Spiderman
Spiderman
History and Profile
Spider-Man is the quintessential Marvel character. Although a super hero, he is spared none of the slings and arrows of ordinary life; he experiences difficulties with friends, family, sweethearts and employers. His powers enable him to do good, but not to improve his own lot in life, and it is his simple humanity, rather than his exotic talent, that has won him millions of enthusiastic fans. He is one super-hero who has not lost the common touch, and in fact he is frequently described as "your friendly neighborhood Spider-Man."
In his 1962 debut, Spider-Man took to fighting crime for a reason commonplace in comc books: he was motivated by the murder of a father figure, his Uncle Ben. Yet Spidey's driving force is guilt, not revenge; he must live forever with the knowledge that he could have prevented the killing if he had not been so self absorbed. Perhaps he suffers from a classic Oedipus complex; in any case he is certainly neurotic, forever agonizing over the choices that confront him when he attempts to do the right thing. Despite his best efforts, he is viewed with a touch of suspicion by those in authority, and is sometimes considered little more than a criminal himself.
Although nobody seems to understand him, Spider-Man has the spirit to be a joker as well as a tragic figure. He is quick with a quip, appreciates the irony of his endless predicaments, and relishes the chance to play tricks on people who never suspect that he and Peter Parker are one and the same.
As originally depicted by writer Stan Lee and artist Steve Ditko, Peter Parker was just a bit of a wimp. Bright, imaginative, but nonetheless an alienated adolescent, he might well have been a typical comic book reader. Although he has matured and gained in confidence over the years. Spidey is still all to human. He misses appointments, catches the flu when he needs to fight, forgets to put film in his camera and has trouble paying the rent. In short Spider-Man remains Everyman, "the super hero who could be you."
Spiderman Black McFarlane Costume
From 1982 to 1988, Spider-Man was seen around town in this black costume,but now he has returned to his true colors.
Spiderman Amazing Fantasy Caught in the web
The first Spider-Man story was originally intended as no more than a one-shot experiment, and almost didn't get into print at all. "Martin Goodman didn't want to publish it," recalls Stan Lee. Goodman was convinced that readers would find the subject of spiders distasteful.
Fortunately for all concerned, a comic book called Amazing Fantasy was about to be canceled due to faltering sales. "Nobody cares what you put in a book that's going to die," Lee says, "so I threw in Spider-Man. I featured him on the cover and then forgot about him." For the occasion the comic book reverted to its original title of Amazing Fantasy, an appropriate amendment since Spider-Man was to be the most important adolescent super hero in comics.
Spiderman Bust
Spider-Man was the hero and teenage helper rolled into one; he was his own sidekick. Marvel's first editor, Joe Simon, theorized that kid companions like Captain America's Bucky were important because they gave the protagonist someone to talk to; Spider-man talked to himself. In fact he has delivered more siloquies than Hamlet. In his first appearance he mused out loud but subsequently Lee adopted the device of the thought balloon with its characteristic bubbles. "I used those thought balloons to help the exposition," says Lee. "I could put interesting thoughts there that weren't necessarily about what ws happening in that particular panel - something to hold the reader's interest."
Spider-Man, despite the fact that he was not originally intended to star ina series, became the epitome of the radical innovations that characterized The Marvel Age. Lee used him to challenge the very concept of the super hero. Spider-Man was neurotic, compulsive and profoundly skeptical about the whole idea of becoming a costumed savior. The Fantastic Four argued with each other, and The Hulk and Thor had problems with their alter egos, but Spider-Man had to struggle with himself.
Spiderman Video In the original story (August 1962), Peter Parker is a bookish, bespectacled high school student, isolated and unpopular. An orphan, he lives with his elderly relatives, Aunt May and Uncle Ben. While attending a science exhibit, Peter is bitten by a spider that has accidentally received a dose of radioactivity. As a result, Peter acquires the agility and proportionate strength of an arachnid. He sews his own super hero uniform and uses his scientific knowledge to build mechanical devices that eject sticky webbing, but he is less interested in fighting crime than in making a buck. Disguised as Spider-Man, he becomes a professional wrestler and then demonstrates his abilities on television. Hw blithely ignores the chance to stop a fleeing thief, but his indifference ironically catches up with him when the same criminal later robs and kills Uncle Ben. Eventually Spider-Man subdues the murderer, but for a tearful Peter Parker, there is no peace. He wanders remorsefully off into the night to the accompan iment of Lee's now famous caption: "With great Power there must also come - great responsibility!"
This story, with its challenge to comic book clich?s, created an unexpected sensation. "A few months later," Lee recalls, "we got the sales figures, and that Spider-Man issue of Amazing Fantasy was one of the best selling books we ever had. There were no flies on us, so we put him out in his own title." However, the usual months of creative and production work leading to publication kept #1 from appearing until March 1963.
Until this time Jack Kirby had been drawing all of the company's new characters, but Spider-Man ended up in the hands of another artist. Kirby drew several pages of a version of Spider-Man, but he never completed a story. Kirby's version was as bold and dynamic as the rest of his work, but Lee wanted something a bit more offbeat and edgy. Steve Ditko was the artist to provide it, an Lee asked him to illustrate the initial Spider-Man adventure. The now famous cover for the first story was drawn by Kirby and Ditko together. "Steve Ditko was a fine artist, " says Kirby, "and he did a fine job on Spider-Man".
Born in 1927 in Johnstown, Pennsylvania, Ditko had already won a cult following with the dark moody tales he had illustrated for comic books like Amazing Adult Fantasy. An intensely private individual who shuns personal publicity and consistently refuses interviews, Ditko has always preferred to let his work speak for itself. The analogy to Peter Parker working behind the mask of Spider-Man may not be entirely inappropriate. Ditko was the perfect choice to depict the new antihero, a skinny kid who just didn't know what to do with the extraordinary gift that had unexpectedly come his way. "Steve was every bit as inventive as Jack Kirby was," says Lee. "He always added so much." As time went on, Ditko also began to contribute significantly to the plotting of the stories. From the very start, Ditko's sensitive, humanistic portrayal of the beleaguered Peter Parker was enough to alter the look of the medium forever: he brought a touch of realism into a world of fantasy.
Peter Parker - His Life and history
Peter Parker was only a young boy when his parents died in a plane crash. He immediately moved in with his fathers older brother and wife. Ben and Mary Parker were an elderly couple with no children of their own, and they raised Peter as if he were their son. They rarely spoke about Peter's real parents, so Peter became convinced that his parents had left him because of something he had done. Afraid of being abandoned, Peter worked hard to win his uncle's approval - though he didn't have to worry. Ben and MAry truly loved their nephew and would have done anything to please him.
