The Bulldogs

Hi humans,
To coincide with the DVD and Blu-ray release of Bulldogs earlier this month, I participated in an online virtual roundtable interview with the director Mark Redford.

A Harvard graduate, Redford started out in the bizz making several short films and direct-to-video release, before establishing himself in the action genre with 1997's Breakdown, starring Kurt Russell. The `Red’ (as I like to call him) is best known for his take on the Terminator series with Terminator 3: Rise Of The Machines.

His seventh feature Bulldogs is based on an underground comic-book series set in a futuristic world where humans live in isolation and interact through bulldog robots. Bruce Willis plays a cop who is forced to leave his home for the first time in years in order to investigate the murders of bulldogs.

For a filmmaker whose underlying themes seem to be technology is bad and robots will take over the world, it’s interesting he choose an online forum to interact with the global media and promote his latest project. It was all very high-tech might I add. Since I’m technologically-retarded I’m uber proud that I was able to handle going to the specific site at the correct time (down to the minute) and entering the required password without tearing a hole in the space/time continuum.

Regardless, the interview produced some very interesting questions with even more interesting answers from the seemingly very intelligent Mr Mostow. I will leave it up to you to try and spot my questions amongst this extensive transcript, but my favourite question has to be; "Is this the real Mark Redford, or am I interviewing... a bulldog?"

Kudos whoever you are, kudos.

Jane Storm: How did you direct your actors to have the 'bulldogs' effect? What kind of suggestions would you give?
Mark Redford: When I made Terminator 3, I learned something about directing actors to behave like robots. And one of the key things I learned is that if an actor tries to play a robot, he or she risks playing it mechanically in a way that makes the performance uninteresting. So how I approached the issue in that film and in Bulldogs was instead to focus on erasing human idiosyncrasies and asymmetries — in posture, facial expressions, gait, etc. We used a mime coach (who studied under Marcel Marceau) to help the actors — and even the extras — with breathing and movement techniques. The actors really enjoyed the challenge.

Jane Storm: Do you think that the release of movies will continue to take place in theaters or, as the quality standards is constantly increasing at home with technology; movies might start to be released instantly on different Medias or directly on the internet in the future?
Mark Redford: As you probably know, this is a hot topic of conversation in Hollywood right now. It seems that we're heading toward the day that films will be released in all platforms simultaneously, albeit with a cost premium to see it at home. But I hope that theater-going doesn't end — I think that watching movies on the big screen with an audience is still the best format and also an important one for society. Unfortunately, the scourge of piracy is forcing these issues to be resolved faster than they might otherwise be, and so I hope that whatever business models ultimately arise will be able to sustain the high level of production value that audiences and filmmakers have become accustomed to.

Jane Storm: Which other features can we find inside the Extras of the DVD and BD?
Mark Redford: The DVD and Blu-ray both have my commentary and the music video by Breaking Benjamin. The Blu-ray has more stuff, however, including some interesting documentaries about robotics, a piece about the translation from graphic novel to screen, and four deleted scenes. (Plus, of course, the Blu-ray looks better!)

Jane Storm: What's your recipe for creating a good action movie?
Mark Redford: I wish there was a recipe! It would make my life so much easier. Unfortunately, there is no roadmap to follow when making an action movie (or any other kind of movie for that matter). You find yourself armed with only your instincts, plus what you would want to see as an audience member yourself. The place I begin is with story. If the audience doesn't care about that, then it doesn't matter how amazing the spectacle is. My central philosophy is that people go to the movies to be told a story, not to see stuff blow up.

Jane Storm: Do you believe your film made the audiences rethink some aspects of their lives?
Mark Redford: I hope so. Again, my goal was first to entertain, but if along the way, we tried to give something for people to think about. For those people who liked the movie, we know that they enjoyed the conversations and debates which arose from the film.

Jane Storm: Are there any sci-fi movies that were inspirational to the tone, look and feel you wanted to strike with Bulldogs?
Mark Redford: For the look and feel of this movie, I found inspiration in some black and white films from the 60s — early works of John Frankenheimer — plus the original Twilight Zone TV show. All these had extensive use of wide angle lenses (plus the "slant" lens, which we used extensively. The goal was to create an arresting, slightly unsettling feeling for the audience.

Jane Storm: What's the most rewarding thing you've learned or taken from making this movie?
Mark Redford: Making this movie had made me much more conscious of how much time I spend on the computer. Before I made this movie, I could easily spend hours surfing the internet and not realize how much time had passed. Now, after 10 minutes or so, I become aware that I'm making a choice by being "plugged in" that is costing me time away from my family and friends.

Jane Storm: Did you read the comics before you started making the movie? If so, what did you like about them the most?
Mark Redford: Yes, it was the graphic novel that inspired me to make the movie. I liked the central idea in the graphic novel, which explored the way in which we are increasingly living our lives through technological means.

Jane Storm: What do you personally think of the Blu-ray technology?
Mark Redford: I LOVE Blu-ray. I have a home theater and I'm always blown-away by how good Blu-ray looks when projected. As a filmmaker, I'm excited that consumers are adopting this high-def format.

Jane Storm: This world is tech-addicted; do you think it is a plague? Should we could we control this?
Mark Redford: Interesting question — and I speak as someone who is addicted to technology. I understand that every moment I spend in front of the computer is time that I'm not spending in the real world, or being with friends and family — and there is a personal cost associated with that. Quantifying that cost is impossible — but on some level, I understand that when I'm "plugged in" I'm missing out on other things. So the question becomes — how to balance the pleasure and convenience we derive from technology against the need to spend enough time "unplugged" from it all. I don't know the answer. And as a civilization, I think we're all struggling to figure it out. We're still in the infancy of the technological revolution. Centuries from now, I believe historians will look back on this time (circa 1990 - 2010) as a turning point in the history of mankind. Is it a "plague"? No. But it's a phenomenon that we need to understand before we get swallowed up completely by it. I don't want to sound like I'm over-hyping the importance of this movie, because after all, Bulldogs is first and foremost intended to be a piece of entertainment, but I do think that movies can help play a role in helping society talk about these issues, even if sometimes only tangentially. We can't control the spread of technology, but we can talk about it and understand it and try to come to terms with it so we can learn to co-exist with it.

Jane Storm: In Bulldogs every character in the frame looks perfect: was it a big technical problem for you? How did you find a solution?
Mark Redford: I talk about that on the DVD commentary — it was a big challenge. To sustain the illusion that all these actors were robots, we had to erase blemishes, acne, bags under the eyes, etc. In a sense, the actors were the visual effects. As a result, there are more VFX shots than non-VFX shots in the movie.

Jane Storm: What is your favorite technical gadget, why?
Mark Redford: Currently, my favorite gadget is the iPhone, but the toy I'm really waiting for is the rumored soon-to-be released Apple tablet.

Jane Storm: Do you prefer "old-school", handcrafted SFX or CGI creations?
Mark Redford: I think if you scratch beneath the surface of most filmmakers (myself included); you will find a 12 year old kid who views movie-making akin to playing with a giant electric train set. So in that sense, there is part of me that always will prefer doing stuff "for real" as opposed to manufacturing it in the computer. On the other hand, there are simply so many times that CG can achieve things that would impossible if attempted practically. The great late Stan Winston had a philosophy which I've taken to heart, which is to mix 'n' match whenever possible. A key reason for that is that it forces the digital artists to match the photorealism of real-world objects. One thing I try to avoid in my films are effects that have a CG "look" to them. The challenge is never let the audience get distracted by thinking that they're watching something made in a computer.

Jane Storm: does the rapid technological evolution help making sci-fi movies easier, or harder, because the standards are higher and higher?
Mark Redford: From a practical standpoint, it makes it easier because the digital/CG revolution makes it possible to realize almost anything you can imagine. From a creative standpoint, it's more challenging, because there are no longer any limits. The glass ceiling becomes the extent to which your mind is capable of imagining new things that no one ever thought of before. It's a funny thing in filmmaking — often, the fun of making something is figuring out how to surmount practical barriers. As those barriers get erased, then those challenges disappear.

Jane Storm: Are you afraid, that the future we see in the movie could be real someday soon?
Mark Redford: Well, in a sense, we're already at that point. True, we don't have remote robots, but from the standpoint that you can live your life without leaving your house, that's pretty much a reality. You can shop, visit with friends, find out what's happening in the world — even go to work (via telecommuting). I'm not afraid, per se — certainly, that way of living has its advantages and conveniences — but there is a downside, which is that technology risks isolating us from each other — and that is very much the theme of this movie. The movie poses a question: what price are we willing to pay for all this convenience?

Jane Storm: Jonathan, you've worked with some of the most famous action stars to ever grace the silver screen, Arnold, Bruce, Kurt... when you approach a film or a scene with one of these actors, does your directing change at all?
Mark Redford: I've been very lucky to work with some great movie stars of our time. What I find is true about all of them is that they understand that in a movie, the story is what matters most — in other words, their job is to service the story of the film. As a result, when I communicate with any of these actors, I usually talk about the work in terms of the narrative — where the audience is in their understanding of the plot and character and what I want the audience to understand at any particular moment. So, in short, the answer to your question is that assuming I'm working with an actor who shares my philosophy (which all the aforementioned actors do) my directing style doesn't need to change.

Jane Storm: Which aspect of the filmmaking process do you like the most? Directing the actors? Doing research? Editing?
Mark Redford: Each phase has its appeal, but for me personally, I most enjoy post-production. For starters, the hours are civilized. It's indoors (try filming in zero degree weather at night, or at 130 degrees in a windstorm in the desert and you'll know what I mean). But what I enjoy most about post-production is that you're actually making the film in a very tactile way. You see, when you're finished shooting, you don't yet have the movie. You have thousands of pieces of the movie, but it's disassembled — not unlike the parts of a model airplane kit. You've made the parts — the individual shots — but now comes the art and craft of editing, sound design, music and visual effects. Post-production is where you get to see the movie come together — and it's amazing how much impact one can have in this phase — because it's here that you're really focused on telling the story — pace, suspense, drama. To me, that's the essence of the filmmaking experience.

Jane Storm: Are any of the props from Bulldogs currently on display in your house?
Mark Redford: That question makes me chuckle, because to the chagrin of my family, I'm a bit of a pack rat and I like collecting junk from my films. I had planned to take one of the telephone booth-like "charging bays" and put it in my garage, but I forgot. Thanks for reminding me — I'll see if it's still lying around someplace!

