DC Film Society: Storyboard

April 2003

Confidence - A Film By James Foley

By Cheryl Dixon

Edward Burns is the Player. Dustin Hoffman is the King. Rachel Weisz is the Bait. Andy Garcia is the Law. These and other "A-List," stellar ensemble cast members, which also include Paul Giamatti, Donal Logue, Luis Guzman, Brian Van Holt, Franky G, and Morris Chestnut, interact in the movie, Confidence, an absorbing tale of grifters pulling off a con game in L.A. Skillfully directed by James Foley (Glengarry Glen Ross, The Chamber), this movie is stylish, smart, and sexy. A Lions Gate Film, it opens this Friday, April 25.

With a great script (Screenwriter Doug Jung's first feature film) chock full of memorable dialogue, witticisms and hilarity abound and there are excellent performances all around. Expect to be entertained. This movie is so much fun. It hooks you in early, keeps you guessing until the end, and ties up nicely. I can't remember the last time I laughed so much in a movie theatre.

Dustin Hoffman has never been creepier in his role as the sexually ambiguous "King." Rachel Weisz has never been lovelier in her role as the seductive, tough, yet tender "Lily." Paul Giamatti shines in his role as the quipster "Gordo." But, make no mistake about it; this movie belongs to Edward "Ed" Burns, whose character "Jake" introduces us to the confidence, i.e., "con" game, which is at the heart of this movie. Jake is cool, suave, and, dare I say it? - SELF-CONFIDENT. He's a master of the con game. Ed Burns' portrayal of Jake is convincing and sizzling. His charisma oozes off the screen. He has all the right moves whether in the boardroom as leader of the con artists or in the bedroom with Lily. I had noticed the multi-talented actor/writer/producer/director Ed Burns since his debut with The Brothers McMullen. I must confess, however, that with his character, Jake, looking remarkably like Ben Affleck, I became intrigued. More notes on Jake and observations on the movie follow.

The Player
Jake introduces us to the "confidence game" the technique and style of conning people out of money. There is artistry and grace and must be done tastefully the King concurs.

The Style
The Sting and Pulp Fiction come to mind, but I also thought that this is where Ocean's 11 meets The Score. Director James Foley has embed this movie with his own sense of style, what I call the "MTV influence." The camera work is fluid, and the jump cuts, the score, even the breezy rhythm of the dialogue are probably influenced by Foley's earlier work directing Madonna's videos (remember "Papa Don't Preach"?).

The Story
Here's the gist: Jake Vig, a "sharp and polished grifter" gets involved in a swindling deal that goes horribly wrong. Two guys, Lionel and Big Al, end up dead and Jake discovers that Lionel, the mark, was an accountant for an eccentric crime boss, known as "the King," (Dustin Hoffman). Jake offers to repay the King by pulling off the biggest con of his career by using a corporate loans scheme. The King suggests Morgan Price, a banker with ties to organized crime, as the mark. Jake must deal with an FBI agent Gunther Butan (Andy Garcia) and Morgan Price's henchman Travis (Morris Chestnut) both hot on his tail.

I won't give away any more plot details, except to say that the movie thrives on the element of surprise and plot twists and delights the audience with the cross, double-cross, and triple cross. Production notes reveal that the entire cast and crew were "tightlipped and guarded" as "appropriately enough, a group of con artists."

Quotable Quotes
Kudos to screenwriter Doug Jung on his first feature film. The dialogue had me rolling. To wit:

Hold the phone, are we doing a rendition of 'Our Town'?

If not for principle, do it for money

Everybody's checking me out, male and female

Let's put our dicks back in our pants

So much for honor among thieves

There's a point

A stray dog walking in for a belly rub

There I was in my Armani and Rolex, there he was in J.C. Penney and Timex

A good chess player can see 20 moves deep

The Skinny
Go see this film. Take out your planner and put this on your weekend movie schedule. We've seen heist movies before where everybody's working some angle and everybody wants to get paid. And, in the con game, as in life, everything and everyone are not what they seem. What makes this movie so extraordinarily entertaining is that it draws us more deeply into both the characters involved and into the games that they play with such humor, edginess, intelligence and style. The audience will be guessing and enthralled from beginning to end.

