him around and I know him a little bit, not well, but I know him well enough. We didn't have any scenes together. We did, but it wasn't direct. And I loved watching him work. He was playing this game—I've forgotten what it's called, but you have the two pigs in your hand, and you roll the two pigs. Have you ever seen this game?
It's like a pig dice game? I think so.
Yeah, exactly. So he'd play that off on the side. [Bridges voice] "Hey, let's play the pig game!" Barry Pepper is different. Barry Pepper—I think Barry, even though I really liked him a lot, I think he was in character the whole time. I think. I'm not positive [laughs]. But I think. I don't know. I'm not going to comment on that. I had heard that maybe Barry wasn't wearing all the clothing he could because it was more authentic.
But Jeff—Jeff has a pretty high register. Like, [high voice] "Hey, man? How's it going, man? It's a great moment. I'm just kind of hanging out, man, I'm glad you're here." He almost sounds like Owen Wilson a little bit. And then he'll go into character, and he'll be like [nonverbal, guttural Bridges grunts.] And then, "Cut"—and he'll be like, [high voice again] "Hey, y'know, I take these pictures, and if you look one way for a second, I snap the picture and then I'll whip it around and it's a comedy-tragedy thing. I can put it in my book. It'll be fun." You're like, "Okay, Jeff." He's like a 12-year-old. [laughs] But it was really, really great watching him work and I think he's so masterful in this, I really do. He really comes across as incredibly authentic. Incredibly authentic. And also very funny. Like Buster Keaton and Charlie Chaplin. A lot of great physical comedy.
He doesn't do enough comedies.
Yeah, and he's great at it.
I've interviewed him before. You get the sense that he's somehow figured out how to fully commit to a part without carrying it around like a heavy weight, even if the material's kind of heavy.
Yeah. There's a Buddhist quality to him. A monk quality. There's a dark side in some of his roles, and you see it when you see him work, but otherwise it's like, "Hey, man, it's great, I love being here with you, man." And you're like, "Well, I love being here with you too, Jeff. We should do the scene now." "Yeah, let's do it. Rawwr!" And then you go, "Oh—there it is. He's just saving it up. Got it." Maybe he does that just to kind of catch you off guard, on camera, I don't know. I don't know if there's a strategy to it. I doubt that there's a strategy.
You're doing Men in Black III sometime soon, right? What was the lure of that one, for you? Did you just like the idea of playing the younger version of Tommy Lee Jones' character?
Mmm-hmm. I've always loved Will [Smith]. I respect Will a lot. I respect his decisions. He just has an uncanny ability to understand what to do next in order to stay where he's at, and that's a whole art in itself. But you know they came to me with the Men in Black thing, and you're humbled by the fact that they're coming to you. It's amazing. But then you have to look at the story. You know, I don't want to just do it just to do it, y'know? Ultimately, when you're working, whether you're doing Ethan's play or Men in Black, it's ultimately the same thing—when you're finally working, you want it to be good work. So if I don't feel like I can lend anything to it that's really interesting and that makes it a better story, then there's really no point in me doing. Maybe somebody else could. I just have that limitation at that moment. And, but that, so when they came to me with Men in Black, I was like, "I'm not really into that." And then they told me the insides of it, and that I'd be playing young Tommy, and I just loved the idea of that. It scared the shit out of me when they said it, which was a good sign. Like, God, I don't know if I can do that. I can do young Malkovich. I can do that. But I'm not sure if I can do Tommy. [laughs]
I would actually love to see you do The John Malkovich Story, actually.
I would, too. But I would want it to be a TV movie, not a regular movie. I would only agree to do it as, like, an after-school special.
Maybe you can get something set up at Lifetime.
Exactly. Or Hallmark. [does an eerily good Malkovich voice.] "Would you guys like some tea? Oh, okay." Johnny! Yeah, I'd be good. I'd love to play him. He's a guy I'm obsessed with, and he knows it. I just think he's—you can't do any better than that, as a human being and as an actor. I just think he's the shit.