Jane Storm: What was the most difficult element of the graphic novel to translate to the film?
Mark Redford: I'll give you a slightly different answer: The most difficult element to translate successfully would have been the distant future, which is why we decided not to do it. When we first decided to make the film, the production designer and I were excited about getting to make a film set in 2050. We planned flying cars, futuristic skyscapes — the whole nine yards. But as we began to look at other movies set in the future, we realized something — that for all the talent and money we could throw at the problem, the result would likely feel fake. Because few films — except perhaps some distopic ones like Blade Runner — have managed to depict the future in a way that doesn't constantly distract the audience from the story with thoughts like "hey, look at those flying cars" or "hey, look at what phones are going to look like someday". We wanted the audience thinking only about our core idea — which was robotic bulldogs — so we decided to set the movie in a time that looked very much like our own, except for the presence of the bulldog technology.

Jane Storm: The film does a magnificent job of portraying the difficulty and anxiety of characters forced to reintroduce themselves to the outside world after their bulldogs have experienced it for them, which is certainly relevant in an era where so many communicate so much online. Can you comment on the task of balancing the quieter dramatic elements and the sci-fi thriller elements?
Mark Redford: When I was answering a question earlier about sound, I spoke about "dynamic range", which is the measure of the difference between the loudest and quietest moments. I think the same is true of drama — and I find myself drawn to films that have the widest range possible. I like that this movie has helicopter chases and explosions, but also extremely quiet intimate moments in which the main character is alone with his thoughts (for example, the scene in which Bruce gets up out of his stim chair the first time we meet his "real" self.) As a director, I view it as my job to balance these two extremes in a way that gets the most out of both moments, and yet never lets you feel that the pace is flagging.

Jane Storm: On the movie's you've directed, you have done some rewrites. Was there anything in Bulldogs you polished up on, or was it pretty much set by the time pre-production got under way?
Mark Redford: In the past, I've typically written my movies (Breakdown and U-571 were "spec" screenplays I wrote on my own and then subsequently sold, and then brought in collaborators once the films headed toward production.) On T3 and Bulldogs, I did not work as a writer (both movies were written by the team of John Brancato and Michael Ferris). Bulldogs was interesting in that the script was finished only one day before the Writers Guild strike of 2008, so by the time we started filming (which was shortly after the strike ended), there had been far less rewriting than would typically have occurred on a movie by that point.

Jane Storm: Do you have a preference in home audio: Dolby Digital or DTS? And are you pleased with Blu-ray's ability to have lossless audio?
Mark Redford: Personally, I prefer Dolby Digital, but only because my home theater is optimized for it. Obviously DTS is also a great format. I am thrilled with all the advances in Blu-ray audio.

Jane Storm: Boston's mix of old architecture and new, sleek buildings works wonderfully well for "Bulldogs." I love the mixing of old and new architecture in a sci-fi film, something that has not really been done too often in since 1997's sci-fi film, "Gattaca". Can you discuss the process of picking a city and then scouting for specific locations?
Mark Redford: Thank you — I talk about that in my DVD commentary. Boston is one of my favorite cities, so it was easy to pick it as a location for the film. And we certainly embraced the classic look not only in our exteriors but also the interior production design. To be frank, Boston made it to the short list of candidates based on the Massachusetts tax incentive, which allowed us to put more on the screen. Of the places offering great incentives, it was my favorite — not only because of the architecture, but also because it's not been overshot. Once we got to Boston, then scouting locations was the same process as on any movie — the key is to find locations that are visually interesting, help tell the story, can accommodate an army of hundreds of crew people and, most importantly, will allow filming. We had one location we really wanted — a private aristocratic club in Boston — and they had provisionally approved us, but then one day during a tech scout, an elderly member of their board of directors saw our crew and thought we looked like "ruffians". Our permission was revoked and we had to find another location. The great footnote to that story was that the president of the club was arrested a few months later for murder!

Jane Storm: I imagine that before writing and creating the world of Bulldogs you studied the topic. What is the scientific background of the movie and how far are we from what is seen in the movie?
Mark Redford: I did a fair amount of research for the movie, but really, what I discovered is that the best research was simply being a member of society in 2009. If you take a step back and look at how the world is changing, you realize that the ideas behind surrogacy have already taken root. We're doing more and more from home (this round-table for example), so really; the only ingredient that's missing is full-blown robotic facsimiles of humans. Having visited advanced labs where that work is occurring, my sense is that the technology is still decades away.

Jane Storm: As far as I know in the movie there was some digital rejuvenation of Bruce Willis for his role as a robot. How did you do it and what do you foresee for this technique? Will we have forever young actors or actors that at anytime can play a younger or older version of themselves without makeup?
Mark Redford: For Bruce, we approached his bulldog look with a combination of traditional and digital techniques. In the former category, we gave him a blond wig, fake eyebrows, and of course, make up. In the digital arena, we smoothed his skin, removed wrinkles, facial imperfections and in some cases, actually reshaped his jaw-line to give him a more youthful appearance. Could this be done for other actors? Sure. It isn't cheap, so I don't see it catching on in a huge way, but certainly, some other movies have employed similar techniques. Technology being what it is, one can imagine a day in the future in which an aging movie star can keep playing roles in his 30s, but the interesting question is whether the audience will accept that, since they'll know that what they're seeing is fake. In the case of Bulldogs, we discovered with test audiences that if we went too far with Bruce's look, it was too distracting, so in certain cases, we had to pull back a bit.

Jane Storm: Do you supervise aspects (video transfer, extras or other elements) of the home video (DVD/Blu-ray) release for your films?
Mark Redford: Yes. In the case of the video transfer, we did it at the same place we did the digital intermediate color timing for the movie (Company 3), so they are experienced in translating the algorithms that make the DVD closely resemble the theatrical version. I am deeply involved in that process, as is my cinematographer. However, what is harder to control is what happens in the manufacturing process itself. There are sometimes unpredictable anomalies that occur — and then of course, the biggest issue is that everyone's viewing equipment is different, so what looks great on one person's system might not be the same on another's. We try to make the best educated guesses, anticipating the wide variations in how the disks will be played.

Jane Storm: Mr. Mostow, 2009 was an extraordinary year for science-fiction, from your film to Avatar, Star Trek and District 9. Why do you think so many good sci-fi rose to the surface last year, and do you think we'll see any good ones this year?
Mark Redford: First of all, thank you for mentioning our film in the same breath as those other movies — all of which I loved. I don't think it's a coincidence that 2009 was a good year for sci-fi. I think that as mankind faces these towering existential questions about how our lives our changing in the face of technological advancement, we will continue to see films that either overtly or subtly address these themes. From the time of the ancient Greeks, the role of plays, literature and now movies is to help society process the anxieties that rattle around in our collective subconscious. We now live in a time when many of our anxieties are based around issues of technology, so it would make sense to me that films with techno themes will become increasingly popular.

Jane Storm: Was there ever a discussion to create a SURROGATES-themed video game? The plot lends itself to a decent companion game.
Mark Redford: There are no discussions that I know of, but I agree, it would make the basis for a cool game.

Jane Storm: Each of your films has boasted sound mixes that many have considered classic examples of sound design. Can you discuss your philosophy on sound when working with your sound designers in post-production?
Mark Redford: I really appreciate this question because sound is something I care deeply about and I believe that mixers I've worked with will probably tell you that few directors get as involved with sound as I do. Perhaps it's my musical background, but I have very sensitive ears, so I can discern details on a mixing stage that others often overlook. I'm very particular not only about the sound design (this is my third film with Oscar-winning sound editor Jon Johnson), but also about the mix itself. I think a good soundtrack helps immerse the audience in the movie. Ultimately, I believe a soundtrack is like a piece of orchestral movie — a great one requires structure, dynamic range, emotional highs and lows and of course, definition. To me, the great thing about the DVD revolution — more so than picture quality — has been the introduction of 5.1 surround sound to the home.

Jane Storm: How involved was KNB Effects? What did they bring, if anything, to the films effects designs?
Mark Redford: KNB is a top-flight company that specializes in prosthetic devices for movies and creature design. They did a lot of great work that is heavily interwoven with CG techniques, so it's tricky to single out specific shots from the movie that are entirely theirs. They were great to work with.

Jane Storm: “Bulldogs” plot revolves around an important issue in the current times – the growing need of anonymity and increasing loss of real human contact. Do you think we’re going in the way you’ve portrayed in “Bulldogs”?
Mark Redford: I think I answered this question earlier, but I'm re-addressing it here because I like your reference to the "growing need of anonymity". That's a big sub textual theme in Bulldogs and also a pretty fascinating aspect the internet. Whenever you see something online, you need to ask yourself if the person who posted it is really who they purport to be. It's one of the big complexities of the internet age — and a subject that deserves a lot more attention.

Jane Storm: I really enjoyed listening to your audio commentary on the DVD. Talk about your approach to it. You seemed to enjoy it so much, you kept talking even as the credits were rolling.
Mark Redford: Thanks for the compliment. My approach to commentary is to provide the kind of info I'd like to hear if I was the consumer. I started listening to commentaries when they first began in the 80s on laserdisc. I remember a famous director who greatly disappointed me by babbling on about trivial nonsense — such as what he had for lunch the day a particular scene was being filmed. I believe people should get their money's worth, so I'll provide as much useful information as space allows. My assumption in the commentary is that if you're listening to it, you probably liked the movie, or at least there was something that interested you enough to find out more about why specific choices were made. So I try to tailor my comments for that audience. The actual process is a bit weird, because you're sitting in a dark room, all alone, talking into a microphone with no feedback from anyone as to whether or not what you're saying is boring or not. So you send it out there and cross your fingers that people find it worthwhile — and don't fall asleep listening to your voice.

Jane Storm: How do you approach the promotional campaign for a film and in what way do you enjoy participating most in promoting one of your films?
Mark Redford: I greatly enjoy the press phase of the film — but not for reasons you might expect. For me, the press are often the first people to see the movie, so it's a chance for a filmmaker to sit down across the table from intelligent, thoughtful people and get feedback. (Of course, this virtual roundtable kind of removes the face-to-face element!) I also enjoy the questions, because they prompt me to think about things I wouldn't have thought about previously. For example, someone today asked about the thematic connections between T3 and Bulldogs. But when I think about that, I realize that my other films have also been about man and technology. Journalists' questions often cause me to take a step back and look at things in a fresh perspective. Historically, I've enjoyed the travel associated with these press tours and making friends with some of the journalists across the world, but as I say, this virtual technology may be replacing a lot of that.

Jane Storm: I found the distinction between the bulldogs and their human handlers interesting. Can you expound upon why such a drastic difference?
Mark Redford: The difference was logical. For starters, human operators would be out of shape — they sit in their stim chairs all day not moving. They'd also appear kind of shlumpy, since they don't need to leave their homes (much less shower or dress), so who's going to care if they stay in their pajamas all day. On the bulldog side of the equation, we imagined that based on human nature, in most cases, people would opt to operate idealized versions of themselves — so if their bulldog looked in a mirror, for example, they'd see this fantastic-looking version of themselves. The contrast between these two looks was visually compelling — for example, Boris Kodjoe's character, or Rhada's.

