The Screengrab : martin mcdonagh

Screengrab Predicts the Oscars: The Winners (Part Five)

Andrew Osborne — Thu, 05 Feb 2009 23:00:00 GMT

BEST ADAPTED SCREENPLAY

And the nominees are...

The Curious Case of Benjamin Button - Eric Roth and Robin Swicord
Frost/Nixon - Peter Morgan
The Reader - David Hare
Slumdog Millionaire - Simon Beaufoy
Doubt - John Patrick Shanley

Paul Clark Predicts: Slumdog Millionaire

It’s the Best Picture nominee, so it’ll win here too.

Andrew Osborne Predicts: The Curious Case of Benjamin Button

Ugh.

Leonard Pierce Predicts: Slumdog Millionaire

It’s a good rule of thumb that the Screenplay Oscars go to the movies that deserve a Best Picture nomination but aren’t going to get one. This year, the screenplay adaptation category mostly consists of movies that, deserving or not, have already received Best Picture noms, leaving the popular and critically acclaimed (and I'd argue overhyped) Slumdog Millionaire to take home the Screenplay Oscar as a consolation prize because it’s not going to get anything else.

Should Win: John Patrick Shanley, Doubt
Will Win: Simon Beaufoy, Slumdog Millionaire

Nick Schager Predicts: Slumdog Millionaire

Rolling, rolling, rolling, keep that Slumdog rolling…

Sarah Clyne Sundberg Predicts: The Reader

Scott Von Doviak Predicts: Slumdog Millionaire

SCREENGRAB CONSENSUS: SLUMDOG MILLIONAIRE

BEST ORIGINAL SCREENPLAY

And the nominees are...

Wall-E - Andrew Stanton, Jim Reardon and Pete Docter
Happy-Go-Lucky - Mike Leigh
Frozen River - Courtney Hunt
In Bruges - Martin McDonagh
Milk - Dustin Lance Black

Paul Clark Predicts: Milk

Wall-E is more a director’s movie than a writer’s movie, and the other three nominees will split the indie vote. So this category will be Milk’s best shot at a win.

Andrew Osborne Predicts: Milk

I’m thinking this is where Milk gets the love it’s denied in the Best Picture and Best Director races, but Wall-E could be a spoiler.

Leonard Pierce Predicts: In Bruges

This one’s quite a bit more open, because only one film is up for a Best Picture Oscar. Milk might seem to be the favorite, but a case can certainly be made for the otherwise-ignored Happy-Go-Lucky and the cult favorite In Bruges. Normally I’d guess that Wall-E would be a lock, but the presence of the animation category might jeopardize its chances. This one could be one of the tightest calls of the year, like I know what I’m talking about.

Should Win: Andrew Stanton & Jim Reardon, Wall-E
Will Win: Martin McDonagh, In Bruges

Nick Schager Predicts: Milk

This may be the tightest race, since it’s likely the only award that both Milk and Happy-Go-Lucky have a legit shot at winning. Given Sally Hawkins’ egregious snub in the Best Actress category, the Academy must not dig Leigh’s latest, so Dustin Lance Black should be at the podium come Oscar night.

Sarah Clyne Sundberg Predicts: In Bruges

Scott Von Doviak Predicts: Milk

SCREENGRAB CONSENSUS: THERE WILL BE MILK!

BEST ART DIRECTION

And the nominees are...

Changeling – James J. Murakami, Gary Fettis
The Curious Case of Benjamin Button – Donald Graham Burt, Victor J. Zolfo
The Dark Knight – Nathan Crowley, Peter Lando
The Duchess – Michael Carlin, Rebecca Alleway
Revolutionary Road – Kristi Zea, Debra Schutt

Paul Clark Predicts: The Curious Case of Benjamin Button

Here’s where Button starts ruling. With its ornate period settings, Duchess could surprise, but I’d say Button has this by virtue of sheer scale, spanning continents, and decades’ worth of sets.

Andrew Osborne, Nick Shager & Scott Von Doviak Predict: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: THE CURIOUS CASE OF BENJAMIN BUTTON

BEST CINEMATOGRAPHY

And the nominees are...