Did you talk him into doing Jonah Hex? Was that your doing?
[Laughs] "Did you talk him into doing Jonah Hex?" I love the way you just said that. You couldn't hide it at all.
**Sorry. But was that your fault? **
That was my fault. That was my fault.
I don't mean to make fun of that movie, but you put it out there first.
It's okay. Our friendship is still intact. But yes, I did. I did. It was very important to me that Johnny did that role. [laughs] Yep.
I liked some things about that movie. I liked how you never walked out of a building without the building exploding behind you. Not once.
I know. It was all fun. All fun and games. "What do we do in this scene?" "I don't know, why don't we just blow it up?" I think that was my doing, too—"What if we just make it explode?" And they thought—they took me literally. I didn't mean it literally. I was trying to make a point. I mean, you know what? Honestly, I'll tell you this, as much as we bag on it—Warner Bros. knew. I told Warner Bros., "Look, I'm not going to run away from this thing. I'm going to run toward it." Because that's what I think an actor should always do. You decide to do a movie, and then you promote it. But I said, "I can't promote this movie and lose any integrity. So I need everybody to be on the same page here." And so we were.
The fact of the matter is, [the movie] lost itself, which was really too bad, because I really think there was some fun stuff in it. And, y'know for whatever reason, panic or whatever that is, we went back in there and tried to do some things that I didn't necessarily agree with. That's not what ultimately did the movie in, but y'know…
You have to have a respect for audiences, y'know? Once you lose that, once you're not keeping it in mind that audiences are much more intelligent than you're giving them credit for, and you release a movie like that the way it was released, that's what you get. That's what you get. People were going, "We're actually watching the fucking movie, man. Do you know that? We actually realize that it doesn't make any sense at all."
Yeah. I don't know if it's because I'd heard all the stuff about the changes that were made to it relatively late in the process, but when I was watching it, it felt like it was a couple different movies fighting it out.
I would have to agree with you. I would second that. You look at it—look, there's different types of writing. Like, I don't mean to keep bringing up Ethan and Joel, like they're the ultimate, because, y'know, they are or they're not, whatever, but I've talked to them at length about writing. There's a process in their writing, but it's not necessarily a Robert McKee process, y'know? It's not Syd Field's process? I know that they write, and they get to the end of the scene, and they go, "Okay—what could happen next? What could be great? What could be compelling? What could be dynamic?"
**They're not thinking, like, "Here's my inciting incident. Here's my pivotal plot point that's supposed to be resolved by page 50." **
Exactly. Exactly. That's just intuitive for them at this point. And they're guys who are obviously writing [other stuff] beyond what you see. Ethan's writing short stories and plays, and Joel writes, and all that. So they're always looking for a great story to tell, and playing with whatever structures they play with. Haggis is another one, although Haggis is a guy who's much more structured. But what I was going to say was, y'know, Toy Story 3.
I love animated films anyway—I went to go see Toy Story 3 by myself, because I always try to see those films by myself so I can cry freely without anybody worrying about me, and that's the truth. But what a fucking movie, man! What a movie! I mean, structurally it's perfect. It's the perfect film, you know. They don't want to be left behind, they're trying to figure out how to reattach the connection, and because of that, things get fucked up, they get thrown out of the house, and then it's them trying to find their way back to the house. And every obstacle may be something that may help them further get back to the house or get closer to the house, or be an obstacle putting them further away from the house. It's that simple. And it's brilliant.
Right. It's like David Mamet-level simplicity, where the purpose of every scene is just to drive the story into the next scene. He's always talking about that.
But I don't know if he's able to do it. But yeah, you're right. He's good at talking about it. He's great at talking about it. You know, it's the same thing with Sidney Lumet's book on directing. He talks about it really brilliantly. But he's also a guy who can actually really do it. But yeah. So I have a lot of respect for that, you know. O Brother, Where Art Thou was a lot of that. They escape from prison, and then how do you get to the place when you're not running anymore? And then obstacles, y'know? Like the guy singing "O Death." What was he doing there, and why? It didn't really matter. He was just another obstacle, y'know? You're like, "How's this one going to go? Is it going to help, or is it going to hurt?" And that's why that movie flows, I think, as well as it does.