An Interview with director James Foley

By Cheryl Dixon

James Foley. Twenty minutes to talk with the Director who worked with Madonna and on Glengarry, Glen Ross. I had seen Confidence and absolutely loved it, but what to do? So many questions/comments, so little time. I decided to tell him upfront that I loved Confidence and that I thought it was stylish, smart, sexy, and fun. I mentioned that there was great memorable dialogue and excellent performances all around, especially those of Dustin Hoffman, Rachel Weisz, and Paul Giamatti, but that this movie clearly belonged to the cool, suave and sexy, Ben Affleck-lookalike, Ed Burns. In Hollywood pitch-style I said that this movie was "where Ocean's 11 meets The Score." Finally I said that the movie would keep the audience hooked, and keep them guessing until the end. Mr. Foley anticipated my first question, I didn't have to ask:

Storyboard: Why this project?

Foley: I realized that I wanted to make a fun movie. There's something about the breezy surface of the movie that I'm in love with. Doing this movie… it was done in a very pleasurable way. It was like drinking to clear the palette.

Foley mentioned that he kept on getting ready to do a "great' film, a great classic, and the Confidence script came to his attention. He said that he enjoyed doing a great work of cinematic art, which is going to include humor, brightness of the human spirit. He mentioned that after The Corruptor, he wasn't interested in making a film. He had worked nonstop since USC film school. He didn't have to work, so he didn't. He read a bunch of scripts, but nothing really stood out, until he read this one. He said that it was easy to read and he read it in one sitting. When he got to the end, he felt something unique, a pleasurable rush and he realized that he was on to something. He said that he is not driven "by what turns people on in Iowa." He is, however, pleased to watch this film with an audience. He said that this was the most people-pleasing movie that he's made and it has been a pleasure to witness the universal positivism emanating from the theatre audience as he has felt the audible signs of their enjoyment of this movie. That audience satisfaction means more to him than focusing on box office receipts. However, he is fully aware of that bottom-line Hollywood indication of a commercially successful movie. He talked about the director's talent to make a good film being an example of the "good" side of Hollywood.

Storyboard: I noticed the use of strong primary colors, mostly reds and greens and also the birds motif. Would you comment on this? I think I have an idea of where you were going with this.

Foley: The DP uses light-play as much as possible. To some degree you are taping the unconscious. I try to guide so that the technical things are less automatic. You can go on instinct with what looks good and the results are wonderful.

Storyboard: Are you more a hands-on or hands-off Director?

Foley: I am incredibly "hands- on" about everything. Well, gentle hands. You have to know when to apply or relieve pressure … be empathetic and feel and modulate the actors. You have to make the actors aware that you're empathetic. The best actors want to be directed. Once you're on the same wavelength you get incredible results.

I closed the interview after Mr. Foley gave a remarkable analogy. He mentioned the Director's challenge as being one where you have all of this heavy machinery, lights, camera, action on the one hand, and the other that you have up front something quite delicate going on and finding a marriage between the equipment and the art that emerges from it is the task at hand. I didn't get the opportunity to share with Mr. Foley that the Washington, DC Film Society had organized the sold-out D.C. premiere of Glengarry Glen Ross with Producer Stanley Zupnick attending (Ed Harris had to cancel at the last-minute due to a family emergency) and that Film Society members are definitely fans of his work. We now have that opportunity!

Next Cinema Lounge

The Cinema Lounge will be held on Monday, April 14 at 7:00pm to discuss "Hollywood Whipping Boys." Whipping boys--both actors and directors--always get a bum rap. Tell us who your favorite whipping boys are and why.

Cinema Lounge, a film discussion group, takes place the second Monday of every month at 7:00 PM at Borders Books, 600 14th St., NW in Washington, DC (near the Metro Center Metro stop).

A Golden Oscar Night!

By Bonnie Joranko

The stars lost some glitter to the war in the Mideast on Oscar Night, but they still shown brightly and everyone who attended the DC Film Society's "Capital Oscars" Party basked in the glow.