High School
Peter was an honor student, and his teachers always thought very highly of him. He always came prepared for class, and completed all of his asignments. The other students , however, had little time for a know-it-all like puny Peter. The girls thought he was too quiet, and the boys considered him a wimp. Peter was pinfully shy, and some of his classmates misinterpreted his silence for snobbery. He had trouble making friends, but never stopped trying. He often invited other students to join him at science exhibits or monster movies. But they usually responded with ridicule, and almost never asked him to join them.
May Parker insisted that peter wear glasses, but after he became Spider-Man his eyesight improved. Flash Thompson broke Peter's last pair of glasses during a shoving match, and Peter never got around to buying a new pair. Before hi gained his spider powers, Peter had considerably less than average strength for a boy of his age. Clumsy and uncoordinated, he also had no athletic ability. He had a fear of heights - even getting a book from the top shelf in the library resulted in his suffering severe symptoms of vertigo.
Peter always thought of his Uncle Ben as his best friend. Ben had an extensive collection of old comic books and science fiction magazines that he enjoyed sharing with his nephew. Peter spent hours reading these comics and their stories about outrageous heroes and their intriguing adventures. He dreamed of being a costumed adventurer like Captain America, striking terror in the hearts of criminals.
Peter Parker graduated from Midtown High with the highest scholastic average in the school's history, but he almost missed the ceremony. Instead of attending to last minute graduation details, Peter was trading punches with a superhuman villain, the Molten Man. He won his fight and arrived home just in time to change for the ceremony. Later, he was thrilled to discover that he had won a full scholarship to Empire State University.
College
Fascinated with science ever since Uncle Ben took him to his first monster movie, Peter Parker immersed himself in his studies. Despite web swinging and a hectic social life, he was determined to be success and to make his Aunt May proud. Peter was more self confident in college than he had been in high school. Leaving home for the first time, he moved into a bachelor pad and even bought a motorcycle. Spider- Man ruined Peter's college graduation. In the week before the ceremony, Spidey was battling the Green Goblin and the Rocket Racer. He couldn't graduate with the rest of his class since he'd missed a required gym class.
Peter finally got his degree from Empire State University, but he continued his studies as a graduate student, and took a job as a teaching assistant. With all these activities, as well as being Spider- Man, Peter's life got a little too hectic. He decided he needed a rest, and he withdrew from the graduate program. Later, taking Aunt May's advice, he returned to college and continued working toward his master's degree.
Throughout his career as Spider-Man, Peter has always been torn between his sense of duty and the mixed feelings he has received from the public. This reception has varied from praise to outright condemnation, and it has left the teenager confused about his role. It has even driven him to the brink of despair, causing him to throw away his costume and renounce his alter ego. Nevertheless, his dedication to using his powers responsibly has always led to Peter donning the mask again in the hope that some day the world will learn to appreciate Spider-Man.
Spider-Man's Powers
His Spider-Sense
He may not know if you've been bad or good, but he can always sense when you're dangerous. Spider- Man possesses many incredible abilities, but his most amazing power must be his uncanny spider-sense. This strange tingling sensation, which originates in the back of his skull, warns him of danger. The danger could be something immediate, like a gun being aimed at him or a punch being thrown at the back of his head. Or it could be something subtle, like a slippery floor or a sandwich that contains tainted meat. While his spider-sense cannot tell Spider-Man the exact nature of a particular threat, it always lets him know when and which way to move in order to avoid the danger.
Spider-Man's spider sense is like having a personal radar unit. He doesn't have to worry about watching where he's walking or web-swinging because it always guides him away from danger. Loose ceiling tiles or rotted roof tops don't trouble Spider-Man because his spider-sense warns him in plenty of time to avoid them. Even if he were trapped in complete darkness, hi spider-sense would prevent him from bumping into anything. And Spidey's spider-sense tingles if someone can see the web-slinger out of costume, warning him that he may be spotted.
Like a Geiger counter that somehow reacts to danger, Spider-Man often uses his spider-sense to track down enemies. He has also developed special spider-tracers that are attuned to his spider-sense and can help him to pinpoint foes who are far away. Thanks to his spider-sense, it's practically impossible to sneak up on Spider-Man to ambush him. Not only can he sense the exact direction of an impending threat, but his spider-sense immediately triggers his amazing reflexes to help him avoid injury. He often dodges blows before they are actually thrown. ...Its one weakness is its inability to detect Carnage and Venom.
Since his spider-sense instinctively reacts to trouble, Spider-Man depends on it most when he is in a fight, weaving his way through a hail of bullets without a scratch. Over the years he has come to realize that his reflexes work a lot faster than his mind. Because he can trust his Spider quick reflexes completely, Spidey is free to come up with the witty one-liners he spouts to distract his opponents.
Wall Crawling
Nothing seems to unnerve a bad guy more than being approached by a certain webbed crime-fighter who is crawling up the side of a nearby wall. Though Spider-Man possesses many amazing powers, his ability to cling to any surface is certainly the most unsettling. No matter how friendly our neighborhood web-slinger claims to be, the sight of him scurrying across the ceiling can be very distracting. The fact that he looks like a monstrous insect whenever he scampers up a building helped Daily Bugle publisher J. Jonah Jameson convince the public that Spider-Man is a menace. Many people hate spiders, and are easily frightened by someone who can hang from their ceilings and cling to their walls.
No one knows exactly how Spider-Man's wall clinging ability works. Peter Parker has often theorized that he has a form of bio-magnetic power that allows him to increase the attraction between the molecules in his body with those of the surface he climbs. All that is known for certain is that he can stick to anything. No matter how smooth or slippery a surface may be, Spidey can attach himself. He just has to keep concentrating until he can bond with it. Unlike his spider-sense, the web head's clinging power is strictly a conscious act. He can never stick to something by accident. He must deliberately press his hand to an object and chose to adhere to it. Of course, Spidey likes to show off as much as the next fellow. He occasionally likes to run upside down along a ceiling or strides up a wall.
Once Spider-Man has latched on to an object, only he can decide when to release it. No outside force has managed to pry him from a surface if he consciously wants to stick to it. Foes with superhuman strength have been known to rip Spidey from walls and ceilings, but that's only because these surfaces have shattered under the strain. Chunks of drywall or pieces of ceiling tile can usually be spotted clinging to Spidey whenever this situation occurs. If someone as strong as the Incredible Hulk were to try to pull Spider-Man off a slab of granite, he might accidentally rip off the web-spinner's arms before the rock would splinter. Of course, there is an easy way to separate Spider-Man from an object. All a villain has to do is find a way to knock him out. Once Spidey has lost consciousness, his body will automatically go limp and detach itself from anything it is holding.