Well, it's basically The Odyssey. It's the oldest story in the world.
Or wait—it's The Iliad.
Yeah. It's actually The Iliad, but I know what you meant. I wasn't going to correct you.
It's okay. We've been bagging on Jonah Hex for an hour.
I know we have, right. You deserve it. [laughs]
I appreciate how honest you're being about that movie. It's interesting when somebody's forthcoming about why they think something didn't work.
It is. It is. And I don't want to put people down. I think you can tell, but I'm not saying, "Well, it was Warner Bros. and the way they marketed it. It was this and that." I don't believe that. I think that they had good intentions, too. I think everybody—well, I think almost everybody had good intentions. I think a few people were extremely selfish, but, y'know. I got a lot of people to do that movie, man, and that's the only anger I have about it. I don't have any about the movie itself. I mean, I think it's too bad it turned out the way it did, or it was received the way it was. But I got a lot of people to do that movie. Not only actors; I asked a lot of favors from really incredible crew members who I adore, and you know, I had them out in 110 degree heat, and 96 percent humidity for three months. Thanks a lot. [laughs]
That's on you.
"I appreciate it! See you on the next one. Maybe not."
Well, that's the thing. The only way to make this right is for you to go back in and do Jonah Hex: Reloaded.
You know, it's funny, because we were joking about that the other day. I go, "I just wanted to keep doing that movie over and over and over. Just do different renditions of that movie and wait and see which one hits. There's gotta be one in there. There's gotta be one successful version. I'm willing to lose $200 million to do this movie eight more times." [laughs]
It'll just be a work in progress, forever. Like Blade Runner.
I honestly think [Jonah Hex] would have been a better movie had we only had $15 million.
I agree.
You know what I'm saying?
Yeah. If you'd just made it a spaghetti Western that happened to be based on a comic book.
That was the intention. When I went into Warner Bros., I came in with a disc, and it was High Plains Drifter. And I said, 'This should be the base of the movie. Anytime anybody gets squirrelly, we should always go back to this. Even though we're making something different, my feeling is it should always go back to this, no matter what. It has to be a foundation to springboard from, always." And I think it started out as that, but then…
You should go back. There should be no shame. Nic Cage is doing another Ghost Rider.
Thanks. You're just digging my grave now. "Hey, Nic's doing another Ghost Rider—you should do Jonah Hex again!" Oh, thanks, Alex. Okay. Buh-bye.
**We talked for the first time a couple of years ago, when you had No Country and all those other films kind of hitting all at once, when there was this perception that you'd finally hit your stride as an actor, or you were making a comeback, or however you want to classify it. Now that it's been a few years, does the work feel different? You're trying to maintain something, as opposed to trying to prove something. **
Sort of. I don't see it as maintaining, necessarily. The only thing I want to maintain is the thing we were talking about from the beginning—that I continue doing things. It doesn't matter if it's a small part, a big part, a lead, a supporting role, a cameo. It doesn't, really. It's something that I've talked about with my agent, who I adore and who I think is wonderful, and I always stress that because nobody stresses that. I really think he's incredible. I love his sensibilities, and he and I—really, I couldn't do what I'm doing without him. So you know we've made it a very conscious choice to not get into that thing of, y'know, "Let's get to this place where we just do big movies and only do that so we can make as much money as possible, you know, before this moment's over," that kind of thing. We said it doesn't have to be that. We can have very typical fluctuations and hopefully work through them. The difference is that we're taking absolute and total advantage of a moment to create an arena where we can instigate our own projects. And not in the way that we go, "Oh, I want to do another romantic comedy so I can get paid 8 million bucks and produce it, but not really produce it." I mean, we're really trying to get in there and do stories that are risky and that are classic stories, and then within that, keep trying to mix it up for me as an actor. And a couple of the things we're developing really do scare me. They really scare me because I'm like, "Can I actually do that? I'm not sure if I'm good enough to be able to do that"—which is why I want to try it, you know. If things end, they're going to end horrendously. That's what I'm saying. [laughs] I want to make sure that it's a massive train wreck.