Changeling – Tom Stern
The Curious Case of Benjamin Button – Claudio Miranda
The Dark Knight – Wally Pfister
The Reader – Chris Menges, Roger Deakins
Slumdog Millionaire – Anthony Dod Mantle

Paul Clark Predicts: Slumdog Millionaire

Anthony Dod Mantle, you are a sinner. But on Sunday, February 22, you’ll be a sinner with an Oscar.

Andrew Osborne Predicts: The Curious Case of Benjamin Button

Nick Shager Predicts: Slumdog Millionaire

Scott Von Doviak Predicts: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: NO CONSENSUS!

BEST COSTUME DESIGN

And the nominees are...

Australia – Catherine Martin
The Curious Case of Benjamin Button – Jacqueline West
The Duchess – Michael O'Connor
Milk – Danny Glicker
Revolutionary Road – Albert Wolsky

Paul Clark Predicts: The Duchess

It’s got the frilliest costumes, which is as good an indicator as any, I suppose.

Andrew Osborne and Nick Schager Predict: The Curious Case of Benjamin Button

Sarah Clyne Sundberg Predicts: Milk

I want Milk to win, because why can't costumes from a recent era ever win this category, dammit? But I fear this award may go to The Duchess.

Scott Von Doviak Predicts: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: THE CURIOUS CASE OF BENJAMIN BUTTON

BEST FILM EDITING

And the nominees are...

The Curious Case of Benjamin Button – Kirk Baxter, Angus Wall
The Dark Knight – Lee Smith
Frost/Nixon – Mike Hill, Daniel P. Hanley
Milk – Elliot Graham
Slumdog Millionaire – Chris Dickens

Paul Clark Predicts: Slumdog Millionaire

Both Button and Slumdog have snazzy flashback structures (so do Milk and Frost, come to think). But Slumdog’s is flashier, so it’ll win here.

Andrew Osborne Predicts: The Dark Knight

Nick Schager Predicts: Slumdog Millionaire

Scott Von Doviak Predicts: The Dark Knight

SCREENGRAB CONSENSUS: NO CONSENSUS!

BEST MAKEUP

And the nominees are...

The Curious Case of Benjamin Button – Greg Cannom
The Dark Knight – John Caglione, Jr. and Conor O’Sullivan
Hellboy II: The Golden Army – Mike Elizalde and Thom Floutz

Paul Clark Predicts: The Curious Case of Benjamin Button

Hellboy’s prosthetic work is far more ambitious, but Button will dominate among those who can’t distinguish between the film’s CGI work and its traditional makeup effects.

Andrew Osborne Predicts: The Curious Case of Benjamin Button

Old baby = Oscar!

Nick Schager, Sarah Clyne Sundberg & Scott Von Doviak Predict: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: THE CURIOUS CASE OF BENJAMIN BUTTON

BEST SOUND EDITING

And the nominees are...

The Dark Knight – Richard King
Iron Man – Frank Eulner and Christopher Boyes
Slumdog Millionaire – Tom Sayers
Wall-E – Ben Burtt and Matthew Wood
Wanted – Wylie Stateman

Paul Clark Predicts: Iron Man

This category often goes to something that doesn’t have a lot of other Oscar love (remember when they gave one to The Ghost and the Darkness?). And I just can’t bring myself to vote for Wanted.

Andrew Osborne Predicts: The Dark Knight

Nick Schager: Slumdog Millionaire

Scott Von Doviak Predicts: The Dark Knight

SCREENGRAB CONSENSUS: THE DARK KNIGHT

BEST SOUND MIXING

And the nominees are...

The Curious Case of Benjamin Button – David Parker, Michael Semanick, Ren Klyce, Mark Weingarten
The Dark Knight – Lora Hirschberg, Gary Rizzo, Ed Novick
Slumdog Millionaire – Ian Tapp, Richard Pryke, Resul Pookutty
Wall-E – Tom Myers, Michael Semanick, Ben Burtt
Wanted – Chris Jenkins, Frank A. Montaño, Petr Forejt

Paul Clark Predicts: The Curious Case of Benjamin Button

Dark Knight and Wanted should split the “crash-bang-boom” vote, Wall-E’s visual wonders may (sadly) overwhelm the aural ones, and Slumdog could be too small to prevail here. That leaves Button, a movie the voters clearly like, and which could end up cleaning up the tech categories.