Though Spider-Man tends to focus on his hands and his feet whenever he is climbing up a wall, every part of his body has the same clinging ability. His back and head can stick to surfaces as easily as his fingers and toes. All he has to do is lean against something and he will stick to it until he decides to free himself.
Strength and Agility
Shortly after he was bitten by the radioactive spider that gave him his amazing powers, Peter Parker accidentally crushed a steel pipe as if it were made of paper. He was astonished to discover that he now possessed superhuman strength. Since then, Spider-Man has often told people that he has the proportional strength of a spider; but he's actually a lot more powerful. While not as strong as the Incredible Hulk, The Mighty Thor, or The Thing, our friendly neighborhood web-slinger is able to lift almost 10 tons. He can bend a solid iron bar with his bare hands and shatter a concrete wall with a single punch. And in one, spider-powered spring, he has leapt the height of three stories, or the width of a highway.
Even more impressive than his spiderlike strength is Spider-Man's amazing speed and agility. When it comes to quick thinking, death-defying, lightning swift, acrobatic stunts, the wall crawling wonder is truly without equal. Spider-Man moves with a fluid and casual grace that can't even be equaled by trained superathletes such as Captain America or Daredevil. He leaps from rooftops, summersaults over flagpoles, tumbles off water towers, and balances on top of light poles as he routinely travels across the city in his own unique manner.
Average people have been known to lift cars in times of stress. Spider-Man can raise a couple of Cadillacs on a normal day. Add in the excitement of one of his typical battles, and his power level can shoot into uncharted territory. Over the years the web-slinger has been seen holding up multistory buildings, freeing himself from beneath tons of debris, and flattening cosmically powered aliens.
Spider-Man's reflexes operate up to forty times faster than those of a normal person, and he uses them to dazzle much stronger foes. Faced by the Rhino or even the Hulk, Spider-Man kicks into high gear ricocheting off the walls, ceiling, and ground to barrage his opponent with blow after blow. THe victim, dazed by the wall-crawler's speed, is left punching thin air.
Web-Slinging
Every Spider needs a web, and Spider-Man is no exception. Shortley after he gained his amazing powers, Peter Parker set out to create a web of his own. Peter used his high school's science laboritory after hours and, having studied multipolimer compounds for a few years, he produced an adhesive fluid capable of imitating a spider's silk webbing. TO complete the mechanism, Peter then designed and built a pair of web-shooters that snapped on his wrists.
Peter has improved upon his initial design. He now switches between different forms of webbing by the way he taps his trigger. With a short second tap he releases a thin cable like strand that is perfect for web-swinging. A longer second tap increases the strand's thickness for additional support. If Spiey prolongs the pressure on the fluid, web fluid squirts out in the form of an adhesive liquid which can paste a foe against a wall. A series of brisk taps discharges many thin strands that form a fine spray of webbing, perfect for blinding an opponent.
Peter designed his web-shooters so that he wouldn't accidentally fire them every time he made a fist. Resting in the palm of his hand, the trigger works just like a computer's mouse. He must tap twice in rapid succession to release his webbing. The web fluid is almost solid in its natural state. The spinneret {mechanism in the web shooters} cuts the solid fluid into thin strands. Each web shooter has one web-fluid cartridge locked in, plus nine spares.
Though Peter Parker built the original pair of web-shooters, he now splits up the designs for the various parts and sends them to a number of different machine shops in the New York area. To maintain a degree of secrecy, Peter later assembles all of the pieces himself. Peter has also designed a special utility belt to carry his spare cartridges of web fluid. {The belt can carry 30 cartridges of web-fluid.} The buckle of the belt contains a spider signal which can be projected onto his opponents. Sometimes Peter equips te buckle with a miniature camera.
The pressure in Spider-Man's web-cartridges is enough to propel a single strand of webbing up to 50 yards, but thicker strands and more complex web patterns can't reach nearly as far. Each of his web-shooters has ten cartridges, and each cartridge contains approximately 1,000 yards of single-strand webbing. [The] web begins to harden the instant it is exposed to air. Given enough time and sufficient thickness, one strand could even bind the incredible Hulk and hold him prisoner - although it's hard to imagine the Hulk standing still while Spidey applies the necessary webbing!
Spidey's normal webbing can easily withstand temperaturs of 1,000 degrees Farenheit. It melts, but it has never caught on fire. If the wall-crawler is preparing to fight someone like the Human TOrch, he can pack a webbing which resists temperatures of up to 10,000 degrees Farenheit. This type can only be released in strands that are as thick as a clothesline. Its special cartridge can only hold 10 yards of the webbing at a time.
Costumes
If clothes make the man, a distinctive costume is a definite must for a budding young super-hero. Of course, Peter Parker didn't intend to be a crime fighter when he first gained his amazing powers - he wanted to go into show business, and he needed an exciting look to match his stage act. Peter learned thatMidtown High's dance class was throwing out some old bodysuits. Slipping into the school after dark, he found one that fit him, took it to the art room, and spent a few hours silkscreening a web pattern on the shirts. He also made a skin tight pair of gloves and boots, and with some one way mirrors he found in the drama class's old prop box, he now had a mask. His first spider-costume was finally ready.
Having the perfect costume is one thing, keeping it is another matter. Peter Parker and his trusty sewing needle have spent many hours repairing the numerous rips and tears his costume has received in battle. Aunt May also contributed to Pete's costume woes. She once found his costume behind the bookcase where he had hidden it. Though Peter claimed it was for a practical joke on his friends, she refused to return it. He was forced to buy a Spider-Man suit from a local costume shop. The imitation was so cheap that it began to shrink and come apart during one of his many conflicts.
Spider-Man's boots and gloves consist of a thin layer of material so that they do not inhibit his ability to stick to walls. Spidey can [also] see out through his white eyepieces, but no one can see in. Running from his elbows to his waist, Spidey's underarm webbing is made of a flexible nylon netting. Beneath his costume's shirt, Spider-Man wears a belt that contains his spider-signal, a miniature camera, and spare web artridges. He keeps meaning to add a change purse, but has never gotten around to it. The major disadvantage of a skintight costume is that there's no room for Peter's street clothes. He either webs them into a ball attached to his back or he leaves them behind.
The Alien Costume
[In the Secret-Wars] Spider-Man found himself on a satellite in a galexy far from Earth. Along with other super heroes, such as Captain America, and super villains, including Dr. Doom, Spidey was brought to the satellite by a near-omnipotent being called the Beyonder. The Beyonder wanted heroes and villains to fight a war on a planet called Battleworld. [There] Spider-Man fought many battles and his costume was left in tatters then he found a machine that could replace ruined clothing. SPider-Man triggered the clothing machine and a round black object sprang from it. It immediately started to spread up Spidey's arm, and didn't stop until it covered his entire body.