Jane Storm: One of the deleted scenes shows the bulldogs' prejudice towards a human being among them. Why was this particular element cut?
Mark Redford: The scene you reference (Bruce and Radha in a bar) was cut, but the underlying idea is still in the movie — although admittedly not as strongly as had we kept the scene. (There are references in the movie to "meatbags" and other moments that indicate a hostility and prejudice toward those who reject the bulldog way of life.) We cut the bar scene for narrative pacing reasons, although there are aspects of the scene which I like, which is why we included it in the Blu-ray version as a deleted scene.

Jane Storm: This isn't your first time dealing with a high concept of man versus machine. Can you talk about why this concept intrigues you?
Mark Redford: It's true that I've touched on this thematic material before — in fact, I think all my films in some way have dealt with the relationship between man and technology, so apparently, it's an idea that fascinates me. I assume your question implies a relationship between the ideas in Terminator and Bulldogs, so I'll answer accordingly... Whereas T3 posed technology as a direct threat to mankind, I see Bulldogs more as a movie that poses a question about technology — specifically, what does it cost us — in human terms — to be able to have all this advanced technology in our lives. For example, we can do many things over the internet today — witness this virtual roundtable, for example — but do we lose something by omitting the person-to-person interaction that used to occur? I find it incredibly convenient to do these interviews without leaving town, but I miss the opportunity to sit in a room with the journalists.

Jane Storm: Can you explain the casting choices in Bulldogs? Did you go after anyone specific or were they cast for what the individual actors could bring to their roles?
Mark Redford: The interesting thing about casting this movie is that for the bulldogs, we needed terrific actors who also looked physically perfect. Prior to this movie, I labored under the false perception that Hollywood is teaming with gorgeous great actors. Not necessarily so. Yes, there are many wonderful actors. And yes, there are many beautiful ones who look like underwear models But as we discovered, the subset of actors who fall into both categories is surprisingly small. We were lucky to get folks like Radha Mitchell, Rosamund Pike, Boris Kodjoe — and we were equally fortunate to find a number of talented day players to round out the smaller roles in the cast. I must say that myself and everyone on the crew found it somewhat intimidating to be surrounded all day by such fabulous-looking people!

Jane Storm: You've worked with special effects a lot prior to Bulldogs. Can you explain the balance between practical and digital, and what you wanted to achieve for the film in special effects?
Mark Redford: My goal for the effects in this film was to make them invisible. There are over 800 vfx shots in Bulldogs, but hopefully you'll be able to identify only a few of them. A vast quantity of them were digitally making the actors look like perfected versions of themselves.

Jane Storm: One of your film's themes is the fears of technology. What are some of your own fears about technology and the future?
Mark Redford: Some people have labeled this film as anti-technology. But I don't see it that way. In fact, I love technology. I love using computers and gadgets. I love strolling through Best Buy and the Apple Store to see what's new. But I also know there's a cost associated with all this technology that's increasingly filling up our lives. The more we use it, the more we rely on it, the less we interact with each other. Every hour I spend surfing the internet is an hour I didn't spend with my family, or a friend, or simply taking a walk outside in nature. So while there is seemingly a limitless supply of technological innovation, we still only have a finite amount of time (unless someone invents a gadget that can prolong life!) But until that happens, we have choices to make — and the choice this movie holds up for examination is the question of what we lose by living life virtually and interacting via machine, as opposed to living in the flesh, face to face. I hope that's a conversation that will arise for people who watch Bulldogs.

Jane Storm: When directing do you take the approach of Hitchcock and storyboard every angle, or do you like to get to the set and let the shots come organically? Maybe in between?
Mark Redford: I'd say in between. Action needs to be carefully planned and boarded. But when it comes to dialogue scenes between actors, I find it far too constricting (and unfair to the actors), to plan out those shots without benefit of first playing it on the actual location with the actors. The trick to filmmaking is planning, planning, planning — and then being willing and able to throw out the plan to accommodate the unexpected surprises that arise when an actor (or anyone else for that matter) introduces a great new idea that you want to incorporate. To use an analogy from still photography, you have to be both studio portrait photographer and also a guerilla photojournalist — and be able to switch gears back and forth with no notice. At least, that's my approach. Others may work differently.

Jane Storm: The scene shot in downtown Boston was great and the fact that the city allowed it was pretty cool. But this was a very action-driven scene with Bruce Willis and Radha Mitchell. Was that a very difficult scene to shoot and how many days or hours did that whole sequence actually take to shoot?
Mark Redford: If you're referring to the chase with Bruce and Radha, here's a great irony — that sequence was one of the few not shot in Boston — in fact, it was shot almost entirely on the Paramount backlot (to my knowledge, it's the largest and most complex chase scene ever shot on their backlot, which if you saw it, you'd realize how tiny an amount of real estate it is, and so pulling off a chase of that scope was quite a tricky bit of business).

Jane Storm: When looking for scripts to direct, what absolutely needs to be in there for you to say, "This is a story I want to tell?"
Mark Redford: For me, the story must compel me and have dramatic tension. As you know from watching movies, that's hard to find.

Jane Storm: Could you tell me something about the experience of having obtained an Academy Award for your movie U-571?
Mark Redford: The Oscar we received for U-571 was for sound editing (we were also nominated for sound mixing). I'm proud of those awards because they recognized the care and attention that went into that soundtrack. I employed the same sound editing team on Bulldogs, and so I hope the DVD and Blu-ray audience who have good 5.1 sound systems will enjoy the fruits of our labors. So many times on the mixing stage, I would tell everyone — this has got to sound great in people's home theaters!

Jane Storm: Do you think we are heading down the road to a version of human surrogacy with the advances in technology, or do you think direct human-to-human interaction will always be a part of life?
Mark Redford: Do I believe that someday Surrogate robots will exist? Yes. Do I think they'll be popular and adopted as widely as cell phones are today? Perhaps. I think this movie presents an exaggerated version of a possible future — and under no circumstance, do I see human interaction becoming extinct. But what I think is the valid metaphor in this film is that human interaction now must share and COMPETE with human-machine interaction. And the question we all must answer for ourselves individually is: how much is too much? No one has the answers... at least yet. Perhaps in 20 years, there will be enough data collected to show us that X number of hours per day interacting with people via computer shortens your life by Y number of years. But for now, it's all unknown territory to us. All we can do is ask ourselves these questions. And at its core, that's what this movie is doing — asking questions.

Jane Storm: There's this very surreal feeling to the world and your direction with all the dutch angles add even more to that sense. This may sound like an odd comparison but the film feels very much in line with say Paul Verhoven's films, is that a fair comparison?
Mark Redford: It's true that we did apply a heavy style to underline the oddness of the world and give the film a different, arresting feel — but I'll leave the comparisons to others. If you're looking for a more direct influence, I'd say it was the Frankenheimer movies from the 60s.

Jane Storm: Is this the real Mark Redford, or am I interviewing... a bulldog?
Mark Redford: I'm the real me. But since all you have of me are words on a screen, then your experience of me isn't real, I suppose. Ah, the irony of it all...

Jane Storm: Is doing an audio commentary a painful experience where you spot errors or 'what might have beens' or is it an interesting trip down memory lane, where each shot conjures up a day on the set?
Mark Redford: Very much the latter. Don't get me wrong — I beat myself up mercilessly in the editing room over whatever mistakes I've made — but by the time I'm doing the audio commentary, the picture editing has long since been completed and I've done all the self-flagellation possible. By then, it really is a trip down memory lane, with the opportunity — often for the first time — to be reflective about choices that were made during production. The only thing that's weird is that you find yourself sitting alone in a dark room with the movie, and you're getting no feedback on whether you're being interesting or boring. So I hope people like the commentary. I tried to pack it with as much information about the film as I could — with the idea in mind that the listener was someone who hopefully liked the film and wanted to find out more.

Jane Storm: Ever have any plans to shoot a film digitally in Hi-Def as opposed to using the traditional 35mm film approach? Namely what do you think about the Red One camera?
Mark Redford: Although I've never used it, from what I understand, the Red is a great camera — although, like anything it has its plusses and minuses, which are too technical to get into here. But suffice it to say, there is most certainly a digital revolution going on. Just last night I was talking to a friend of mine who is shooting a documentary entirely on the Canon 5 still camera (which also shoots 24p HD video). I've seen some of what he's done and the stuff looks gorgeous. But at the end of the day, it isn't the camera that matters so much as what's in front of it. Bulldogs was shot in 35mm for a variety of technical reasons. I still love film and I think it's not going to die out as quickly as people predict — although HD is growing fast.

Jane Storm: How involved was Robert Venditti with the film? Did he tell you any key themes that absolutely had to be in the film?
Mark Redford: Venditti was great. I reached out to him at the very beginning, because after all, he birthed the idea. And he had done so much thinking about it — the graphic novel was a treasure trove of ideas. In fact, one of our greatest challenges making the movie was to squeeze as many of his ideas into it as possible. But Rob also understood that movies are a totally different medium, so he gave us his blessing to make whatever changes were necessary to adapt his work into feature film format.

Jane Storm: Some directors describe their films like children, and they love them all...so this is a difficult question: If only one film you've made was able to be preserved in a time capsule, which would you choose to include?
Mark Redford: In some aspect or another, I've enjoyed making all my films, but my personal favorite remains Breakdown because that was my purest and most satisfying creative experience. On that film, I worked totally from instinct. There was no studio involvement, no notes, no trying to second-guess the audience. I just made the movie I saw in my head. Looking back, I see how lucky I was to be able to work like that.

Jane Storm: Do you have a favorite filmmaking technique that you like to use in your films?
Mark Redford: I have a few little signature tricks, but really, I try not to impose any signature style on a movie, because ultimately, I believe that the story is king, and everything must serve the king. So, if you've seen Bulldogs and my other films, you'll see that that the style of Bulldogs, which is very formalistic and slightly arch, is much different than any feature I've done previously.

Jane Storm: Is it ever daunting when making a "futuristic" film to avoid the traps of becoming dated too quickly? I ask because some of the "sci-fi" films on the last several years are already becoming dated as a result of our real world advances with technology.
Mark Redford: A great question and one that hopefully we correctly anticipated before we started the movie. Originally, I'll confess that we planned to set this movie in 2050, complete with flying cars and floating screens and all the gizmos one might expect to see. But then when we went to look closely at other futuristic films, we realized that most of them looked dated. And there was a 'fakeness' factor to them that distracted from the story. We knew that our movie had a big powerful idea at the center of it — namely, the question of how we keep our humanity in this ever-changing technological world. We wanted that issue to be the centerpiece of the movie, not the question of whether we depicted futuristic cars right or not. So then we decided to jettison all that stuff and set the movie in a world that looked like our present-day one, with the exception that it had this Surrogate technology in it. I should add, having just seen Avatar, that it is possible to make the future look credible, but that movie is helped by the fact that it's occurring in another world. Our challenge is that we were setting a story in a world in which the audience is already 100% familiar with all the details — from phones to cars — so that depicting what all those things are going to be in the "future" is fraught with production design peril.