Andrew Osborne, Nick Schager & Scott Von Doviak Predict: The Dark Knight

SCREENGRAB CONSENSUS: THE DARK KNIGHT

BEST VISUAL EFFECTS

And the nominees are...

The Curious Case of Benjamin Button – Eric Barba, Steve Preeg, Burt Dalton, Craig Barron
The Dark Knight – Nick Davis, Chris Corbould, Tim Webber, Paul Franklin
Iron Man – John Nelson, Ben Snow, Dan Sudick, Shane Mahan

Paul Clark Predicts: The Curious Case of Benjamin Button

See Best Makeup.

Andrew Osborne Predicts: The Dark Knight

Well, now, this one’s a real toss-up, but I suspect the Academy considers The Dark Knight more of a special effects movie...because, y’know, Benjamin Button’s all about acting.

Nick Schager and Scott Von Doviak Predict: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: THE CURIOUS CASE OF BENJAMIN BUTTON

THE JEAN HERSHOLT HUMANITARIAN AWARD

And the nominee is...

Jerry Lewis

Paul Clark Predicts: Jerry Lewis

Jerry Lewis will win the Humanitarian Award. And you can take that to the bank.

Andrew Osborne Predicts: Jerry Lewis

I’m hoping we finally get some clips from The Day The Clown Cried.

SCREENGRAB CONSENSUS: JERRY LEWIS

Stay tuned for Mickey Rourke's potato face, Darren Aronofsky's peculiar moustache, Sean Penn's disapproving grimace and Frank Langella's sweet, sweet bumcakes as the Screengrab 2009 Oscar Special continues!

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

Andrew Osborne's Top Ten Movies of 2008 (Part Two)

Andrew Osborne — Sun, 28 Dec 2008 22:46:00 GMT

6. THE WACKNESS

Thoughtful, well-made coming-of-age stories are usually popular, and weed has been making a cinematic comeback lately, so I’m not exactly sure why The Wackness in general and Josh Peck’s charming turn as wistful pot dealer Luke Shapiro didn’t make more of a splash in 2008. Writer/director Jonathan Levine’s evocation of Manhattan circa 1994 feels as specific and lived-in as Ben Braddock’s Pasadena or Lloyd Dobler’s Washington suburb, and it’s hard to think of a better first-love interest than Olivia Thirlby. I posted a full review of the movie back in June when it first charmed me at the Provincetown Film Festival, so rather than repeat all that praise, I’ll just paraphrase Thirlby’s character and say the film wound up on my Top Ten because, in a difficult year, it reminded me to look at the dopeness and not just the wackness.

7. FULL BATTLE RATTLE

Full Battle Rattle is a documentary by Jesse Moss and Tony Gerber about a simulated Iraqi province in California’s Mojave desert, populated by Iraqi-American citizens and U.S. Army “insurgents” in a full-immersion training scenario where soldiers practice both their combat and diplomacy skills before heading off to the real war in Iraq. At first, it’s funny to watch battles interrupted by visits from the ice cream man as the military combines role-playing and stagecraft to create what seems like a strange, gorey theme park or game show (complete with graphically wounded mannequin “casualties,” designed to prepare fledgling medics for the realities of war). But it’s those harsh realities waiting for the participants beyond all the play-acting that provide the film with its emotional core, as we come to know the various players, including an Iraqi immigrant terrified of being deported and an American combat vet who admits, tellingly, that after returning from a tour of duty, it takes him several days to start viewing his Iraqi colleagues as people again (as opposed to potential enemies). By the time the simulation ends and the soldiers we’ve come to know say goodbye to their families and ship out to an uncertain future, the lady next to me in the movie theater was openly weeping, and there seemed to be something in my eye as well.