Those who chose to participate in a night of movies and stylish outfits were able shed their Code Orange worries for a few hours, and enjoyed the excitement of watching the Academy's 75th Awards ceremonies and took home a plethora of prizes and gifts. No one left empty handed, and a number of people went home with some fabulous prizes from the Silent Auction including numerous autographed film memorabilia, dinners, tickets and weekend stays. The most popular item? A wonderful weekend stay at the Radisson Barcelo Hotel.

Our own local hosts, area film critics Joe Barber and Bill Henry, did a splendid job of hosting the party here at the Arlington Cinema 'N Drafthouse while Steve Martin was doing his duties at the Kodak Theatre in Hollywood. It's amazing how much shorter the commercial breaks seem while the hosts are handing out prizes and announcing the DC Film Society's "Best of 2002" winners. For once, commercials don't seem quite long enough.

There's really no comparing watching the show, live, on a movie screen with a crowd of film-lovers and watching it at home, alone, on television. There is an amazing current of excitement and fun when watching the Academy Awards at this 11th Annual Event where everything becomes bigger! The picture is bigger, the laughs are funnier, and the thrills and surprises are more intense. If you were unable to come this year, we hope you'll come join us next year.

Filmfest DC Back for its 17th Year!

Festival to Highlight Politics in Film for First Time

Politics in Film will be a highlight of this year's Washington, DC International Film Festival, to be held April 23 through May 4. "Given the times we live in and that our festival takes place in the Nation's Capital, it is appropriate that we pause to explore how international filmmakers grapple with the relationship between people and government, and the effect politics has on our daily lives," said Tony Gittens, the festival's founder and director.

Included in the section are Costa Gavras' Amen, the American premiere of The Last Witness (Korea), Bus 174 (Brazil), Jiyan (Kurdistan), Rachida (Algeria), Slogans (Albania), Veiled Appearances (Iran), Guerreros (Spain), and Unprecedented: The 2000 Presidential Election. Other films will be included in the program and panels with guest directors will be presented.

Filmfest DC 2003 will celebrate its 17th year with more than 100 features, documentaries, short films, a festive opening night gala sponsored by The Independent Film Channel, an event showcasing newly restored silent classics with live musical accompaniment, and a closing night event. This year's 12-day festival will include new films from Argentina, Australia, Brazil, Canada, China, Cuba, France, Germany, Greece, Iceland, India, Iran, Israel, Italy, Mauritania, Mexico, Russia, Spain, Switzerland, Thailand, and Tunisia.

Popular free programs offered this year include a new discussion series called Reel Talk, covering timely film related topics and featuring special guest film directors and critics; a Director's Roundtable, which is a unique opportunity to listen as directors discuss their work; Filmfest DC for Kids; Cinema for Seniors; and the Global Rhythms series of music related films.

Tickets will cost $8.50 each for most screenings. They can be purchased in advance through Tickets.com or by calling 703-218-6500, beginning April 10. The complete Filmfest DC catalog is available on the website now and in The Washington Post on April 18.

Major Filmfest DC sponsors include: DC Commission on the Arts and Humanities, The Independent Film Channel, The Mayor's Office of Motion Picture and Television Development, and The National Endowment for the Arts. NBC 4 is the official television station, US Airways is the official airline, WAMU 88.5 FM is the official radio station, Evian is the official water, and Fleishman-Hillard is the official public relations firm. The Filmfest DC public information line is 202-628-FILM.

An Interview with Santiago Loza

By Jim McCaskill

ROTTERDAM, The Netherlands. The following interview was conducted at the 2003 International Film Festival Rotterdam. I am greatly indebted for the assistance of their Press Office in arranging and translating our conversation. The 2004 IFFRotterdam is scheduled for January 21 to February 1, 2004.

