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Peter T Chattaway

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About Peter T Chattaway

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    He's fictional, but you can't have everything.
  • Birthday 10/01/1970

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    Vancouver, BC

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  1. Mother! (Darren Aronofsky)

    The Heretical Gnosticism of Darren Aronofsky's Most Daring Film Moreover, the love that generates the world is encased in an imperfect vessel, as Lurianic Kabbalah holds. Its spark is contained in a vessel that will inevitably shatter, bringing evil into the world. When Woman ate of the forbidden fruit, it wasn’t an apple or a fig – it was the kli, the vessel of the Divine Light itself. And she shattered it. Darren Aronofsky has thus retold the gnostic myth of the kosmos, with God as Satan. It is not God who creates or maintains the world: it is the Goddess; Her; Isis; Astarte; Asherah. The Male God is the False God, as Gnosticism (and perhaps some echoes of it in Kabbalah) insists. He is the usurper of the power of the true Deity, the Feminine, the Goddess, and while she gives and nourishes, he lives only for himself. Jay Michaelson, Forward, September 20 - - - I want to hear more about this "Lurianic Kabbalah" and its "vessel that will inevitably shatter". All the "heart" imagery in the house -- and the way it is fused with the crystal that serves as an allegorical stand-in for the forbidden fruit -- reminds me of how the forbidden fruit in Noah pulsed like a heart. And there's a close-up of Bardem and Lawrence holding hands in mother! that feels, to me, very reminiscent of a close-up of Adam and Eve holding hands in Noah as they walk towards the trees at the centre of the Garden of Eden.
  2. The Impossible (not the 2012 film)

    Got a press release for the book today: - - - THE IMPOSSIBLE BOOK SET TO RELEASE ON NOVEMBER 7 THROUGH HACHETTE BOOK GROUP, 20th CENTURY FOX FILM ADAPTATION TO FOLLOW Miraculous True Story of Mother’s Faith and Child’s Resurrection Defies All History, Experts and Science LOS ANGELES (Sept. 18, 2017) – The inspiring and incredible true story of Joyce Smith and her son John, told through The Impossible- The Miraculous Story of a Mother’s Faith and Her Child’s Resurrection is set to release through Hachette Book Group, Tuesday, November 7. An upcoming film is also in development through 20th Century Fox, by Executive Producer DeVon Franklin (Heaven is for Real, Miracles from Heaven). When Joyce Smith's 14-year-old son John fell through an icy Missouri lake one winter morning, she had seemingly lost everything. At the hospital, John lay lifeless for more than 60 minutes. They asked themselves, “How could God do this to us?” But Joyce was not ready to give up on her son. She mustered all her faith and strength and cried out to God in a loud and desperate plea to save her son. Immediately, her son's heart miraculously started beating again. Through this story, Joyce hopes to touch those who believe in miracles and healing, but also reach those who are seeking bigger answers by representing the true power of prayer and the realness and nearness of God. This story will change how we look at the world and handle our everyday experiences, and reinforce our belief in God and the way we pray. “Never in my wildest dreams did I ever imagine that our family would embark on such a miraculous journey or have the divine honor and privilege to share such an amazing story of God's mighty healing power,” states Joyce Smith. “Each and every day I am eternally grateful for God answering this mother's prayers in such a profound way. Nothing is impossible with God, He always has the final word.” In the days after John’s accident, he would defy every expert, every case history, and every scientific prediction. Sixteen days after falling through the ice and being pronounced clinically dead for an hour, John Smith walked out of the hospital on his own two feet, completely healed. “We have spent the last two years searching around the world to see if there is another case like John’s and we have found one that has some of the same characteristics,” said Dr. Jeremy Garrett, Cardinal Glennon PICU Doctor Area expert on drowning and Hypothermia. Adding, “John is the only person we can find who has survived and come back 100 percent in the world that we know of.” THE IMPOSSIBLE is about a profound truth: prayer really works. God uses it to remind us that He is always with us, and when paired with unwavering faith, nothing is impossible. For more information, please visit: Website: www.theimpossiblebook.com www.hachettebookgroup.com
  3. Mother! (Darren Aronofsky)

    Regarding the yellow powder that Lawrence drinks, see this interview with Anne Thompson: "And what is that yellow potion that Mother drinks when she gets anxious? 'I will never answer what Jen is drinking,' said Aronofsky. 'That secret I will take to the grave.' "
  4. Netflix and Other Home-Video Vendors [was: DVD-by-Mail]

    : As of this month, the streaming platform offers just 43 movies made before 1970, and fewer than 25 from the pre-1950 era (several of which are World War II documentaries). I assume these are the documentaries that Netflix posted in conjunction with the brand-new documentary Five Came Back, which is about the *making* of those documentaries. : It’s the sort of classics selection you’d expect to find in a decrepit video store in 1993, not on a leading entertainment platform that serves some 100 million global subscribers. Netflix’s DVD subscribers enjoy a much wider selection (four million customers still opt to receive discs in the mail) . . . Netflix doesn't have any DVD subscribers outside of the US. And it bears mentioning that Netflix's selection varies from country to country, so it's possible that there are different numbers of pre-1970 and pre-1950 films in each territory.
  5. Blade Runner 2

    The second short-film prequel:
  6. Mother! (Darren Aronofsky)

    Here's a clip from the film, of the two brothers fighting, and it's pretty clear from Aronofsky's narration that there's a Cain-and-Abel thing going on here, even if he doesn't use those names specifically:
  7. Mother! (Darren Aronofsky)