8. IRON MAN

I’ve gone on record about my utter bafflement over the messianic fervor surrounding The Dark Knight, a good but occasionally clunky superhero movie featuring an entertaining performance by a talented actor who died far too young. But I still don’t see why Heath Ledger’s Brad Dourif-ian performance as The Joker is considered groundbreaking or revelatory: compare its evocation of evil to Dennis Hopper in Blue Velvet and then get back to me. And I’m still not really sure why Batman’s deliberations over civil liberties vs. public safety are especially more profound than Iron Man’s growing awareness of the consequences of war profiteering, except that Jon Favreau’s comic book adaptation takes itself far less seriously while delivering its tightly paced (but not over-written) action payload. Robert Downey Jr.’s performance is nowhere near as flashy or iconic as Ledger’s, of course – a typical downside of playing the good guy – but it’s miles ahead of Christian Bale’s stiff-in-a-suit Caped Crusader. Downey is fun and fascinating to watch, infusing a potentially one-dimensional role with the gravity and humanity of hard-won experience, as well as the humility of a man all too aware he could very easily have shared Ledger’s fate.

9. IN BRUGES

Who is this incredibly engaging, charismatic actor named Colin Farrell, and why haven’t I seen him on the big screen before now? Oh, sure, I’m familiar with his doppelganger: that brooding, constipated Irish guy with the same name who kept threatening to be the next big thing for several years, but never quite arrived thanks to performances in a succession of mezzo-mezzo movies that never quite connected with audiences. But the Farrell who plays the guilt-ridden hit man Ray in Martin McDonagh’s funny, suspenseful crime drama In Bruges is a true movie star, well-paired with Brendan Gleeson as the soulful mentor waiting for the other shoe to drop in the titular Belgian town after a botched assignment brings down the wrath of crime boss Ralph Fiennes (who likewise has never been quite so compelling on screen). The beautiful but claustrophobic confines of the distinctive setting and the pervasive undertow of regret gives Bruges a richer flavor than, say, a fun but ultimately disposable Guy Ritchie offering like RockNRolla, even if McDonagh’s film isn’t ultimately all that much more than the sum of its high quality parts.

10. VICKY CRISTINA BARCELONA

Until three seconds ago, I was planning to include Slumdog Millionaire in the final slot of this list, if only for the energy and scope of Danny Boyle’s storytelling mojo. But as I started to think and write about it, I realized the film as a whole simply left me cold. On the other hand, there was no lack of heat in Woody Allen’s latest comeback film, which is possibly why I have warmer memories of it. Penelope Cruz's performance as the hot-blooded trois in the ménage between Scarlett Johansson’s feckless American tourist and Javier Bardem’s Spanish art stud is probably better than the movie itself, but Allen still has some interesting things to say about the chimerical nature of love, the conflicting desires of the brain, heart and libido and the way smart people consistently outsmart themselves by refusing to acknowledge what they really want, even when they somehow manage to find it. (And, of course, the fact the movie unfolds against a backdrop of gorgeous Spanish locations doesn’t hurt, either.)

Honorable Mention: Wellness, Goliath, Turn the River, American Teen, Pineapple Express, Tropic Thunder, Tell No One, Ghost Town, Burn After Reading, The Bank Job, RockNRolla, Role Models, Quantum of Solace, Slumdog Millionaire, Doubt

Worst Movies I Actually Saw:
Patti Smith: Dream of Life, Indiana Jones & The Kingdom of the Crystal Skull, What Just Happened?

Worst Movie I Didn’t See:
An American Carol

Most Overrated:
The Dark Knight (see above)

Most Overcriticized:
The Happening

Respected More Than Liked:
Synechdoche

TOP TV:
The Wire
Mad Men
The Amazing Race
The Daily Show & The Colbert Report
Survivor: Micronesia & Gabon
Breaking Bad
The Soup
Everybody Hates Chris
Recount
Generation Kill
Project Runway
True Blood

2008 SOUNDTRACK
“No One” – Alicia Keyes
“Pretty Blue” – Moonflower
“Paper Planes” – M.I.A.
“Wichita Lineman” – Glen Campbell
“Single Ladies (Put A Ring On It)” – Beyonce
“Sex Changes” – The Dresden Dolls
“Shoot the Runner” – Kasabian
“Still Alive” – GLaDOS
“Sax Rohmer, Pt. 1” – The Mountain Goats
“M79” – Vampire Weekend
“I Am Commando” – The NorthAtom
“I’m Good. I’m Gone” – Lykke Li
“Belleville Rendezvous” – The Triplets of Belleville (Soundtrack)
“Happy Days Are Here Again” – Barbara Streisand

Click Here For Part One

DVD Digest for June 24, 2008

Paul Clark — Tue, 24 Jun 2008 14:00:00 GMT

This week brings the release of several new Criterions, the latest DVD from a blogosphere favorite, and a box-set tribute to a late, great British director.