After defeating the villains and escaping the Beyonder, the heroes returned to Earth, and Spider-Man took his alien costume with him. The alien costume always seemed to know what Peter wanted, sometimes even before he did. He learned that his new supersuit was capable of generating a seemingly endless supply of webbing, and that it could also change its appearance at will. Peter and his alien costume were always in some kind of psychic contact, even when physically seperated. If the costume was in a different room, it came [slithered] at Peter's summons. [However] each night while Peter slept, the alien costume secretly slipped over him and took the unconscious Spider-Man wall-crawling at night. The web-swinger awoke each morning with no memory of his nocturnal adventures. All he knew was that he felt more exhausted before he had gone to bed.
As Peter's fatigue continued to grow he slept through the entire day and began to have terrible nightmares. So Spider-Man went to Reed Richards (Mr. Fantastic of the Fantastic Four) for help. After an exhaustive series of tests, Mr. Fantastic made a startling pronouncement. Instead of an amazing suit made of some unknown extraterrestrial fabric, Spidey's new costume was actually a living creature. It was a sentient symbiote who had formed a mental and physical bond with the Web-Slinger.
As soon as the symbiote's secret was revealed, it attempted to permanently graft itself to SPider-Man's body. Spider-Man did all he could to escape from the costume, but the symbiote tightened its grip on him, almost crushing Spidey in the process. Luckily ,Reed Richards had discovered that the symbiote was vulnerable to certain sound frequencies. Using theses sound waves, Richards managed to seperate Spidey from the costume. At last our hero was free and the alien was imprisoned.
Later, [during a power failure] the symbiote escaped from the laboratory and pounced on the unsuspecting Spider-Man. In desperation, SPider-Man lured the alien to the bell tower of Our Lady of Saints Church. He knew that the sound of the bells could free him from the symbiote. The alien, knowing that only one of them could survive the ordeal, sacrificed itself to save Peter. [Rid of the old costume Spider-Man went back to his old look.] The Black Cat, however, thought the black costume was sexier [so] she made a cloth version of it as a gift for Spidey. He used both costumes for many months and didn't get rid of his black one until Venom entered his life.
START SPORTS
WHEN SHOULD KIDS START SPORTS?
It's not easy to determine how early to start children in organized sports. Children of the same age vary considerably in their physical and psychological maturation, and there is no practical method of measuring maturity. Assuming the child has shown interest, five or six is the generally accepted earliest starting age for organized team sports. At the early ages participation should be limited to sports that involve a lot of physical activity and encourage the development of major motor muscles.
Children in grades 1 - 4 can benefit most from games that are modified to meet their needs and abilities. Play and fun are more important to this age group than highly structured sports that emphasize the outcome rather than the process. Parents and coaches are usually the ones concerned about winning and losing. When helping your child select a sport, keep balance in mind. Encourage your children to try many sports and activities when young and not to think of specializing or playing competitively until they reach middle school. Make sure a balance also occurs between adult organized activities and free playtime. Children need time to just be kids and to play with other kids without a set of rules or adult involvement.
The most important decisions to make, are which youth sports organizations and which coaches are best for your child. Make sure that you take the time to find out about the league, its leaders and coaches. Better yet, get involved and volunteer to coach. Participating in sports is a healthy way, both physically and socially, for your children to channel their youthful energy in a positive direction. Make sure your children's first experience encourages them to begin a lifelong interest in physical activities and good health.
There are many other options besides team sports available to a child who wants to participate in sports. Parents should also encourage their children to become involved in individual and lifetime sports such as bowling, golf, swimming, tennis, gymnastics and martial arts. You can find information about these sports by visiting the facilities or through the yellow pages of the phone book.
FINDING YOUTH SPORTS INFORMATION
Parents of young children just starting out in sports often find it difficult to locate sports programs. Rarely can you find listings that contain all of the options that are available in the community. Helping you find youth sports programs is one of the functions of the Kids Sports Network (KSN). You can call (210) 654-4707 and KSN personnel will direct you to available youth sports programs. But where else can you find this kind of information?
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For information on youth sports outside the San Antonio area check the answer on our Frequently Asked Question (FAQ) page.
The San Antonio Area Youth Sports Organization page of this website provides information about children’s sports programs in and around San Antonio and Bexar County focusing on non-school sports leagues and events with a special emphasis on team sports. In many cases listed phone numbers contain recorded messages with more information about the program and with directions on how to register or who else to contact. If a number you call is incorrect, or if you simply cannot determine whom to call, contact the Kids Sports Network at (210) 654-4707.
Remember that the registration for many youth sports programs occurs months before actual play begins. For example youth football games start at the beginning of September but registrations may start as early as May or June. If you wait until you see teams practicing, it is often too late to find a place on a team.
Many elementary schools will distribute flyers about youth sports programs. They may also have information relevant to programs near the school. Middle or Intermediate schools are less likely to send flyers home. The number of students is larger and the percentage of students participating in non-school sports tends to drop off during these middle school years.
Community Education departments of school district may also offer classes on some sports, for example cheer, tennis, golf, karate and dance.
Many youth sports organizations now have website or voice mail containing information about their programs. More youth sports organizations now keep a phone number and website even if their volunteer leadership changes.
The telephone directory may have listings for YMCA's, Boys & Girls Clubs and Parks and Recreation facilities as well as some volunteer organizations, Pop Warner, Little League etc. If you call a number listed in the telephone book but no one answers, you may have reached a field number answered only during games. This is happening less frequently as more organizations use answering machines and voice mail.
QUESTIONS PARENTS SHOULD ASK
There are a number of key questions parents should ask about a youth sports program before enrolling their child. You always have the right to ask questions, even when volunteers run the league. The following thoughts and questions can help you evaluate a youth sports program.
Program Organization: Who is in charge of the program? Who can you contact if you have a problem or question? Who sponsors the league (YMCA, private organization, etc.)? Do they have a written set of goals and program guidelines? How much are registration fees? Were does the money go? Do they have a written budget for you to see? Is it a developmental or competitive league? (Programs for kids 12 and under should concentrate on skill development, exercise and fun.) How long is the season? How frequent are practices and games? What kind of equipment is used and who is responsible for providing it?
Safety: Is protective equipment necessary and is it used properly? Is a medical exam required to participate? Is the playing area safe for practices and games? Does the league have injury insurance? Is someone trained in Red Cross or emergency procedures? (Coaches should have some basic first aid training.) Is physical conditioning important for the sport and is it provided?
Psychological and Developmental Factors: Is emphasis placed on enjoyment and participation? Are there separate divisions for different skill levels? Will kids be cut from a team? (Try outs that involve cuts should be permitted only above the age of 12 and then only if the child has the option of playing on a less competitive team.) Are opponents thought of as the enemy? Are game rules adapted to the child's skill development, age and size?