Right. Where it's not just that you'll never work in this town again—if it ends, you want it to end with you actually, like, in jail.
Exactly. I want to be jailed for doing such a horrendous job. That's kind of how I feel. I want to keep banging away and keep doing stuff that people respond to. And it's interesting, that people respond to this stuff. Whether it's Milk or American Gangster or whatever—at first glance, they don't seem to be accessible parts, per se.
Yeah, they're not likable guys, a lot of the time.
No, yeah. At least not in this run. I think that's part of the attraction of Men in Black—I'm doing that, and I think there's another project I'm probably going to do over the summer that also has a little more levity to it. But there's levity in the range we're playing in. So it can be a bad guy, but there can be levity, and there can be more complexity within that role. And that's kind of what I'm looking for now, if I can say I'm looking for anything, which is probably not true. It's like, okay—I think I've done the tortured guy, or the guy who's so full of himself and gets really confused and ends up killing himself. Nah, I don't want to do that anymore.
You've died in enough movies.
Which is cute for a couple years, y'know? And then you go, okay—what are you doing?
I've kept you long enough. This has been great.
You know what would be funny, because it's such a long interview? You could have the interview go over like 14 pages, and you can have all the other actors' pictures on each page, but only have my interview.
You could actually comment on everybody else. The whole thing could be "Text: Josh Brolin."
Yeah! Just little one-liners about how Josh feels about all these other actors.
"I'm not familiar with his work."
Right. Under Bobby Duvall's picture, there's just a quote from Josh that just says, "I feel that he phones it in."
"Mediocre talent."
On Harry Dean: "If it wasn't for his face, he wouldn't be working.' Shit like that."


text:
Louisville Adds Five With 2013 Men's Basketball Class
LOUISVILLE, Ky. — Five impressive high school, prep and junior college products have each signed a national letter-of-intent to continue their basketball playing careers at the University of Louisville, ranking this Cardinal group among the nation's top recruiting classes.
The list of stellar signees includes Akoy Agau, a 6-8, 235-pound center from Omaha (Neb.) Central High School; Anton Gill, a 6-4, 180-pound guard from Raleigh, N.C., who is currently at Hargrave Military Academy in Chatham, Va.; Chris Jones, a 5-10, 175-pound guard from Memphis, Tenn., who is currently at Northwest Florida State College; Terry Rozier, a 6-1, 170-pound guard from Cleveland, Ohio who is also currently at Hargrave Military Academy. David Levitch, a 6-3, 160-pound guard from North Oldham High School in Goshen, will also join the Cardinal roster next year as a preferred walk-on.
"This entire class shoots the ball," said UofL head coach Rick Pitino. "That was a priority with us. Every one of them shoots it well and that is a much needed attribute for our team."
Akoy Agau
Agau (name pronounced uh-KOY uh-GOW; like cow with a "G") has helped Omaha Central win three straight state titles, averaging 11.6 points and 6.8 rebounds and blocked 92 shots as a junior last season. He produced a triple-double in the state title game against Omaha South last season with 16 points, 14 rebounds and 13 blocked shots.
"As soon as I saw Akoy, I immediately wanted to see him in a Louisville uniform," said Pitino. "He's a triple-threat guy — he scores, passes and handles it very well. He has a very high basketball IQ. He's won three straight high school championships and that's the type of player we look for: someone who is conditioned to win. We're very excited to have him."
Originally from Sudan, Africa, Agau moved to Cairo, Egypt as a child before coming to the United States in 2002. After starting on three Central state championship teams, he is bidding to become the first Class A player in Nebraska history to start for four state title teams. As a freshman, he totaled 18 points, 15 rebounds and nine blocked shots in the state championship game over Norfolk.