For many DVD fans, this is the week that Criterion releases Anthony Mann’s The Furies and Milcho Manchevski’s Before the Rain in stories. But while both of these titles are certainly worthy, the new DVD that most interests me this week is actually Zeitgeist’s Derek Jarman Glitterbox, containing four of the maverick filmmaker’s works. The best-known title in the box is his 1986 film Caravaggio, which features early performances from Sean Bean and Jarman friend/frequent collaborator Tilda Swinton. But also justifying the price are 1993’s Wittgenstein and 1985’s The Angelic Conversation, the latter of which is only available in the box set. Finally, there’s the strange case of Blue, Jarman’s final film, also included here. While watching a film that consists entirely of a blue background accompanied by various voiceovers and sound effects, it’s nonetheless a must for Jarman fans, or even those who are curious about his life. Made as he was losing his eyesight due to AIDS-related illness, Blue is almost certainly the closest Jarman came to making a cinematic confession. You may not watch it again and again, but it demands to be seen at least once, and thanks to DVD, now everyone has that opportunity. Of course, if you’re looking for a more upbeat gay-friendly DVD, there’s always Xanadu: Magical Music Edition (Universal).

This week’s most noteworthy new release comes to us from our friends at Benten Films, Matthias Gleisner’s The Free Will. A prizewinner at the 2007 Berlinale, The Free Will tells the story of a convicted sex offender who finds himself struggling with life following his release from prison. The first foreign-language release from Benten, the DVD also includes a commentary by Gleisner and star/co-writer Jürgen Vogel, along with the film’s original theatrical trailer and a new essay on the film by critic David Fear. As always, it’s good to see what the Benten boys (Andrew Grant and Aaron Hillis) have in store for us, and The Free Will should be no exception.

Other notable recent releases coming to DVD this week include Marjane Satrapi’s Persepolis (Sony, also Blu-Ray), which features both French- and English-dubbed versions; Martin McDonagh’s agreeably salty In Bruges (Universal); Ryan Reynolds romancing a trio of hotties in Definitely, Maybe (Universal); Roland Emmerich’s latest assault on storytelling coherence and subtlety 10,000 B.C. (Warner, also Blu-Ray); The Spiderwick Chronicles (Paramount, also Blu-Ray), Hollywood’s latest failed attempt to create a new Potter-like franchise; John Sayles’ barely-released Honeydripper (Universal); and the strident Ferris Bueller wannabe Charlie Bartlett (MGM).

Finally… like surfing? Own a Blu-Ray player? Then we’ve got good news for you, as Step Into Liquid (Lionsgate) receives a Blu-Ray only release this week. Otherwise, if you’re looking for non-recent releases on Blu-Ray this week, I’m afraid you’re rather stuck.

The Ten Best Cussing Scenes in Movies, Part 1

Phil Nugent — Fri, 22 Feb 2008 14:55:00 GMT

Back in 1970, Pauline Kael, reviewing Robert Altman's M*A*S*H, praised it for its "blessed profanity" and wrote, "I salute M*A*S*H for its contribution to the art of talking dirty." (Altman's father reportedly put it another way, warning members of the family to stay away from the theaters because "Bob made a dirty movie!") There's been a lot of cusswords under the bridge since then, so much that when a playwright-turned-moviemaker such as Martin McDonagh gives his actors some floridly profane lines to speak, it isn't even worth a concerned piece in the Arts & Lesiure section from the kind of writer who'd pitch a fit if language half as dirty turned up on one of his kid's rap CDs. So when somebody has managed to distinguish himself by cussing in a movie in a way that stays with you, a salute is in order. Andrew Dice Clay, watch and learn.

GONE WITH THE WIND (1939)

It may not seem like such a big deal now, but seen in context, at the end of a big old-style Hollywood movie, spoken by Clark Gable in response to a tearful lover's plea, it's easy to imagine what a shocker it must have been at the time. God knows that, sixty years later, my own grandmother was just starting to recover from the shock. You can just see the fabric of civilization starting to come apart.