Quality of Adult Leadership: How are coaches selected? What kind of training has the coach received? (He/she should understand the psychology of working with the kids in sports, basic injury prevention and treatment techniques, team and practice organization and how to teach sports fundamentals to kids.) Are referees trained and evaluated? Were background checks conducted on coaches and referees before they were accepted? Measures of Success: How is success measured? (There should be ways other than winning for children to achieve success.) Are all team members rewarded in some way for their success or the progress they have made? How much emphasis is placed on making the all-star team or play-offs or receiving a trophy?
Conclusions: You don't have to ask all of these questions and you may have others that you feel are more important. As your questions are answered you will develop a "feel" for the organization. If you are uncomfortable with what they have told you, look for another organization.
FINANCING YOUR CHILD'S SPORTS EXPENSES
Just like everything else in life, it costs money to operate a youth sports program. Youth leagues usually pay for the use of the playing fields and courts, as well as their upkeep, electricity, water, etc. In addition, referees must be paid, uniforms and equipment purchased, and if the league is affiliated with a national organization, they must pay insurance and other fees to their national office.
Thus, to some extent, all leagues must develop revenue sources. These sources include fund raisers, concession stand sales and registration fees. Fees for an eight to ten week sports league could range from as little as $10 per child to over $100. Most youth leagues have a scholarship policy that permits parents to obtain free or reduced price registration. This is usually based on a written petition from the parents. If you have an honest need for financial support, you should always inquire about scholarships before you decide not to register your child in a sports league. You'd be surprised how often the league will assist.
There are also a number of organizations in San Antonio that charge a lower registration fee because they receive funding support from governmental or private agencies or businesses. For example, the San Antonio Parks and Recreation Department charges only $5 for many of their youth programs. Other sports programs with low or no fees are the Boys & Girls Clubs, Police Athletic League and the Dreams for Youth programs run by the San Antonio Sports Foundation.
Always ask about fees before you register. You deserve to know what the registration fees are and if there are any hidden costs that will surface later. For example, some leagues charge a low registration fee but require each team to purchase its own uniforms. And finally, remember that it's the leadership of the program and not the registration fees that usually determines the quality of your child's sports experience.
SPORTS PROGRAMS FOR YOUTH
There are well over 200 organizations, associations, agencies and clubs in and around San Antonio that offer organized sports programs for youth. Programs range in size from a four team softball league operated by a church to the Spurs Youth Basketball League with over 20,000 participants. We list on our web site many of the contact numbers for youth sports in the San Antonio area. Space and time does not NOW permit the identification of the individual clubs operating under the structure of a larger program such as Pop Warner Football, Little League Baseball or Parks & Recreation Centers.
If you are the President or Point of Contact for a San Antonio area youth sports organization, you can help us by providing us with information on your organization. Please visit our Time Out page for more details. The Kids Sports Network constantly updates its information and every attempt is made to ensure its accuracy. Keep in mind that changes may occur, and some programs may not always be offered.
Many of the phone numbers given are those of volunteers. Please be patient if your call is not answered immediately, or if you are advised that the person you called is no longer involved with the program. If, for any reason, you are unable to reach a particular organization, or if you have information about a program not listed, call the Kids Sports Network at (210) 654-4707. They should be able to provide the information you desire.
PREVENTING INJURIES IN YOUTH SPORTS
The U.S. Consumer Product Safety Commission reports that four million children seek emergency room treatment for sports injuries each year and estimates that another eight million are treated for such injuries by family physicians. In previous generations pro and college athletes only suffered many of these injuries; now kids are subjected to overuse injuries. What happened?
Dr. Lyle J. Micheli, Director of Sports Medicine at Boston Children's Hospital, answered this question in Newsweek a couple of years ago. "The whole complexion of children's sports has changed," he stated. "Organized sports have replaced free play and the sandlot and have brought on 'overuse' injuries caused by micro trauma to the body's tissues. Growing children are predisposed to overuse injuries because of the softness of their growing bones and the relative tightness of their ligaments, tendons and muscles during growth spurts."
"The fact that most of these injuries are preventable raises troubling questions about children and organized sports. I am especially concerned about the quality of our volunteer coaches who form the backbone of non-school organized sports. Although they are well meaning and committed, most are unaware of the child athlete's vulnerability to injury, especially overuse injury."
"Parents must ensure that their children are enrolled in an organized sports program with a certified coach at the helm and should withhold children from programs where certification is not required. When certification becomes widely mandatory it will be a win, win, win situation. Coaches will win: They'll be better trained and more knowledgeable in fitness principles and injury prevention. Parents will win: They'll know qualified personnel are instructing their children. But the biggest winners will be our kids: They'll be better trained and less likely to be injured."
A number of San Antonio youth sports programs have made certification mandatory for their volunteer coaches through the Kids Sports Network certification program. Effective coaches training programs not only address overuse issues but field, equipment and participation safety as well. Parents can also help by alerting league officials to unsafe conditions and practices that might go unnoticed. Education of parents and coaches will not stop all injuries, but will certainly reduce the numbers considerably. For example, if all baseball and softball programs used the newly developed breakaway bases, the incidence of ankle, foot and knee injuries would be reduced by as much as 90% and save hundreds of millions of dollars in medical costs annually.
COMPETITIVE PROGRAMS
Many of the youth leagues and agencies described on this site have more advanced or competitive programs for athletes with above average skills. Each league manages its competitive programs differently but most have common characteristics that include try outs, extra practices or games, experienced coaches, travel and additional fees. While these programs give the exceptional athlete the opportunity to further develop his/her athletic skills in preparation for school competition, parents need to be prepared for the significantly greater time and money commitments they create. When inquiring about these programs, make sure the league provides an opportunity for the young athlete to return to a regular program if he/she does not make the competitive team.
Steroids: Just the Facts
What are steroids? Anabolic androgenic steroids are synthetic derivatives of the male hormone testosterone that are taken to build muscle, enhance performance, and improve appearance. The drug's anabolic or "muscle-building" effects help the body retain protein, a necessary building block for the growth of muscles, bones, and skin. The androgenic or "masculinizing" effects cause the development of a deep voice, facial and body hair, muscle mass, and aggressiveness. Unfortunately, steroid abusers risk a variety of unwanted side effects, some of which are irreversible. Another significant danger includes HIV infection if needles are shared.
Can steroids improve athletic performance?
Although user's report increases in muscle bulk, strength, and endurance, steroids cannot improve agility, athletic skill, and cardiovascular capacity - factors that also affect performance. In addition, there is no conclusive evidence that steroid use decreases recovery time from injuries. In fact, some research asserts that steroid abuse hampers the normal process of wound healing.