    SPOILERS SPOILERS SPOILERS SPOILERS Like, seriously. Spoilers. Huh. I would have said that the primary reference point is Cain and Abel, given that [1] one of the brothers actually *kills* the other, [2] he does so using an object in his hand (similar to how Cain kills Abel in Noah), and [3] the "God" figure puts a "mark" on the Cain figure's head. (Plus, of course, the Cain and Abel figures here are the sons of the Adam and Eve figures who were cast out of the God-figure's study after they touched the "forbidden fruit", i.e. the tzohar-like crystal on the mantle; the fact that the Adam and Eve figures go straight to having sex after one of their sons kills the other is, I assume, a reference to how the grieving Adam and Eve had sex and conceived Seth after Abel's death.) But the inheritance business does seem a little more Jacob-and-Esau, I guess.
  8. The Red Turtle

    FWIW, my capsule review from last year: Well this was a fine way to kick off my birthday. Produced by Studio Ghibli (the outfit behind Hayao Miyazaki’s films), The Red Turtle marks the feature debut of Dutch animator Michael Dudok de Wit, who won an Oscar for his short film Father and Daughter and was previously nominated for The Monk and the Fish — and in some ways this is really two short films put together. The first half is a brilliantly naturalistic depiction of a man stranded on a desert island and his persistent efforts to escape that island, leavened with gently surreal dream sequences in which, for example, instead of simply floating across the ocean, the man sees a bridge across the ocean and floats across that. But then something genuinely magical happens at the midway point, and the second half of the film becomes an ode to the “cycle of life”. I’m not sure that the magical plot twist works as well as it should, but I liked the film’s light humour (the crabs almost steal the show), and I definitely appreciated its matter-of-fact depiction of death and violence in the natural world, from the animals that are sometimes found washed up on the beach to the tsunami that hits the island with devastating force. See this film on a big screen if you can, for the sound design as well as the visuals.
  9. Uh-oh, another website redesign.

    John Drew wrote: : The screen theme had changed back to the "4.2" setting. Just had to click on "Theme" at the bottom of the page (I think Theme is at the bottom of every page), and clicked on the "Arts & Faith Custom 1 (Default), and the settings with the A&F and Image logos reappeared. ... The look of the discussion board is something that *we* pick? ... Is there any way we could have a *range* of themes to choose from?
  10. Mother! (Darren Aronofsky)

    Saw the film today. I can't help thinking that it could give a lot of ammo to the people who hated Noah. There is one shot in here that certainly... colours... my response to a similar shot in Noah. And the depiction of one character in particular is making me think a *lot* about what Aronofsky told me three years ago regarding how he had given Russell Crowe's Noah the "character arc" that God seems to have in the biblical story. Not that the arcs are the same, exactly -- though they do overlap in significant ways! -- but more because the gap between Crowe's Noah and the God of that film is essentially closed here. (When I interviewed Aronofsky three years ago, he said that the God depicted in Noah knew how things would turn out; he wasn't just letting Noah decide whether humanity would survive or go extinct. Aronofsky, at least when speaking to me in my capacity as a Christianity Today reporter, seemed keen to put some distance between Noah and God in that regard. Suffice it to say that the equivalent metaphor in mother! -- if metaphor is the word -- is a lot more ambivalent.) This is a virtually impossible film to discuss without getting into spoilers, so I'm mostly biting my tongue right now. I may or may not write something up by opening day. Or I might wait even longer, until after non-festival-goers have had a chance to see it and start discussing the particulars. I will say, though, that the film got me thinking about C.S. Lewis, Peter Greenaway and a quote that Robin Williams once ascribed to Tom Waits.
  11. Star Wars: Episode IX

    As I said at Facebook: So Colin Trevorrow, who got his start in blockbusters because he reminded Brad Bird of Brad Bird, is now being replaced as director of Star Wars: Episode IX by JJ Abrams, who produced Brad Bird's first (and so far only successful) live-action film. Funny how the young up-and-comers keep getting bumped for the well-remunerated establishment hacks (Ron Howard on the Han Solo film, Abrams here...).
  12. Uh-oh, another website redesign.

    Now with even *more* gratuitous white space! (What *is* it with designers these days.) In the past, we had simple lines between individual posts. Now each post has its own special frame, with a special buffer of white space between the individual posts (adding to the white space that already exists between the text of each post and the frame surrounding it). And that's not the only example of said white spacing. Meanwhile, the A&F and Image logos at the top of the page are gone. Intentional, or accidental?
  13. Victoria & Abdul

  14. Star Trek: the first ten movies (1979-2002)

    FWIW, I recently came across this video, which indicates that the theatrical and director's cuts are more different than I thought (to wit, I knew about many of the scenes that were missing from the theatrical cut, because I videotaped the film off of TV and watched that version for several years before buying the film on VHS -- and I was shocked to discover that the VHS version was missing several scenes that the TV version had; but there are also several instances where different versions of the film use different takes of the same line of dialogue): One difference that is *not* mentioned in this video is the scene where Kirk talks to Saavik in the turbolift. That scene might be identical between the theatrical-cut and director's-cut Blu-Rays -- it's a single wide shot -- but in the TV version that I videotaped way back when, I believe it was a series of alternating close-ups. By the way, I've never liked the bit in the director's cut where someone asks Marcus "Where are we going?" and she says, "That's for us to know and Reliant to find out." If I had been the person who asked her the question, I'd be like, "Right. Us. It's for us to know. So where are we going?"
  15. Mother! (Darren Aronofsky)