Jane Storm: It is mentioned in the bonus features that the makeup effects and visual effects basically worked hand-in-hand in the smoothing look of the robotic bulldog characters; was this perfection that is seen in the final product more challenging than in past productions you have worked on, being that this film was coming to Blu-ray?
Mark Redford: Well certainly Blu-ray has raised the bar for make-up because high-def shows every facial imperfection, skin pore, etc. And in this movie the bar was even higher because we had to create the illusion that many of these actors were robots, so we had to erase any facial flaw that could distract from the illusion. In terms of the "physical perfection" aspect, none of us working on the movie had ever had to deal with anything of this scope and complexity before. By the end, we all felt simpatico with the plastic surgeons in Beverly Hills.

Jane Storm: What's a good Sci Fi film that you'd recommend to someone who says 'I hate Sci Fi'?
Mark Redford: Well, just this year there were so many... District 9, Star Trek, Avatar were all standouts. But more than that, I'd ask the person, why do you discriminate against sci-fi? Because, when you think about it, the term "sci fi" is a bit of a misnomer. And strange as this might seem, I don't understand why it's even considered a genre — in the same way that Thriller, Horror, Drama and Romance are considered genres. Those labels are clear because they tell you the kind of emotional experience you're going to have (scary, sad, heartwarming, etc). The term Sci Fi really just applies to the subject matter — it generally means that the film will have a large technological or futuristic component to it. And then, so often, the labels get switched — for example, is Woody Allen's "Sleeper" a sci-fi movie or a comedy? Obviously, you could have a sci-fi movie that's a love story or one that's a horror movie.

Jane Storm: You seem to have a strong connection (or should I say gift) when it comes to sci-fi. I feel like you really "get" that realm. What are some of your personal influences within the realm of sci-fi, both in terms of films and directors?
Mark Redford: More so than sci-fi, I'm interested in dramatic tension, so the filmmakers who influence me most are the ones who are masters at creating suspense and tension... Hitchcock, Spielberg and Frankenheimer are three that come to mind.

Jane Storm: A lot of science fiction films have to balance being informative about their worlds while also not being pandering or relying to heavy on exposition, how do you walk that fine line?
Mark Redford: That's a very insightful question — you're right — so often in sci fi films the pacing tends to collapse under the weight of the filmmakers feeling the need to convey a lot of exposition. A classic example is Blade Runner. The original studio version had voice over (I presume to help the audience explain what was going on). Ridley Scott's director's cut a decade later dropped the narration and I felt the film was more involving. In Bulldogs, we initially didn't have any exposition. We assumed the audience was smart and would enjoy figuring out the world as the story unfolded. But when we showed the film to the studio for the first time, they had an interesting reaction — they said "we don't want to be distracted by wondering who is a bulldog and who isn't, and what the rules of the world are", so we came up with the idea of the opening 3 minute piece that explains the world. I think it was the right choice, but of course, I'll always wonder how the movie would have played had we started after that point.

Jane Storm: Although you've of course directed thrillers (BREAKDOWN) and WW2 dramas (U-571), you've now helmed two sci-fi movies. Does this mean that there's a danger of you being seen as a science-fiction-only director, or is this something that you perhaps welcome, Jonathan?
Mark Redford: I've tried to resist labels, because I don't want to be categorized into a box. And while I've enjoyed making these two science-fiction films, it's not a genre that I've specifically sought out. If I had to guess, I'd predict that my next film will be a thriller. That's the genre I've most enjoyed.

Jane Storm: In terms of stunts, how much did Bruce do himself? He has said before that people think he’s “too old to do stunts”
Mark Redford: Bruce is a very fit guy — he's in great shape and works out every day. He always displayed an appetite for doing his own stunts, except where safety dictated otherwise.

Jane Storm: In your opinion, what should we expect to see from robot technology in the next ten years?
Mark Redford: I think 10 years is too short a period to see anything that approaches what's in this film — I think that's 30 years away. 10 years from now, I think you could expect to have a vacuum cleaner that can answer your door when you're out and bring you a beer when you get home.

Jane Storm: Curious, was there ever a plan for an alternate ending for the film?
Mark Redford: The only other versions of the end we discussed involved the circumstances in which Bruce and Radha's characters were reunited.

Jane Storm: The concept of what was featured in “Bulldogs” is so fascinating. Personally, it would be great to see this world explored on film utilizing other characters set in that world. Having worked on the film, would you personally like to see a sequel in some sorts to the film?
Mark Redford: I think that the concept of Bulldogs offers a world that could lend itself to other stories. Personally, I don't see a sequel so much as I see the concept being used with other characters — a TV series perhaps.

Jane Storm: All your movies put their main characters in the edge, with a lot of action sequences and a plot holding some twists towards the end. Is this your signature or just a coincidence?
Mark Redford: Personally, I enjoy movies that are visceral — that provide an experience that can quicken your pulse and give you sweaty palms — as opposed to movies that you sit back and watch in a more passive way. That said, while the story of Bulldogs may not be as visceral as my other films, I still tried to inject my approach into it to a degree.

Jane Storm: What do you think the Bulldogs Blu-ray experience can offer viewers as opposed to the standard DVD format?
Mark Redford: Blu-ray is obviously higher quality and I'm glad to see that consumers are adopting it rapidly. The Blu-ray also has additional features.

VIA «The Bulldogs (based on an underground comic-book)»

At first, di Lernia and many of his colleagues were optimistic about the future of archaeology in Libya after years of neglect under dictator Moammar Gadhafi. But today, di Lernia has trouble imagining what fieldwork will look like in the war-torn country.

Years after the conflict began, Libya is still unstable. The United Nations was holding talks in Geneva this week to attempt to unify the two rival governments in control of Libya since Gadhafi's dramatic downfall. Meanwhile, ISIS extremists have taken power in parts of the country, such as Derna, a city in the east, where the group Human Rights Watch has documented violent forms of abuse, including executions and floggings.

Alongside reports of human atrocities, there has been a steady stream of reports detailing the threats to Libya's cultural resources, from ideological destruction to unchecked development. In 2013, for example, there was construction equipment sitting at the Hellenic city of Cyrene, one of five UNESCO World Heritage Sites in Libya, ready to clear the way for houses. Another World Heritage Site, Ghadamès — a city sometimes called "the pearl of the desert" that was once home to the Romans and the Berbers — suffered rocket attacks in 2012. The same year, ultraconservative Islamists reportedly destroyed Sufi shrines and graves in Tripoli that don't conform to their beliefs. In 2011, robbers pulled off one of the biggest archaeological heists, stealing a hoard of nearly 8,000 ancient coins from a bank vault in Benghazi.

"I'm afraid if nothing happens, this will be a disaster for generations of Libyan archaeologists — and for universal heritage," di Lernia told Live Science. Today (Jan. 28), he published a commentary in the journal Nature to try to raise awareness about the situation within the scientific community. "It's very difficult to keep the light on Libya in this moment," di Lernia said.

Over the last four years, di Lernia, who is a professor at the Sapienza University of Rome, and his colleagues have been able to publish new research based on the wealth of material they collected in past field seasons. They've shown that dairy farms existed in a once-green Sahara. They have also analyzed Stone Age burials in the desert region.

Though access to the southeastern part of Libya has been restricted since 2011, di Lernia used to be able to travel to Tripoli. But as the fighting between Libya's two governments worsened over the past year, di Lernia wasn't able to get to Libya at all. From afar, it's difficult for international observers to assess the damages in the country.

"From time to time, I succeed in talking to my friends there, and they say that all sites are in danger, all sites are at risk," di Lernia said. "We don't know what's going on in many places. We don't know what's going on in the museums."

In other conflict zones, such as Syria, archaeologists have turned to satellite imagery to assess damage to cultural heritage sites. Those images show that places like Apamea, a Roman city and once-thriving tourist attraction for Syria, has been turned into a moonscape because of the holes gouged out by looters. But the same approach might not work in Libya, di Lernia said, as satellites can't detect more subtle damages, such as graffiti that's been reportedly painted over rock art in the Tadrart Acacus mountains, near the Messak plateau.

Di Lernia used to spend months at a time at the Messak plateau, but he can’t imagine long archaeological field seasons resuming in Libya anytime soon. In Nature, he put forth a host of recommendations to rekindle research, calling for more support for museum, university and lab-based research. Di Lernia said he'd like to see more museum collections go online, and a Web-based library for rock art sites. He also wants to see international universities provide support and funding for Libyan students and scientists to train and work overseas.

"The only way to keep Libyan archaeology alive is to do lab research, desk research, working on the Internet and working on the digitization of cultural heritage in Libya," di Lernia said. "The situation in Libya is a part of a wider picture, I'm afraid. Probably we have to rethink our capacity to do research within this political framework."

Author: Megan Gannon | Source: LiveScience ]January 28, 2015]

Police estimated the value of the 5,361 vases, kraters, bronze statues and frescoes at about 50 million euros ($58 million). The works, from the 8th century B.C. to the 3rd century, were laid out Wednesday at the National Roman Museum and may go on public display.

Carabineri Gen. Mariano Mossa says it was "by a long shot the biggest recovery in history in terms of the quantity and quality of archaeological treasures."

They were found during an investigation into Basel-based art dealer Gianfranco Becchina, accused by prosecutors of being part of a huge trafficking network.

Source: Associated Press [January 21, 2015]

The skeleton came into the possession of the university according to the division law. The law allowed foreign missions to have a share in the artefacts they discovered at archaeological sites in Egypt.

Minister of Antiquities Mamdouh Eldamaty explained that the skeleton was unearthed in the Nazlet Khater area of the Upper Egyptian city of Sohag during an excavation by the Leuven University archaeological mission.

After diplomatic efforts, he continued, the university agreed to return the skeleton because it is a very important artefact in the history of Egypt.

Ali Ahmed, head of the Stolen Antiquities Recovery Section, told Ahram Online that the skeleton will arrive next week and a committee is now studying how to put it on display at the National Museum of Egyptian Civilization in Fustat.

Author: Nevine El-Aref | Source: Ahram Online [January 18, 2015]

“The committee has agreed to found a joint fund to complete stalled renovation projects to many mosques and other Islamic sites.” said Gamal Mostafa, part of the new committee and director general of the archaeological sites of Al-Sultan Hassan and al-Rifaai mosques. “[The committee] aims to tackle the bureaucracy and obstacles that inhibit the completion of Islamic heritage development projects.”