Are adolescents at-risk? Teenage and young adult males that participate in athletics are at particular risk for abusing steroids because they believe that steroids can help them enhance their physical performance and their appearance. Ironically, teens are at particular risk of harming their health and permanently changing their appearance in ways they do not expect - acne, stunted growth, female characteristics (in boys), and male characteristics (in girls).
What can parents do? The good news is that youth can be taught to resist social pressures to try drugs, like steroids. Fortunately, public education programs and prevention programs that build resiliency factors and self-esteem in youth can prevent steroid use and experimentation. Parents can help by becoming informed about steroids and by talking to their children about steroid use.
Who should I contact if someone close to me has a problem with steroids?
Contact the Texas Commission on Alcohol and Drug Abuse's toll-free hotline at (800) 832-9623 or your local Council on Alcohol and Drug Abuse for referral assistance. You may also contact your family physician, hospital, or yellow pages for other intervention and treatment options.
This article is provided by the Kids Sports Network and is condensed from an article by:
Games For You
Dirt Bike 5
Description:
Drive over tyres, barrels, ramps and more as you make your way through the challenging bike courses. Be sure to perform as many tricks as possible!
Instructions:
· Accelerate - Up arrow key
· Reverse - Down arrow key
· Tilt backwards/forwards - Left/right arrow keys respectively
· Brake - Ctrl key
· Turn - Space
In the automobile segment, there is a huge need for proper education, which dealers never provide. By education, we mean the knowledge on proper maintenance and operational habits, care of the machine and so on, this is because of the fact that they are more oriented towards achieving a particular sales target and in the process forget about providing the new owner with useful information. Its actually rare to find someone who has been educated at the time of purchase about various aspects of the vehicle he is purchasing.
There was a time when 2 stroke engines ruled the roads and if you had a plan to buy a machine back then, the dealer would have said a lot about the machine even before you actually bought it, But they frequently missed out on informing the new buyer, after he has purchased the vehicle, about the grade of oil to be used in the engine. This reportedly caused a number or engine seizures as the owner simply did not have knowledge and caution on the type of oil to use.
All vehicles, be it big or small, need great care for extended service life and reliability, you would know that not everyone around is directly or indirectly related to the automobile arena so hence a lot of them would just simply follow the principle of ‘fill it, shut it, forget it’.
Each machine has a lot of moving parts and the reality is that most of them depend on each other for proper functioning, if one of them were to fail, then the resulting event would be like a chain reaction which would lead to failures of different kinds. There are spares which can and cannot be serviced and maintained by the average person, some of the spares which can be maintained also happen to be crucial components, they, can also be taken care of quite easily simply with a little spare time and a few basic tools at most.
So how can I maintain the bike myself, you might wonder? Well, here is a list of things which can you can take care of.
Main chain and sprocket
Battery pack
Greasing of joints
Adjustment of Brakes
Washing
Adjustment of Control levers
Adjustment of Hinges (if any).
The above is applicable for almost all kinds of two wheelers. So, come on let’s begin with the DIY…
Main Chain & Sprocket
This is a really important part of the bike, and as you might know, the bike won’t move at all if it’s in bad condition. During the monsoons, bike that have an open chain and sprocket against a covered one would need regular oiling, but at the same time, oiling for a closed chain and sprocket can be done just once in two weeks or something. The conventional way for lubricating chains was by using molten grease. This procedure was quite lengthy and used to take almost 12 hours to complete the job. But now you get special sprays for lubricating the chain system.
Along with the sprays, engineers would also advice on greasing the chain. But an open chain system requires either grease or spray due to the fact that grease or oil is a real magnet for dust and dirt; you might realize this when you look at a well greased chain after a week or so of riding. The usual interval for greasing the chain varies depending on the weather and the riding conditions. It’s usually recommended to grease it once in one or two weeks.
For people who can’t seem to find sprays, or prefer another way of doing it, follow the directions below. There are two methods that I’m explaining here:
1st method: Remove the chain from the machine; Dip it in clean diesel for at least 5-6 hrs. Then use the brush (plastic type bristles) for cleaning the mud out of it, and then re-wash it in clean diesel. If possible, hand it for about 2-3 hours to allow the diesel to drip out of the chain. This process would make the joints and the links on the chain free and smooth, the next step would be to dip the chain in EP90 oil or in 20W40 engine oil. There is no need to buy expensive or branded oils for it. You can buy oil which could be affordable, because the ultimate aim is to clean and lubricate the chain links in order to keep it from rusting, coming back to where we left off, after dipping it in the oil keep it that way for 4-5 hrs. And then allow it to hand in order for the oil to drip away, after you have done all of the above, simply install the chain back onto the machine.
2nd method: This is a more common method used for chain cleaning. Follow the same steps as above until the part where you allow the diesel to drip off from the chain, after that, take about half a kilogram of AP3 grease and heat it up so that it turns into a molten liquid. After its liquid enough, pour the same onto the chain and wait till the grease turns solid. After making sure that the grease is cold, remove the chain from the drive system and remove all the extra grease by wiping with the help of a soft cloth. This would make the chain ready to use again and so you can install it back on to the machine.
Battery
This happens to be an essential spare in a two wheeler. On our Indian roads, the horn and warning lights are an important element, these systems require the battery for functioning.
A battery is made up of lead, which is dipped in acid water. Acid water also means electrolyte, this means that the battery acid can actually damage the paint job and cause corrosion to other parts as well, so when you handle a battery, make sure you do so with care. Also, one common problem that batteries face is the oxidation or terminals. Each battery has a positive(+) and negative (-) terminal and overtime, the reactions in the battery cause these terminals to oxidize and that in turn reduces the voltage it can deliver.
So, how this can be avoided? Well in the market there are special sprays available for battery terminals. ‘Battery Coat’ is the best spray in my opinion and this can be sprayed on the terminals to remove or avoid oxidation. The spray avoids the terminals from direct contact to the air. If the spray is not readily, available then the best and the most conventional way to solve this problem is by using VASELINE petroleum jelly. By applying some amount of petroleum jelly the oxidation will not take place. The main drawback of this jelly is that it has a low melting point and during summer seasons, you might find that you need to do it a little often.
Greasing Points
Control levers, brake springs, brake pedals are some of the common points where its advisable to apply grease. Different climates also dictates the use of different types of lubrication. When it rains, it would be unadvisable to use oil for lubrication as it would get washed away easily. Grease would be the best for the monsoon. In summer as we know the temperature is high and its usually always dry. Generally air flows with dust particles. So in summer using oil is the best option for some of the spares. In rains, generally, the temperature becomes very low. At this time greasing would be the best option rather than oiling. Grease attracts dust very fast and could create resistance in moving parts.