A two-time all-state selection, Agau is ranked No. 84 nationally in the ESPN 100, 86th by Rivals.com, and is 18th nationally among centers by Scout.com.
Agau, who speaks three languages (Dinka, Arabic and English), had narrowed his collegiate choices to Georgetown, Baylor, Memphis, West Virginia and Nebraska before signing with the Cardinals.
Anton Gill
Gill averaged 18.1 points and 6.3 rebounds, 3.1 assists and 1.3 steals as a junior last season in leading Ravencroft High School to at 31-4 record and the Class 3A North Carolina state championship. He is playing his final prep year at Hargrave Military Academy, where he teams in the backcourt with fellow UofL signee Terry Rozier.
"Anton is a very gifted athlete who we've known for quite some time," said Pitino. "He shoots it and runs the floor extremely well. He's a left-hander who is good off the bounce and scores. We're thrilled to have him as a Cardinal."
Gill has averaged 19.1 points, 4.2 rebounds, 3.9 assists and 2.8 rebounds at Hargrave through nine games this season (7-2 record). He scored a season-high 30 points in Hargrave's loss to Spartanburg Methodist Community College last Sunday.
Gill helped Ravencroft to a combined 78-14 record in three seasons at Ravencroft, where he was on pace to become the school's all-time leading scorer before transferring. He had 14 points, six rebounds and two assists in the Ravens' state title victory over Greensboro Day last season.
A first-team AP All-State selection as a junior, Gill is ranked No. 29 nationally in the Scout.com Top 100, 40th in the ESPN 100, 48th nationally by Rivals Top 150, and is sixth among shooting guards by Scout.com. As a junior, he scored 28 points in a head-to-head matchup with NC State guard Rodney Purvis, but his Ravencroft team fell to Purvis and Upper Room Christian Academy.
Gill committed to the Cardinals early in his junior year before also considering North Carolina State, Charlotte and Wake Forest.
Chris Jones
Jones averaged 18.0 points, 4.2 assists, 4.6 rebounds and 1.8 steals per game as a freshman last season at Northwest Florida State College in Niceville, Fla. He earned first team 2012 NCJAA All-America honors after leading Northwest Florida to a 32-2 record and a national runner-up finish.
"I feel Chris is the best point guard (prospect) in the nation," said Pitino. "He's as explosive a point guard at both ends of the floor as I've ever recruited. He's a prolific scorer, tougher than nails, and is a big-time winner. I'm not sure what phase of his game is the best because he's a great passer, a great rebounder at 5-10, big-time steal guy, big-time scorer and wants to win as much as any player I've ever recruited. We needed to have a great one replace Peyton Siva and we have it in Chris Jones."
The top junior college player in the nation, Jones has averaged 28.3 points this season in leading Northwest Florida to a 4-0 record and the No. 2 ranking in the NJCAA national poll. He scored a career-high 38 points against Atlanta Metro last Saturday, connecting on 15-of-22 field goals while collecting six steals. He is the reigning NJCAA Region 8 player of the week after averaging 33 points, eight rebounds, four assists and 5.5 steals in a pair of games.
A top 50 prospect as a senior at Melrose High School, Jones originally signed with Tennessee in the same class as current Cardinal Kevin Ware before opting for the junior college route. He was rated as the nation's 10th-best point guard in high school by ESPN, Rivals and Scout, and the No. 39 prospect overall by Rivals.
He averaged 20.5 points, 6.8 rebounds and 6.1 assists per game as a junior in leading Memphis (Tenn.) Melrose to the Tennessee Class AAA state title and a No. 15 finish in the ESPN Rise Fab 50 national rankings. He earned first-team all-state honors and was the state tournament MVP after scoring 35 points in the championship game. He transferred for his senior year to Oak Ridge (N.C.) Military Academy, where he averaged 22.5 points, 5.1 rebounds, 5.0 assists and 2.8 steals.