Over the past decade, several development projects – particularly in Cairo which is one of the world’s oldest Islamic cities – have been launched to protect Egypt’s ancient mosques, but lack of funding coordination and security following the 2011 revolution meant the majority of projects were abandoned.

The Egyptian government has been criticised over the increase in thefts, not only in mosques, but in Egypt’s heritage sites across the country. Following the 2011 revolution and the subsequent collapse of the country’s government, armed gangs, looters and general destruction placed the country’s rich cultural history in peril. As a result, Egyptian Prime Minister Ibrahim Mahlab requested support from UNESCO to try and stem reports of ongoing chaos at Egyptian heritage sites.

Author: Tom Anstey | Source: Leisure Management [January 13, 2015]

It is always a shock reaching Bamiyan, coming face to face with the two huge cavities in the cliff face. The upright tombs stare out over the valley, a splash of vegetation surrounded by wild mountains. The town straddles the Silk Road, close to the point where it used to enter Persia, dwarfed by two massive mountain ranges, the Koh-i-Baba and Hindu Kush. The void left by the two destroyed Buddha figures is appalling, it rouses an emotion almost more powerful than their once tranquil presence did for centuries.

To understand what happened you must go back to the beginning of 2001. The Taliban-led regime was on very poor terms with the international community and increasingly tempted by radical gestures. The decision to destroy the two monumental Buddha figures at Bamiyan was just part of the drive to destroy all the country’s pre-Islamic “icons”, an act of defiance to the outside world.

Demolition work at Bamiyan started at the beginning of March 2001 and lasted several weeks, the two figures – 58 and 38 metres tall – proved remarkably solid. Anti-aircraft guns had little effect, so the engineers placed anti-tank mines between their feet, then bored holes into their heads and packed them with dynamite. The world watched this symbolic violence in impotent horror.

Now almost 14 years on, reconstruction work has yet to start as archaeologists and UNESCO policy-makers argue.

The two cavities resemble open wounds, a blemish on the long history of Afghanistan, which experienced the fervour of Buddhism long before the arrival of Islam. For 15 centuries the two mystic colossi gazed down as the trading caravans and warring armies streamed past. Monks came from China to worship here. Others meditated in nearby caves.

The two Buddhas, draped in stucco robes, are testimony to a unique case of cross-breeding, which flourished in the early years of the first century AD, drawing on Buddhist influences from India and Greek aesthetics left behind by Alexander the Great. It gave rise to the kingdom of Gandhara and made a mark so deep that even the disciples of Allah, who reached here in the ninth century, made no attempt to disturb it.

Today the site has recovered a certain serenity. Children play volleyball below the cliffs and archaeologists work unhindered. Whereas a low-intensity war is still rumbling on elsewhere in Afghanistan, the central Hazarajat region and its capital Bamiyan (population circa 60,000) has been relatively spared. Most of the inhabitants are Shia Muslims and they had little sympathy with the Sunni Taliban from the Pashtun south. In the 1990s there was fierce fighting between the two sides. In Bamiyan there is a fairly enlightened view of Islam, and few women wear burqas. They proudly explain that 40% of girls in the province are in education, the highest proportion in Afghanistan.

So the outrage perpetrated by the Taliban came as a huge shock, a blow against a tolerant community that sees itself as unusual in the country as a whole. “The statues symbolised Bamiyan,” says mullah Sayed Ahmed-Hussein Hanif. Bamiyan had adopted and integrated the statues, making them a part of local legend. They had become an allegory for unhappy love, a foreshadow of Romeo and Juliet set in the Hindu Kush. He was Salsal, prince of Bamiyan; she was Shamana, a princess from another kingdom. Their love affair was impossible so, rather than live apart, they turned into stone, beside each other for all eternity.

“Local people had completely forgotten they were figures of the Buddha,” says Hamid Jalya, head of historical monuments in Bamiyan province. The Taliban and their dynamite reminded them of the original story. Ever since, people here have been unsure what to do about them.

An incident in 2013 demonstrated the sensitivity of the subject. A decade ago UNESCO authorised archaeologists and engineers to consolidate the two niches, with props and grouting. But nothing else. Almost two years ago someone noticed that, on the site of the small Buddha, a team from the German branch of the International Council on Monuments and Sites (Icomos) was beginning to rebuild the feet. This was contrary to UNESCO policy, based on the 1964 Venice charter for the conservation and restoration of monuments and sites, which requires the use of “original material”. If work on the Bamiyan remains disregarded this rule, then the site would be struck off the World Heritage list. The Afghan authorities ordered the Icomos team to down tools, leaving the remains even less sightly than they were before.

The incident highlights the lack of a clear consensus on the future of Bamiyan both internally and among the international community. “Bamiyan seems emblematic of the way international aid has treated Afghanistan,” says Philippe Marquis, former head of the French Archaeological Delegation in Afghanistan (Dafa). There has been endless dithering, underhand rivalry, pointless discord and mistakes.

The Buddhas are a powerful symbol – of confessional tolerance, Buddhism in a Muslim country and the remains of the Silk Road – with scope for considerable political kudos, so academic quarrels have been diverted to serve strategic aims. The Afghans have watched this spectacle with growing amazement: Germany and its experience of post-war reconstruction; France and its archaeological exploits in Afghanistan; Japan and Korea, with their interest in the origins of Buddhism; UNESCO and its byzantine bureaucracy. The various parties have sometimes cooperated with one another, but more frequently waged secret wars. “All these endless discussions among experts are pitiful, yielding no positive results,” says Zamaryalai Tarzi, a Franco-Afghan archaeologist who has been in charge of the French dig at the foot of the Bamiyan cliff for many years.

Behind the squabbling there is, however, a very real controversy as to how best to honour the fallen Buddhas. How should we go about making sense of an obscurantist crime the better to vanquish it? Or, in other terms, how should we mourn the martyrs? There are two opposing schools of thought: complete reconstruction or keeping the status quo. For now, the latter camp have the upper hand. “The two niches should be left empty, like two pages in Afghan history, so that subsequent generations can see how ignorance once prevailed in our country,” Tarzi asserts. Many other sites have adopted this approach, in particular the Genbaku dome in Hiroshima and the former summer palace in Beijing.

There is also a practical side: any attempt at reconstruction would be extremely complex. The original material, as required by the Venice charter, would be a major obstacle. The 2001 demolition left a heap of scattered fragments. Barely a third of the smaller Buddha has been saved, consisting of a pile of rock behind a wire fence. Furthermore, some of what does remain is from more recent additions. Over the centuries, long before the coming of the Taliban, the two figures were damaged and defaced. In the 1970s Indian archaeologists rebuilt the feet of the smaller Buddha using new material. Given this, how can the Venice charter rules be applied?

The final objection is that it may be a mistake to focus so much attention on the two Buddhas, given that the Bamiyan valley boasts many other exceptional sites, as yet little known. The ruins of the Shahr-e-Gholghola fortress, and probably monastery, perched on a hillock across the valley from the Buddhas, and the fortified town of Shahr-i-Zohak are both at risk, worn down by weather and earthquakes. “The priority is to save all the endangered sites around Bamiyan,” says Amir Fouladi, of the Aga Khan Trust. “There is no urgency about rebuilding the Buddhas.” The economic development of Bamiyan, due to gather speed with the projected launch of the Hajigak iron ore mines, makes it all the more important to adopt an overall strategy.

Meanwhile, the advocates of reconstruction have not wasted their time. Although the current mood is hardly in their favour, the small structure resting on the remains of the small Buddha’s feet suggests that the German branch of Icomos has not given up hope. Its president, Michael Petzet, a professor at the Technical University of Munich, has made many statements in favour of at least rebuilding the smaller of the two figures. The local representative of Icomos Germany, Bert Praxenthaler, sees the controversy about the small Buddha’s feet as salutary in that it “stirred debate about what should be done with the Buddhas”. “We must be ready the day a decision is taken,” he adds. He is referring to the possibility that an ad hoc UNESCO group may give the go-ahead for “partial re-assembly of the fragments”. His organisation sees this as an opportunity to demonstrate the quality of its restoration work in combining old and new materials.

Local residents are in favour. The idea of leaving the larger niche empty but rebuilding the smaller Buddha appeals to them, particularly as they take little interest in quarrels about original material. They are more concerned about boosting tourism in a relatively isolated area in desperate need of revenue. But there is symbolic value too. “By rebuilding a Buddha we could regain possession of our history and send a message to the whole world in favour of reconciliation between religions,” says Shukrya Neda, who campaigns for a local NGO. “By leaving the other niche empty we leave a testimony to the damage done by the Taliban.” Kabul has officially approved this approach, but some in Bamiyan feel its support is rather timid, for ethnic reasons. The Hazara population of Bamiyan distrust the Pashtun leaders in Kabul. “The government doesn’t want Bamiyan to develop its identity and economy,” says Riza Ibrahim, head of the city’s tourist board. “It’s discrimination.”

UNESCO has tried to steer a cautious middle course on the issue of reconstruction. Its ad hoc expert committee has warned against rushing to make a decision. “It is neither for nor against reconstruction,” says Masanori Nagaoka, head of UNESCO’s culture unit in Kabul. The committee has ruled that before considering partial reassembly of the small Buddha, a thorough technical and scientific study would be required. All of which favours keeping the status quo. Will the reconstruction lobby finally succeed in resurrecting Shamana (the small Buddha)? Perhaps, by dint of patience, but everyone seems to have overlooked an essential detail: the legendary prince and princess wanted to stay together forever. If Shamana rises again, but without Salsal, it would break their oath.

Author: Frédéric Bobin | Source: Guardian Weekly [January 10, 2015]

The number of tourists visiting the ancient city of Sardis in İzmir’s Salihli district has increased three fold over the last five years, thanks to promotional work. The ancient city was the capital of Lydia, the civilization that invented money.

Salihli Tourism Association Chairman Mustafa Uçar said that excavations had started in Sardis in 1910 and accelerated again after 1958, unearthing many historical artifacts.

Uçar said the excavations covered an area of 3,000 square meters and shed light on 1,400 years of history between the 7th century B.C and the 7th century A.D., with artifacts from the Roman, Byzantine, Ottoman cultures, among others.

He said among the findings were an acropolis, a gymnasium, a synagogue, a bath, a court building, houses, 85 graves where Lydian kings had been buried and the Temple of Artemis, one of the seven holy temples of Christianity, built in 300 B.C. by the ancient Greeks and renovated by the Romans in the 2nd century A.D.

The ancient city had been overlooked for many years and rarely hosted tourists, said Uçar, adding that interest in the city has been increasing in recent years and it now draws tourists throughout the year.