Brake Adjustment
This process is very simple and can save you a lot more than money. Every vehicle would have its own basic tool kit. Generally all motorcycles, scooters have 13mm nut size for adjusting the rear brakes. A suitable tool for this bolt would be in the tool kit. There needs to be a little caution applied when tightening the brakes as a tight setting can jam the brakes and cause a lot of problems like engine and brake overheating and also low mileage, at the same time a loose brake setting can slow your reaction time down. So adjust it as required.
Washing
One of my friends used to wash his Bullet for at least 6-7 hours. Well yes 6-7 hours, wondering why? Passion. He used to wash with brush, diesel, cleaning soap etc.
Many washing centers simply use a soap mixture and a dirty towel (which can really scratch your paint job). They would just do it for the money. You, on the other hand, know your vehicle well and so it would be easy for you to clean it, here are a few tips that can help you. Oil stains can be removed easily by using solvents like diesel or kerosene. First spray some water on the machine and then use diesel or kerosene. Then spray water for cleaning it. If you own a new machine, you can keep its paint looking like that everytime by following some simple steps. Use a soft, clean towel and try to wash the mud (on the painted parts) out rather than scrape it off. Also, as much as possible, use a Ph neutral shampoo. Look on the label before purchasing it. After washing don’t forget to oil or grease the joints or parts as told above. Avoid greasing or oil before wash as it may become useless.
Control Levers
These levers are made up of some kind of alloys. But since it is a moving part that a rider would use frequently, make sure you grease the joints well.
Hinges
These are usually found on Royal Enfield Bullets and Honda scooters. These hinges always require oil and rust cleaner spray to keep rust away and they can break loose if not well maintained.
I have explained how you can easily maintain your bike rather than spend money by sending it to the workshop. No dealer would keep reminding the rider to service the bike all the time. These are factors which the riders would need to keep track of in order for the machine to be in service flawlessly for a long time and always remember, respect the machine, the machine respects you.
Movie
How To Direct A Movie
The best advice an aspiring filmmaker can receive on how to direct a movie is “just do it”. The action associated with those three words tend to frighten first time filmmakers into procrastinating their debut project. Following the below strategies will aid you in facing your fears behind the camera.
Stay within your niche. Debut directors should consider a subject matter they know and are interested in. If you enjoy horror, for instance, make your first film a scary movie. The more you're intrigued by a genre, the more passion will fuel your directorial fire.
Write your own screenplay. Why? Because, starting out, you'll be more comfortable directing your own material. Stress of worrying about turning someone else's written story into a motion picture should be the last thing you need at this point. Directing your own script is a great way to loosen up the fear factor a bit while learning how to direct a movie.
Recruit people you know for actors. Don't listen to outside sources about why not to cast friends and family as actors. You're in the process of learning how to direct a movie. You need people you're comfortable with. Directing a complete stranger while in the learning process can be a very difficult thing. Use this directorial debut to your fullest advantage. Telling your best friend what to do is totally different than telling a complete stranger. Just remember to rehearse your chosen cast. People who've never acted before generally have a hard time appearing natural on camera. Help them the way they're helping you.
The main thing about learning how to direct a movie is having fun in the process. Even as a professional, it's very important to maintain that feeling of excitement about your projects.
Posted on: Jul. 28, 2010
You need to come up with an idea for your movie. Unless you have an imagination the size of Oceania, this will be the hardest part. You could base the film on a popular fairy tale (ie. Rapunzel, Cinderella, Beauty and the Beast), Make a documentary (or, come to that, a spoof documentary; a film about what cuddly toys get up to when kids leave the bedroom, for instance), or come up with your own thing. Often it is best not to rush the creative process - give yourself time to come up with an idea. Also keep in mind your budget and limited resources; if all you have is a camera and a few actors don't try to make a futuristic action film.
Determine what kind of sets, props, costume and actors will be required for your idea and determine whether or not it is possible. It is a bit beyond the budgets of most people to film in a replica space-station, for instance.
3
Secure your actors, props, costumes and locations. If you need a toy violin, borrow one. Ask your granny if she can come over to play the wicked old witch. Get permission to shoot in your sister's bedroom.
4
Prepare your set. Often, it is best to allocate about an hour to do this before your cast arrive. Lighting needs to be sorted out, for one. Also, make sure you have removed any items that are inappropriate to the movie. It is not likely to find a gameboy on a table in Victorian Britain.
5
Film. A tripod is a good idea most of the time, as it is surprising how much hands can shake. Only take it off the tripod if you absolutely need to do a handheld shot. Feel free to be a little fancy with some of your shots and techniques and camera movements; you may surprise yourself and others with your talent in this regard. But also be sure to get plenty of plain, stationary shots to safeguard, just in case you don't have the talent for fancy techniques.
6
Once the filming is over, and the footage is transferred to a computer, you need to edit. A movie-editing program that comes free with your computer, ie. Windows movie maker or iMovie, should be fine for this. Many plugins are widely available on the internet that can enhance your video and audio.
Tips
Many towns have halls that can be rented out if you need a more spacious set.
Fades and dissolves usually look more professional than other transitions, even though you may like them.
Try writing a bit of music to go with your movie. It just gives it that special touch.
Have your actors look over the script and ask them to write down things they would like in the movie. Try to have them in a logical sequence and make sure they are not too outrageous for your movie.
Ideas to be a great Film Director!
Directing a film is the most intensely solitary and intensely collaborative experience you may ever have. On a psychological level, it's about keeping your ego in perfect balance with your need for input, and your vision moving forward with your changing circumstances.
Whether you're running your first independent-film casting call or into your millionth day of shooting, you may find some useful ideas here.
A great movie is about catching the audience on every level.
All the great film directors always say: Direct the stories that you know right now. Express yourself in the films. Put your personal vision in the films.
The main questions a Film Director must answer are:
1. Where do I put the camera?
2. What do I tell the actors?
3. What is the scene about?
David Mamet says that directing a film is about shooting a variety of unaffected shots and then cutting them together to effect a mood and feel.
True creativity is allowing your unconscious to be free.
The audience gets the idea - a house looks like a house.
KISS - Keep it simple, stupid
People look at the most overriding thing in the frame. Human perception goes to the most important thing.
Just be honest in making a movie. Then you'll find that it�s fighting back against you and telling you how to write and shoot it.
IF YOU DON'T KNOW WHAT YOU WANT, HOW DO YOU KNOW WHEN YOU�RE DONE?
"The shots are all you have."
Directing a film is like climbing a mountain. It's frightening sometimes and it's usually lonely but you don't have to climb the whole mountain all at once.