Jones also considered Memphis, Kansas, Baylor, Florida State and Oklahoma State before his commitment to the Cardinals.
Terry Rozier
Rozier originally signed with the Cardinals last November, but is spending the 2012-13 season at Hargrave Military Academy. Through a 7-2 start for Hargrave, Rozier has averaged 24.0 points, 6.4 rebounds, 7.4 assists and 3.9 steals. He has averaged 36.7 points over the last three games, including pouring in a season-high 50 points in a loss to Louisburg College — the No. 4 ranked junior college — on Monday while adding 10 rebounds, four assists and four steals in the game. Eight Hargrave players will sign with NCAA Division I institutions.
"Terry is someone we were counting on for this year, but needed a year in prep school," said Pitino. "He's an explosive scorer and athlete who plays two positions. He's a very good on-the-ball defender. We thought he was one of the best guards in the nation last year and is having an outstanding season at Hargrave."
Rozier averaged 25.6 points, 6.5 rebounds, 4.5 assists and 4.7 steals as a senior in leading Shaker Heights to a 21-3 record, the Erie League Championship and a berth in the regionals for the first time since 2002. He scored a season-high 40 points vs. John Jay and totaled 37 points, seven rebounds and four steals as Shaker Heights beat Garfield Heights in the district title game.
An-All Lake Erie League selection for three years, Rozier was rated 74th overall in the 2012 ESPNU Top 100 players, No. 80 by Rivals in the class of 2012, and 68th by Scout.com. He averaged 18.2 points, 4.5 rebounds and 3.2 assists as a junior as Shaker Heights won nine of its last 13 games en route to a 14-8 record.
He had 10 points and three steals for his USA Midwest team in a 99-93 victory over Canada in the championship game of the 2011 Nike Global Challenge, which featured the top high school and under 19 players from top international teams. He is the cousin of current U of L sophomore center Zach Price.
Rozier had also considered attending Cincinnati, Illinois, West Virginia and Cleveland State before initially signing with the Cardinals.
David Levitch
Levitch, who will join the Cardinals as a preferred walk-on and non-scholarship player, averaged 18.8 points, 4.2 assists and 3.2 rebounds as a junior in leading North Oldham High School in Goshen, Ky. to a 19-11 record. He connected on 42.3 percent of his three-point goals (66-of-156) last season.
"David shoots the ball well," said Pitino. "As he gains more strength, like (current walk-on guard) Tim Henderson, he will be a great addition to Cardinal Basketball."
An All-Eighth Region selection last season, Levitch has already scored over 1,000 career points at North Oldham and will be the lone starter returning from a year ago. He was seventh in the state in free throw percentage last season, connecting on 81.7 percent from the line (151-of-185). He scored a career-high 37 points against Spencer County last season.
Levitch averaged 13.0 points and 3.2 assists as a sophomore when he scored a single-game high of 28 points on two occasions. He has been a standout performer on his AAU squad The Ville 2013, which won the adidas Super 64 tournament in Las Vegas in 2009 and has won the Kentucky state championship on four occasions.
Levitch was receiving attention from Stetson and Bellarmine among others before choosing to walk on with the Cardinals.
Mangok Mathiang
Although already enrolled and practicing at Louisville, Mathiang is sitting out this season and essentially will be a member of this class with four years of eligibility remaining. Mathiang averaged 12 points, 10 rebounds and four blocked shots last season for IMG's postgraduate team, which posted a 28-2 record in 2011-12.
"We could not have signed a high school player this year as good as Mangok," said Pitino. "He gets a year of practice under his belt with us before joining this class on the court next season."
Born in Sudan, Africa, Mathiang lived in Melbourne, Australia for many years before moving to the United States to play a season of high school basketball at Carbondale (Ill.) Brehm Prep School in 2010-11. He has been on the UofL campus since Aug. 20. (name is pronounced MANG-go like the fruit, with a silent "K" MATH-ee-ang).