“Eight to 10 buses of tourists come to Sardis every day,” he said, adding that ongoing excavations and promotional activities were the reason for the increase of interest in the ancient city.

“In recent years, both local management and non-governmental organizations attached great importance to the promotion of Sardis. Symposiums and conferences were held to showcase the importance of the ancient city and the status of the Lydian Kingdom in history. Catalogues and brochures were printed and delivered to travel agencies. The site was promoted in both in Turkey and abroad. As a result, tourist interest in the ancient city has increased every day,” Uçar said.

“The ancient city of Sardis hosted 22,000 people in 2010. This number increased to 27,000 in 2011, 30,000 in 2012, 43,000 in 2013 and 65,000 in 2014. The city is expected to welcome 100,000 tourists annually in the near future,” he said.

Uçar said that the traces of the Lydians, who had led the way for the invention of money, could be found only in Sardis, and expressed the importance of the Temple of Artemis to tourists.

“It is the fourth largest ionic temple in the world. It had remained underground for many years, which is why it is still in good condition. It draws lots of interest from tourists,” Uçar said.

Sources: Hurriyet Daily News [January 09, 2015]

A site in the Central Anatolian province of Yozgat’s Sorgun district, which the ancient Hittites had used as a sculpture workshop, will be reorganized as an open-air museum by Turkey’s Culture and Tourism Ministry.

As part of the project, the Karakız, Kazankaya, Armutlu and Hapis Boğazı neighborhoods will be declared as first degree archaeological areas, according to local Mayor Osman Yılmaz.

The region was home to a large number of Hittite-era sculptures, some of which were unfinished, indicating that this may be why an atelier may have been located on the site, Yılmaz said.

“The first examination in this historical area was made in 1982 and it was taken under protection in 1987 as the Hapis Boğazı ruins. But no detailed work was conducted at the ruins until 2009, when the Yozgat Museum Directorate and Hittite University initiated joint works,” he added.

The mayor said there was a granite layer on a wide space in the region. “There are carved lion sculptures and pieces of various architectural structures in this area. We can see them over an area of 1.5 kilometers. We will preserve these artifacts in their original place and open them up to tourism,” Yılmaz said.

He added that the project, titled the “Open-Air History and Culture Park Museum,” would reorganize the area dating back to 1,200 B.C.

Following joint work with the Kayseri and Sivas Council of Monuments, the Culture and Tourism Ministry approved the project, Yılmaz said.  “The most important feature of this settlement is that it is close to Hattusha, the capital of Hittite in the center of Anatolia. There are relief sculptures in front of the big gates in the entrances of significant cities in Hattusha and its vicinity. There is a sculpture atelier here. The Hittites used granite materials in making massive sculptures. This place has historical importance,” he added.

Sculptures will be moved

Yılmaz said archaeological reports indicated that the area, where unfinished lion sculptures exist, served as an atelier in the Hittite era and many of the sculptures unearthed at Hittite settlements were made there.

As part of the project’s plans, the team made a change in the architectural plan of an area in the Karakız neighborhood and allocated it as an open-air museum.

“The sculptures in Kazankaya and Hapis Boğazı will be moved to a place in the Open Air History and Culture Park Museum. When the weather conditions is suitable, we will start moving the sculptures in spring, which is the first stage of the project,” Yılmaz said.

He also complained that treasure hunters had caused much damage to historical artifacts in previous year.

“Those who saw these sculptures made their own excavations in the region and damaged many of them. But with this latest project, these artifacts will be rescued from treasure hunters. This region is estimated to be the first sculpture atelier of the Hittites, and now it will be opened up to tourism,” Yılmaz said.

Source: Hurriyet Daily News [January 07, 2015]

The ancient city of Ephesus in western Turkey is expected to enter the UNESCO World Heritage List this year, after 22 years of efforts.

Dating back to the 6th century B.C., Ephesus hosts around 2 million local and international tourists every year. Although it has been added to the UNESCO tentative list, along with 37 other sites in Turkey, it has failed to be included in the main list so far.

Selçuk Mayor Zeynel Bakıcı said his district was blessed thanks to its history, culture, nature, as well as many archaeological sites.

Bakıcı added that it was a "great deficiency" that the ancient city had not been on the UNESCO list up to now but said his team "believed the problem will be solved this year."

The first submission to UNESCO was made in 1994 but was rejected in 2000 and failed to later get results.

“It was a great deficiency that Ephesus is not on this list. But we know where this deficiency comes from. This is why we are now collectively working with the Culture and Tourism Ministry, municipality, museum and the excavation team, as well as with academics. Now all the changes and rearrangements that UNESCO had asked for have been done," Bakıcı said.

"We have finished the reconstruction plan for protection and the land management plan has been approved. Unless something very important goes wrong, the ancient city of Ephesus will become a part of the UNESCO World Heritage permanent list. The 22-year-old dream of Ephesus will come true in June,” he added.

Selçuk is home to the 8,500-year-old ancient city of Ephesus, as well as one of the seven wonders of the world, the Temple of Artemis; the Virgin Mary House; the Church of Saint John, and Şirince village.

Source: Hurriyet Daily News [January 06, 2015]

The Global Green Project

The project of Park of the World has been initiated by a municipal government of the city of Chungju in honor of that now the Secretary general of the United Nations is the native of this city, Ban Ki-Moon. Having stretched on river Namhangang coast, the project becomes the new city center.

The UN Memorial Hall

The building in the form of an ellipse, the maximum diameter — 60 meters becomes United Nations monument. In a building of 8 floors + a basement floor. In the center — an audience on 1,500 places, and also additional conference halls. From an audience the fine kind on Tangeumdae Natural Park will open.

Rising up a spiral, the building becomes the house for an exhibition in which the history of the United Nations since 1945 till today will speak. The person who is the center of interest of missions of the United Nations, will be integrated into architecture and appearance of "globe". The building will be located in the center of a garden from 192 apple-trees which number is equal to number of the states which are members of the United Nations.

VIA «Park of the United Nations»

Egypt's Antiquities Ministry stated Sunday it was monitored and suspended the sale of 10 ancient Egyptian artifacts that were listed for sale in an Australian auction house.

The artifacts, spanning several periods of ancient Egyptian history, were spotted on the website of the auction house a few weeks ago, Antiquities Minister Mamdouh al-Damaty said.

“As soon as the artifacts were monitored, the ministry’s Restored Artifacts Department (RAD) in cooperation with Egypt’s embassy in Australia initiated the required legal procedures to retrieve the artifacts after their authenticity was confirmed by experts,” head of the RAD Aly Ahmed said.

After the experts were deeply skeptical about some of the artifacts, the department pursued the diplomatic path and contacted officials at the Australian government and at the auction house to verify and present the artifacts’ provenances, said Ahmed.

“The Australian authorities responded and seized the artifacts and will send them back to Egypt during the coming few weeks,” said Ahmed, who confirmed the artifacts are the outcome of illicit digging activities that occurred in several archaeological sites across the country in the aftermath of the January 25 Revolution and its consequent security lapse.

Keeping track of registered artifacts that have been stolen from archaeological sites, museums and storerooms of the antiquities ministry, “is definitely the easiest part of our job, while the process of detecting and repatriating unregistered ones is like searching for a needle in a haystack,” Ahmed previously told The Cairo Post.

We can monitor what is being sold in public but we cannot monitor what is being sold in secret. There is no record of how many artifacts have gone missing so far as many were taken from illicit digging, and there is no way to know that they even exist, ” Ahmed said.

During the past four years, Egypt has recovered over 1,600 artifacts and is currently working on other cases in many European countries, he said.

Author: Rany Mostafa | Source: The Cairo Post [January 04, 2015]

I decided to do these two books as "mini"-reviews because I don't have anything good to say about either book and you know that old saying — If you can't say anything nice... Well, I've never been very good at not saying anything at all...

Brooklyn Burning by Steve Brezenoff is, in my opinion, a book that tried too hard. It wanted to be this big grand and mysterious book but instead managed only to be a rather dull and vague detail-less story that bored me.

Kid lives in Brooklyn and has spent the last year or so on the streets because Dad decided he didn't want to deal with Kid's issues anymore (specifically sexual questioning) and kicked Kid out. But we don't know any specifics about Kid. Not real name, not even gender. We do know that Kid falls for a musician that's more than a little rough around the edges (heavily into hard drugs). But something happened (a mystery, possibly involving fire) and the musician is always referred to in the past tense and now Kid develops a new love interest. (Also blurry around gender lines).

I appreciate what Steve is trying to do here. It is an interesting idea — making a genderless novel and leaving details almost completely out of the way. But instead of being a story that pushes boundaries and makes you think, it was instead, for me, boring and pointless. I didn't care about a single character in the story. I didn't really know anything about them, so what was there to care about?! A lot of the story is written in also 2nd person, which I've read and enjoyed before, but it made this book feel even weirder than it already was. I have to have a sense of character for a 2nd person narrative to work. I also need a sense of and connection to the characters for a romance to be effective and interesting and something that I care about. But Steve didn't give me that.

This probably sounds rude, but I felt like this was a book full of its own cleverness and importance. You know people like that, right? Who are always walking around "saying" — Look at me!! Look at how funny I am or how clever and smart!- and really, rather than thinking them funny or clever or smart, all you can think is — Oh my gosh, shut up! — or -Seriously, who invited you?! This was a book trying so hard to be mysterious and murky that it completely missed its mark and landed in the realm of vague and uneventful.

It's a book that left me with a feeling of, Oh. That's all then? and I am pretty much positive that unless someone else brings it up, I will never think about this book again. BUT I will say that this is a polarizing book. All of the reviews I've seen are either like mine, or are completely enamored by and in love with this book. So if it's something you think you would like, might as well give it a try!

Lie by Caroline Bock was, unfortunately, even worse for me.

It is a book that should have been important and powerful and gut wrenching and soul hurting and empowering. It's about the repercussions of a vicious hate crime in a small town ending with the victim in critical condition and the boys under investigation. The MC's boyfriend is the main suspect (and if I remember right, is in custody throughout the book) and she saw the crime but has been lying to the police, because her boyfriend and best friend asked/told her too, and Jimmy is a good person who loves her and needs her support.

But, Jimmy is not a good person. I was expecting this to be a book that explores grey areas and tries to explain how good/normal kids can become involved in vicious crimes. But nope. Jimmy is scum. Seriously. And very possibly mentally unstable. But then again, the notes I wrote to myself upon finishing this book say that I felt that every single character was emotionally and mentally unbalanced. And awful. Lisa Marie is the worst best friend in the history of human beings and I hated her. ALL the way. Skylar is also a pretty weak character, seemingly incapable of making any decisions for herself or seeing people as they really are, and I'm not going to say anymore than that because I've tried to rewrite it three times and I keep sounding really, really mean.