THE BAD NEWS BEARS (1976)

Kids love to swear. I'm sorry, parents, but it's true. Your little angel is/has been/will someday soon be a potty-mouth. The first phase of cussing is the most innocent one: you know the words are taboo, but have no idea what most of them mean. You never really think through the implications of calling your best friend a "pussy-eating cocksucker" – you simply don't have all the information you need to understand how wrong it is. The thrill comes from learning and then repeating the words, and for us kids who came of age in the 70s, The Bad News Bears was an invaluable resource. Hearing obnoxious little Tanner describe his teammates as "a bunch of Jews, spicks, niggers, pansies, and a booger-eating moron" was liberating not because we were a bunch of racists, Nazis and boogerphobes, but because we knew we'd just learned some new words our parents would kill us for saying. And there's still no more triumphant sentiment in the history of sports movies than Tanner's final kiss-off: "Hey Yankees – you can take your apology and your trophy and shove 'em straight up your ass!"

FULL METAL JACKET (1997)

The training sequences at the beginning of Full Metal Jacket are so famously vulgar, intense and energetic that once they’re over, the air sort of gets let out of the movie for the entire middle passage and doesn’t pick back up until the end. For this reason, it’s often considered a lesser Stanley Kubrick film, which is somewhat unfair; there’s a lot to like about the movie even once Private Leonard Lawrence and Gunnery Sergeant Hartman exit the stage. But oh, that opening sequence! As Hartman, character actor (and actual Marine Corps sergeant) R. Lee Ermey works in obscenity the way that Picasso worked in paint; so staggeringly awful (and hilariously funny) are his vulgar degradations of his raw recruits that by the time he has his final confrontation with Private Pyle, no one in the audience has any trouble believing that someone would want to shoot him. Although Ermey has tried to claim credit for many of Hartman’s lines, what he really brings to the role is the pitch-perfect delivery; most of the lines are taken directly from Gustav Hasford’s novel The Short-Timers, on which the movie is based. There’s a telling moment early in Hartman’s tirade where he singles out Pyle for abuse, after he has committed the crime of laughing at his obscene explosions, but it cuts directly to the heart of the matter: as violent, hateful and repulsive as the sarge’s speeches are, they’re also incredibly amusing. His recruits don’t have the luxury of laughter, but we do.

NETWORK (1976)

In the first on-air flip-out scene by Peter Finch's Howard Beale, the newly fired newsman gazes serenely into the camera and promises to shoot himself on the air because he just can't take "the bullshit" anymore. The real punch line came a couple of years after the movie premiered in theaters, when it was first shown on network TV. CBS, eager to show that they were in on the joke, allowed Beale's supposedly unbroadcastable "bullshits" to go throw uncensored. Bravo! But the scene was followed by one in which the movie's executives gather to discuss what just happened, and they are a foul-mouthed crew. And the soundtrack, on TV, turns into a veritable conga line of bleep!s.

TAXI DRIVER (1976)

"You never had no pussy like that. You can do anything you want with her. You can come on her, fuck her in the mouth, fuck her in the ass, come on her face, man. She get your cock so hard she'll make it explode. But no rough stuff, all right?"

On one level, it's the world's filthiest sales pitch, a street-corner pimp's patter for the passing johns who want to buy what he's selling. But consider the line that precedes these:

"Man, she's twelve and a half years old."

With those eight simple words, Sport's routine becomes something totally different, and altogether more chilling, thanks in no small part to Harvey Keitel's performance. Screenwriter Paul Schrader originally wrote Sport as African-American, but with Keitel standing in that doorway instead of, say, one of the gentlemen Travis sees at the Belmore Cafeteria, the scene takes on a different tone altogether. What might have been written as a scary, foreboding conversation now comes off as almost genial, with Keitel joking around with Travis' squareness before launching into his prepared monologue. It's an inspired touch by Scorsese and his actors, and one that ultimately makes the scene even creepier. It's not simply that Sport is selling wayyyyyyyyy underage girls to passersby, but that it's no big deal to him. In his mind, he's just catering to demand – after all, if nobody paid for twelve-and-a-half-year old prostitutes (it's the "and a half" that makes the line extra-creepy) he wouldn't need to sell them, right?

– Paul Clark, Phil Nugent, Leonard Pierce, Scott Von Doviak

Click here for Part 2.