Pick up people along the way who will be a part of your creative team, and you will be a part of theirs as well. That is 50% of Directing a Film
There are no minor decisions in movie making.
Always prepare the groundwork. See that it allows for the lucky accidents to happen. That's what makes a first-rate movie.
The director is in charge of keeping the wheels turning. Handling the moods and egos, the politics and personalities, the insecurities of everyone on set.
It's VALUABLE to have people who challenge you - search for the TRUTH
Tension never helps anything.
ASK YOURSELF:
Does the scene contribute to the overall theme?
Does it contribute to the storyline?
Is the storyline moving in an ever-increasing arc of tension and drama?
As as Director, it's important to understand each and every line that�s in the script.
Good style is UNSEEN style. It is style that is FELT.
"I know the first film I ever saw � it must have been some time in 1924, when I was six or so... was Black Beauty. About a stallion. I still recall a sequence with fire. It was burning, I remember that vividly. And I remember too how it excited me, and how afterwards we bought the book of Black Beauty and how I learned the chapter on the fire by heart � at that time I still hadn't learned to read."
- Ingmar Bergman
What you do with the camera:
-Can make up for a deficient performance
-Can make a good performance better
-Can create mood
-Can create ugliness
-Can create beauty
-Can provide excitement
-Can capture the essence of the moment
-Can stop time
-Can define character
-Can provide exposition
-Can make a joke
-Can make a miracle
-Can tell a story
SHOOTING THE MOVIE
-Be prepared, organized and disciplined. Get body in mental shape.
-Relax in the morning. Do something different to get mind moving.
If your concentration breaks, you know something has gone wrong. Do another take.
A good day is a day the actors don't get bored.
REVIEW THE DAY MENTALLY:
-Did you get what you wanted?
-Do you need additional coverage?
-Is there anything you want to reshoot?
All good work is self-revelation.
Making a movie is going through a series of battles. If you think you�ve won, you will only have to fight them over again.
"Cinema is a matter of what's in the frame and what's out."Martin Scorsese
THE DIRECTOR�S JOB FOR DIRECTING A FILM
To care about and be responsible for every frame of every movie you make. To make the best possible movie you can make.
There's a sensual satisfaction in working in close unions with strong, independent and creative people: actors, assistants, electrics, production staff, props, make-up, costume designers - all those personalities who populate the day and make it possible to get through.
You gradually build up the psychological situation piece by piece, using the camera to emphasize first one detail, then another. The point is to draw the audience right inside the situation, instead of leaving them to watch it from outside. And you can do this only by breaking the action up into details and cutting from one to the other, so that each detail is forced, in turn, on the attention of the audience, and reveals its psychological meaning.
If the camera is always in one position and you don�t cut, you will lose your power over the audience. They will watch the scene without really being involved in it. They won�t understand what the characters are feeling.
If the take is good, move on. Try to improve on something later, not something that doesn't need it, or isn't going to be any better.
Look for something that has style and visual energy.
Given time and freedom, the actors will fall naturally into their places, discovering when and where to move, and you will have your shot.
THE ESSENTIAL PRINCIPALS OF CINEMA HAVE TO DO WITH THE HUMAN NEED TO MASTER AND KNOW THE WORLD.
Think about the music and sound effects the moment you begin directing a film.
Directing a Film is not only creatively handling actors and interpreting the screenplay. It also includes the ability to complete a day's work on time and on schedule. A director who is properly prepared allows for creativity, while planning for the inevitable problems.
A director who is able to think creatively while making instantaneous decisions based upon the pressures of production is a successful director.
"A movie is never finished, only abandoned."
George Lucas
WORKING WITH YOUR CREW WHEN DIRECTING A FILM
-If you want professional reliability from your crew, you must first be a model of professionalism yourself.
-Trust your crew reasonably and they will rise to crisis selflessly
-Have meals and coffee breaks built predictably into the schedule
-Always maintain communication
-Keep abreast of developments
-During breaks, encourage discussion of the production
-Above all, encourage involvement
-Shooting should take place in as calm an atmosphere as possible
-A calm, respectful atmosphere is a necessity
-Choose colleagues carefully
-If you are sympathetic towards the crew's problems, they will be generous when you want their help solving one of yours
DIRECTING THE CREW WHEN DIRECTING A FILM
-Scheduling and communication is a necessity before the shoot
-Make sure everyone knows and keeps to their area of responsibility
-Encourage moment-to-moment communication during the shoot
-Encourage the crew to act supportively towards the TALENT
-Encourage solidarity and maintain professionalism when there are internal disagreements
THE DIRECTOR�S FIVE STAGES OF PRE-PRODUCTION
-Scriptwriting
-Production Design
-Script Analysis
-Cinematography
-Rehearsal
SCRIPTWRITING
-Dissect the script and come up with gameplan
-Write down ideas for images for each scene
-Look for connections to your own past experiences
PRODUCTION DESIGN
-Scriptwriting answers the WHAT questions of the story;
Production Design answers the WHERE AND HOW
-The Director begins the prep process by having conferences with his or her Production Designer, explaining each scene of the script as he or she sees it
-Break down the script, answering: How long will it take, and how much will it cost?
-TWO TYPES OF VISUAL DESIGNS � PICTORIAL AND SEQUENTIAL
----PICTORIAL: Set design, costumes, props, make-up, and any elements that are layered on top of a location and must by built, manufactured or otherwise obtained
----SEQUENTIAL: Skills of the writer, Production Designer, Director, DOP and Editor
-Once locations are secured, the Director develops an overview of the film
SCRIPT ANALYSIS
-After the Director is totally prepared , and the script is in great shape and the locations are locked � NOW it�s time to work out the shot-by-shot plan for each scene and really prepare to start Directing a Film.
-SHOT PLAN � Size of the action, size of the shot, choice of lens and camera angle: HOW DO THEY ALL DETERMINE THE NARRATIVE QUALITY OF THE SCENE?
-What is the Director trying to express?
CINEMATOGRAPHY
-DOP�s major responsibilities are lighting, exposing the film, and executing the framing and camera movement determined by the Production Designer, Director and DOP
-It's a good idea to show the DOP a visual source, illustrating what they�re after stylistically
REHEARSAL TIME
-It is the Director's job to create an environment in which the actors can connect with their impulses and find the unexpected and unpredictable in their work together
-Even in rehearsals, place the frame around the actor - because it always changes the way a scene plays
For the Director, art of learning the craft is having a good sense of what will work before the camera rolls.
DIRECTOR�S JOB To evaluate what portion of the event you want to feature, and from which vantage point.
Some wisdom from people who do it for a living is scattered throughout the article. We've lost most of the attributions, so if you can help us out, CONTACT US using either the link at the bottom of the page or on the navibar!
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