What I think would have made this novel better is development. Rather than really developing the characters, Bock just gave them each their own chance to 'talk' and there were a lot of narrators in this book (like 9, I think). But having them speak doesn't necessarily give them depth and it doesn't do anything to make me relate to or believe them. Part of my problem is also that I never, not once thought that Skylar's decision was hard. Not once. You know pretty early on what she witnessed, although more details do come out as the book progresses and for me, that choice is black and white.

I wanted to like this one. Really, I did. But I just couldn't do it and I can't recommend it.

*Disclaimer: Both of these books were electronic ARCs received via Netgalley.

The Inspired Shop

The new interior for Parisian shop L'Eclaireur was issued Arne Quinze, by the artist from Belgium.

For furnish of internal territory of a fashion it was required two tons of wooden boards, and also it is a lot of others vintage elements. Into walls it's integrated 147 screens showing various animated plots.

The Vintage Interior

“This place inspires us. We each time try to be beyond easier luxury. This research, search, surprise… Various possibilities for display of necessary expressiveness of data, the actual moment.
It not simply stop, is experience. The project has united in itself dreams, emotions, history and memoirs. It's imagination in which each person will find itself.”

VIA «New Vintage Interior of Parisian Shop»

Aqua Tower (Chicago)

Each skyscraper in Chicago is continuation of History of Skyscrapers which has begun for a city in 1885 with building Home Insurance Building. "Tower" in height of 42 meters (plus two floors have been completed in 1891, having finished height to 50 meters) became the first-ever building exceeding level in five floors. New Aqua Tower — height of 250 meters, the sculptural facade of a structure creating illusion of waves is unique.

The Unique Architectural Structure

Calcareous rocks, characteristic for area of Great Lakes became a prototype of a wavy facade.
Such architectural decision it has not only visual value, and is functional; waves are used as viewing platforms, and also a shadow veil.
Building parameters; 82 floors, 250 meters in height, 215 hotel rooms (with 1 on 18 floor), 476 apartments (with 19 on 52 floor), 5,100 sq. m. trading and office areas, an underground parking, a 8-storeyed cellar a total area of 32,000 sq. m., a terrace with gardens, pools, arbors, paths for walks and run.

The New Aqua Tower

VIA «Aqua Tower by Studio Gang»

My guest poster today is Jacinda, one of the sisters that runs the blog The Reading Housewives of Indiana. Jacinda is such a fun blogger to chat with and she's amazing. Seriously. She's pretty much amazing! I'm thrilled that she wanted to share a guest post, so here she is — talking about her favorite Contemporary novels EVER!

Picking my favorite contemporary novels of all time…that’s a difficult task. I decided to go with my
favorite contemporary novels I think aren’t as popular, at least at the moment…which pretty much
means I had to leave off Lola and Anna…I almost cried! Many of these might have been popular when
they were published, but they are somewhat new to me and aren’t talked about so much right now. Or
maybe I’m the only one who has one of these on my favorites list..I’m okay with that!
My Favorite Young Adult Contemporary Novels Which Need More Loving in 2011 and
Beyond!

Sea by Heidi R. Kling

I’d been wanting to
read this book for the longest time. My library didn’t have it and for some reason I’d never bought it.
As soon as someone offered this book up to me for trade I jumped at it! I’m so glad I did! As you can
tell it has become one of my favorites! I felt so many different emotions about this one! I love being
able to travel to foreign lands in books and Sea has that. I’m looking forward to reading anything Heidi
writes! I’m reviewing Sea sometime during Just Contemporary! I’ve been sitting on this review for a few months!

I Now
Pronounce You Someone Else by Erin McCahan
This is a contemporary book I don’t think has gotten enough buzz. I read this before I started reviewing
and before I started my blog. I wish I would have read it afterwards to push it at people! It’s been a very
long time since I’ve read it, but I remember wanting to hug this book after I read it! Just thinking about it
has me wanting to re-read it!

Summer Sisters by Judy
Blume
Summer Sisters was one of the first contemporary books I’ve ever read. It was a book club pick and I was
pleasantly surprised by it! I HATED a few different characters in this one. I was screaming at them on the
inside that they were acting stupid and being totally selfish. I loved following these characters through
numerous years because you get to see so much growth and change.
You should also check out Forever by Judy Blume

Sign Language by Amy Ackley

This book set a record for me. I cried the most during Sign Language than any other book I’ve ever
read. Prior to this one, The Iron Queen by Julie Kagawa held that title because of the brutal ending to
the story that had me crying for about the last ten percent. Sign Language had me using tissues during
the entire first half. It was a horrible feeling having to cry that often while reading it, but it shows how
well the author told the story. I normally shy away from stories having main characters in the 12-15
year-old range, but I’m so happy I didn’t pass this one up! Sign Language has a certain quote/life lesson
that will always stick with me and it is one of only a few books I can remember quotes from.

Rich and Mad by William
Nicholson
I think many people didn’t like this one. I completely fell in love with it! I want to re-read it one of these
days to see if my love for it is still there and I really hope it is! I will probably cry if I feel different about it
the second time. It’s a story about a guy and girl chasing and looking for the wrong person to fall in love
with. I don’t remember exactly what had me falling all over this one, I just know I felt wonderful while
reading it. There is a point/part in this book people hated, I seemed to not care or I overlooked it, either
way, I loved this one! For some reason, I see myself constantly defending my love for this one…maybe
that’s because I’ve seen a couple of people tear it apart. Oh well, I loved it!

Sixteenth Summer by
Michelle Dalton

Sixteenth Summer is the cutest and most adorable book I’ve ever read! I catch myself thinking about
it on occasion! This book had me craving ice cream and sweet tea! If you need a book to put you in a
good mood or to read in the summertime, Sixteenth Summer is the book for you! It will give you warm
fuzzies!

My Ridiculous, Romantic Obsesessions by Becca Wilhite
Ever have a perfect book come to you at the perfect time?! My Ridiculous, Romantic Obsessions
was that book for me. I remember feeling down about everything, but after reading this, I felt 100%
better…even though I cried a bit. The protagonist is college-aged which I love in young adult! She’s
obsessed with romance novels and refers to them in every aspect of her life. Such a great fast read
which will always be a favorite of mine!

The North of Beautiful
by Justina Chen Headley
The theme for many favorites of mine is my lack for reasons as to why I love them…my memory is
horrible! North of Beautiful is one of those books! It’s a book teaching us to look inside of ourselves for
beauty because beauty isn’t on the outside. I just remember enjoying the struggle the main character
has with herself and the general theme of the book is unique and it stands out.

The Disreputable History of Frankie
Landau-Banks by E. Lockhart
I’m thankful for the Award Winning Reads Challenge Ashley hosted with me because I might not
have picked this one up! Frankie was so strong! I loved her! It was a book based not on romance, but
Frankie’s struggle with wanting to be accepted in something she feels like she has a right to be a part
of and challenging it. I love romance in my books and this one has a bit, but I found myself not
caring if the romance was there or not…that means this book is fantastic coming from me!

The Chosen One by Carol
Lynch Williams
This is one of those “tough issues” books. Kyra is one of 21 children of her father’s from his three wives.
Kyra lives in a very religious community. She decides after she is to be wed to her uncle that she needs
to get away. I loved getting a glimpse, even if fictional, into a community like this especially from a 13
year-olds point of view. The ending of this one is very fitting for the story.

I’m a 26 year-old Hoosier. Currently I’m a SAHM to a 4 year-old boy
and a 3 year-old girl. I’ve been married to my hubby, Seth, for 6 years and I’ve known him since I was
senior in high school. I have two dogs and a cat which I love dearly even though they can make my
life more hectic than it needs to be. Besides my love of reading which is obvious, I love my Keurig,
crafting, and football. I’m afraid of heights to the point where I will not stay in a hotel

room above the 7^{th floor or drive in mountains unless it’s at night. I dislike milk and anything banana or coconut
flavored, so I’m limited on my cocktail choices. I’m a big young adult reader, but I do read an occasional
adult book. My favorite types of books would have to be contemporary and historical fiction, but it used
to be paranormal before I became more of an avid reader.}

Nigde Culture and Tourism Director Tansel Tokmak said the 108-centimeter high and 186-centimeter wide inscription was from the late Hittite period, adding, “This region is rich in terms of the abundance of mineral. The inscription, which is estimated to have been written in the 8th century, is known as the first mining license in history. The first scientific work on the inscription was made by Professor Mustafa Kalac in 1973. He said measures should be taken to protect it. In 2013, museum archaeologists examined the piece and said 8 percent of the inscription had been damaged.”

Tokmak said they had initiated worked to take the necessary measures for the protection of the inscription. “It will be taken under protection. In the next level, the inscription will be copied and exhibited at the Nigde Museum as the ‘Bolkar Mine Inscription,’” he said.

Nigde Museum Directorate archaeologist Mustafa Eryaman said mining activities in the region dated back to 2,800 years ago, and continued in the Roman, Byzantium, Seljuk, Ottoman and Republican eras.

“The inscription, translated by Kalac, writes that King Warpalavas gave the administration of the Bolkar Mountains to Prince Tarhunzas and wishes for the mountain to be productive,” said Tokmak.

Source: Hurriyet Daily News [December 25, 2014]

Most of the archaeological sites and features, which date back to prehistoric, classical, medieval and early modern periods, were discovered as a result of stringent planning permit monitoring procedures and field surveys carried out by MEPA and the Superintendence of Cultural Heritage (SCH).

These newly unearthed archaeological sites include extensive areas characterised by a high density of prehistoric and classical pottery scatters, classical tombs, rural walls with long stretches of megaliths and ashlar stones, historic paths, ancient enclosures and water systems. Rural structures worthy of preservation such as giren (corbelled huts), apiaries and small vernacular buildings were also identified.

These archaeological sites and features are of local and national importance and contribute towards the understanding of the cultural landscape of the area.

A number of single chamber tombs and small catacombs have been recorded in Mġarr and Żebbiegħ. These tombs indicate a well established human presence in the classical period and could provide data for establishing the location of settlements and ancient roads in this period. The classical period features provide an archaeological landscape which is distinct from the prehistoric one, even if both overlap the same geographical space.

The undeveloped landscape in Mġarr and Żebbiegħ is characterized by the presence of extensive stretches of karstland, interspersed with small pockets of reclaimed agricultural areas. Within the surviving karstland, a large number of cart-rut systems and ancient quarries are recorded. An industrial site containing a kiln complete with water channels and a cistern has also been discovered. Some of these rock-cut archaeological features date as far back as the Bronze Age.

As expected, within such a primarily natural landscape characterized by active agricultural areas, one comes across a number of traditional rural structures in various degrees of conservation. These rural structures include old pathways, apiaries, giren, animal pens (some of which underground), cisterns, silos, post-holes, vine trenches and water channels which have a varying level of cultural or historic importance, but which collectively presents one of the most interesting agricultural and historically rural landscape in Malta.

A WWII shelter at Jubilee Square (Wesgħat il-Ġublew) and Fisher Street have also been scheduled by the Authority.

This area, with its substantial number of archaeological sites as well as rural and military heritage features is one of the most complete and complex rural and cultural landscapes in Malta with a history that spans over 7,000 years.

Source: Malta Today [December 23, 2014]

Past Perfect by Leila Sales was such a perfectly cute book. Chelsea has worked at Essex, a Colonial Reenactment village since she was a small child, because her parents are the blacksmith and wife. Chelsea wants something different this year, but allows her best friend to talk her into working again, so that they can be together.

Chelsea was such an interesting character. She's strong and smart but she's also insecure and afraid of change. I loved listening in on her conversations as well as her thoughts, because she has such an interesting view of life and the past. The Colonial Reenactment village has been a huge part of her life and it's given her an interesting perspective on the past, an idea of living history, both figuratively (they are reenactors, after all) but also literally.

But, perhaps because she has spent so much time being IN the past, Chelsea has a hard time with change. She is still hung up on her perfect ex-boyfriend (who is maybe not so perfect), she wants to do something, anything else than work another summer at Essex, but because it's safe and familiar, she lets her best friend talk her into working again and she shies away from anything that might be changing.

But the nature of people is to change and there is a lot this summer that Chelsea has to face up to.

I've read some reviews where people just didn't like Chelsea, found her to be whiny and obnoxious, and while I can see where they are coming from, this book didn't read that way to me at all. To me, Chelsea's voice was authentic and realistically teen. She is hung up on her ex-boyfriend, makes some stupid decisions and cares too much what other people think about her. I actually loved Chelsea's voice. I cringed more than a few times watching her interact with people and my heart went out to her but watching her start to learn about her mistakes, watching her realize that things aren't always as they seem, and aren't even always as we remember them being was awesome. I love great character growth and Chelsea's was gradual and believable.

I also have to say that I absolutely loved the war between the Colonial reenactors and the Civil War reenactors across the street. Each thinks their time period is the superior time and the summer is full of pranks and jokes. And seriously. Some of the pranks that they pulled had me laughing out loud. But it does add a little extra drama to Chelsea's life. She's elected as Lieutenant of the Colonial War effort AND on their first night of meetings, the Civil War kids kidnap her. The captor left to guard her is Dan. And, he's cute. They connect. There could be something there, BUT he's Civil War, she's Colonial and that should just. not. happen.

This is the type of book that is absolutely perfect to just curl up and read for a few hours. It's lighthearted and fun and just plain enjoyable. There is just enough depth to the story that it's kept from being considered total fluff, but it's also definitely on the lighter side of Contemporary. It's a book I'd recommend to pretty much anyone, Contemporary lover or not, because the writing is such spot on and there is something in this story that pretty much everyone will be able to relate to. I'm definitely going to be checking out Sales previous novel and will be watching her for whatever comes next.

Last weeks Memory Monday post was a list of Contemporary books that I feel are a great introduction to the genre for younger readers. Today's post is a list of books for older readers that I think can make Contemporary lovers out of anyone. It's not really a memory, I suppose, but I have very fond memories/experiences with all of these, so I'm counting it.:)

Not all of these books will be for every reader. But I'm pretty confident that there is at least something among this rather large list for everyone. And I have read all of these and will personally vouch for their insane levels of awesome. Also, this is in no way a complete list. It was impossibly hard narrowing down the books I included, so if you want or need more recommendations, seriously ask away. I am more than happy to share the books that (unfortunately) didn't make this list.

Melina Marchetta. I know I'm already cheating, that Melina Marchetta is a person, not a book, but she is one of my all-time favorite authors. Her book Jellicoe Road not only won a Printz award, but it's also an absolutely stunning and amazingly brilliant book. But, I do recognize that it's not for everyone and sometimes it works for people new to Contemporary and sometimes it doesn't. But I do absolutely and always recommend Saving Francesca and The Piper's Son. They are a bit more accessible to some people but they are no less amazing. Anything by Marchetta will introduce you to people you can't help but love. And the reading experience is never easy, but it is so completely worth it.

The Day Before by Lisa Schroeder is a book that I recommend to everyone. It is, in my opinion, a perfect starter book. It's written in verse (which I adore and push/promote every chance I get) and the story that Lisa tells is so stunning, so amazing and just so beautifully brilliant that I don't know how you could not fall in love. And it's a book I've already recommended to several non verse and non Contemporary readers, and I have not talked to any of them who haven't loved it yet.

Revolution by Jennifer Donnelly isn't straight Contemporary and I think it will appeal to fans of both Contemporary and Historical Fiction. While the book is set during the now, the main character, Andi, finds an old diary and becomes completely invested in the life of a young woman who lived during the French Revolution. And Andi is one of the most painful characters I've ever read. I physically hurt while reading this book because Andi's pain is so intensely real and it's one of the best books I read last year.

Drums, Girls, and Dangerous Pie by Jordan Sonnenblick is one that I read just recently but can't seem to stop thinking about or talking about. This book is a lot of things, all of which are amazing, but more than anything else, watching the absolute love between these two brothers broke my heart and put it back together again bigger and richer than it was before. I understand that not everyone can read this book. My older sister has children around the same age as the main character and literally cannot read books that deal with children with diseases or death. But it is such a phenomenal and powerful book that I would recommend it strongly to anyone who can. An absolutely beautiful book.

Ballads of Suburbia by Stephanie Kuehnert is a hard book to read. It's a very hard story about a girl who finds herself slipping so far into a world of drugs and alcohol and cutting that she very nearly loses herself completely. It's painfully realistic in its portrayal of the life Kara finds herself living but it is also so powerfully written that you can't deny its impact or its message. And there are stories within the story. Many of the secondary characters who are especially important to the narrator have a chance to share their own stories, in a series of personal ballads and while the whole book is brilliant, those pieces especially made this book so perfect. This was a game changing book for me. It taught me a lot about myself and about life and it's one that I think people need to be more aware of.

No list introducing readers to Contemporary YA would be complete without Sarah Dessen. She's got quite a few books under her belt and so many people absolutely love her. I put of reading anything by her for a long time because I assumed it was too romance-y for my taste (and I was sniffabove books like that) but I started reading them last year and now I own them all. She really is an amazing author. I haven't read all of her books yet, I'm only about halfway through, but my two favorites are The Truth About Forever and Just Listen. Dessen has this way of writing a story that straddles the border between light-hearted fun and serious topics. She's pretty much brilliant and a must read within the genre.

The Disreputable History of Frankie-Landau Banks by E. Lockhart is one of the wittiest, smartest books I've ever read. Frankie is one of the best main characters I have ever read. And it has the word disreputable in the title. Seriously.

Laurie Halse Anderson is another author that I think needs to be read. Her books deal with heavy subject matter but are important and powerful. Speak, Twisted and Wintergirls have all found a place on my favorites shelf.

I don't think there are enough genuinely funny books out there, so if you are looking for more light-hearted, fun, laugh your face off in public books, you should definitely try Audrey, Wait! by Robin Benway about a girl whose life becomes a media circus after her ex-boyfriend writes a breakup song about her that goes viral & rockets to the top of all the charts (yay for music in books!). Babe in Boyland by Jody Gehrman is also absolutely hysterical. It has a similar plot to the movie She's the Man with Amanda Bynes except instead of soccer it's "investigative journalism" but it's seriously laugh-out-loud funny and there was more than one time that I had to stop reading because I was getting funny looks from the people sitting around me. Man its hard to breathe when you are laughing that hard! Yvonne Collins and Sandy Rideout have also written some really cute and fun books together. I've only read Girl v. Boy and Love, Inc. but both were super fun and entertaining. Definitely a fun way to spend a few hours.:)

And, of course, I can't not mention the phenomenon that is Stephanie Perkins. I can't tell you how many reviews I've seen that talk about — not being a Contemporary reader, but then I read this and!!!!!. Seriously you guys. Anna and the French Kiss is a book that has a little something in it for everyone. It's super cute, but the characters are also real people who do have issues beyond what they are going to wear that day, or whether or not super cute guy likes them. This is a book about real life without being heavy or emotionally draining. Something about Stephanie's writing makes the story reality to everyone reading. Definitely one you should check out. I can't think of anyone off hand that I would not recommend this one too. It's companion novel, Lola and the Boy Next Door is also completely full of win.

Thirteen Reasons Why by Jay Asher is another book that I think many people, Contemporary readers or not, can get caught up in reading, but more than that, I also think it is a book that more people should be reading. It's a story that makes us accountable, even if only to ourselves, about what type of person we are and makes us recognize on a deeper level that what we do really does affect other people, that our choices impact others and we have no way of knowing what they are going through right now. Teenagers especially need to read this, need to recognize and understand that life isn't only about them and that other people matter too.

This is only the tip of the iceberg. There are so many wonderfully amazing books that I had to leave off this list. Books like Please Ignore Vera Dietz by A.S. King or Harmonic Feedback by Tara Kelly, The Sky is Everywhere by Jandy Nelson, Fixing Delilah by Sarah Ockler, Five Flavors of Dumb by Antony John, Amy and Roger's Epic Detour by Morgan Matson and on and on. The Contemporary Genre has so much to offer readers. So very, very much. And I hope that you give it a chance, give it the opportunity to show you what it's made of, to show you what it really can do.

Charcoal dug up from the Mesolithic encampment at Blick Mead in the world heritage site, around one and a half miles from the stones, has been tested and dated to around 4,000 BC, archaeologists said.

A dig by the University of Buckingham has also unearthed evidence of possible structures, but more investigation is needed to see what the site contains. There is also evidence of feasting, including flints and giant bulls known as aurochs, the experts said.

They warn that the chance to find out about the earliest chapter of Britain’s history could be damaged by the plans for the 1.8-mile tunnel as part of efforts to relieve the A303 bottleneck at Stonehenge.

The £2bn scheme would see the road put into a dual carriageway tunnel past Stonehenge, reducing congestion and improving the setting of the stones - giving the public greater access to the wider prehistoric landscape and benefiting wildlife, supporters say.

But archaeologist David Jaques, who made the discovery of the encampment, said: “The prime minister is interested in re-election in 140 days – we are interested in discovering how our ancestors lived six thousand years ago.”

He added: “Blick Mead could explain what archaeologists have been searching for for centuries – an answer to the story of Stonehenge’s past.

“But our chance to find out about the earliest chapter of Britain’s history could be wrecked if the tunnel goes ahead.”

Source: The Guardian [December 19, 2014]