A year ago the Argentine filmmakers were publicly wondering if the collapse of their economy would end their burgeoning film industry. ("Argentine Film Industry," Storyboard, February 2002). While the lack of central government funding has hampered film production it has not brought it to a screeching halt. Two films from Argentina attest to its vibrancy, Diego Lerman's Tan De Repente (Suddenly, Argentina, 2002) and Santiago Loza's Extraño (Strange, Argentina, 2003). In recent years international audiences have hailed the talent of young Argentine directors Lucrecia Martel, Ulises Rosell and Adrian Caetano. The glitter of IFFRotterdam provided the setting for the world premiere of Loza's enigmatic film.

Extraño was one of three films to receive the VPRO Tiger award at Rotterdam. The other two were Jiltoo-neun na-e him (Jealousy is My Middle Name, Park Chan-Ok, South Korea, 2002) and S Ljubov'ju Lilja (With Love, Lilya, Larisa Sadilova, Russia, 2002). Each award is for ten thousand euro made available by the Dutch public broadcaster. The films will be show on television after a guaranteed run in the Dutch arthouses.

According to Loza, "The Argentine government still does not do much for culture, films in particular. My film was made without their funds. Every financial aid," he continued, "limits you. If I had government funds I would have to follow a road of corruption. It would have stained my integrity." He said that he would not feel good about his decision to compromise his values and be obligated to politicians and government officials. "I prefer to sleep well. While I had some insomnia about the film debt, it was a clean debt. They say they are trying to change but things like this are slow to change."

The Latin culture is dominated by amigueismo, who you know. Contacts are crucial to funding and without friends it is almost impossible to get an interview with government officials responsible for funding. "I don't have a big producer," says Loza, "and this film is not commercial so I have to arrange funding myself. This film was made for $5,000. The lead actor worked for free." Despite such a ludicrously low budget Strange shows the strengths of Loza's directing ability. He has managed to make an intimate film of great beauty. IFFRotterdam' Hubert Bals Fund assisted with post-production.

International recognition will not help Loza gain government funding for his next production. He has just been informed that he will be one of twelve young filmmakers given the prestigious Cannes Festival Residence for 2003. This will give him 4½ months in Paris.

Strange's central character is Axel (played by veteran actor Julio Chavel) who finds himself at age 40 a doctor no longer practicing medicine. When the film opens he is currently living with his sister and her children. We never learn why he is no longer a doctor. His life in this situation is stagnant. A chance meeting with a young, pregnant woman changes things. A kind of love develops between them and soon they are living together. Beautifully filmed by expert Willi Bechnisch and carefully crafted by Loza this film explores the intensity of a relationship. A evocative soundtrack and restrained acting add to this exploration of things not easily perceptible in one's life. As Loza says, "This is a film of cautious words, of a fragile silence."

Director's Background: Santiago Loza (born 1971, Cordon, Argentina) attended the highly acclaimed Argentine National Institute for Cinematography. There Loza studied scriptwriting. He also studied at the film and television academy and the University of Leyters. He has written, produced and directed documentaries and video films. He also writes and directs plays.

Cast: Julio Chavez, Valeria Bertucelli, Chunchuna Villafane, Raquel Albeniz, Eva Bianco, Jorge Prado.

Cannes Festival Residence: The festival residence in Paris, France, provides accommodation to young filmmakers who have directed one or several short films, or even a first feature films, and who are working on a feature film project. Twelve directors are selected each year with six per four and one-half month session. Further information can be found on their website. Inquiries by e-mail may be made.

What's Your Favorite Film Line?

By Jim McCaskill

Attention Storyboard readers! Send us your favorite film one-liners. Top favorites will be listed in a future issue of the Storyboard.

Recently listeners of BBC London radio voted Sir Michael Caine's exasperated line from The Italian Job, "You were only suppose to blow the bloody doors off" as their favorite film one-line. Clark Gable's famous put-down from Gone with the Wind, "Frankly my dear, I don't give a damn" was a close second.

The Italian Job was a big hit in the UK but did not fare well in the U.S. A Hollywood remake staring Mark Wahlberg and Ed Norton is currently in production. Sir Michael's exclamation was directed as fellow crook, played by Michael Standing, blew a van to smithereens by over-loading it with explosives. The film has an equally famous closing line as the gang, huddled on a bus loaded with gold bullion stolen from a bank in Turin, are now perilously balanced on a cliff, "Boys, I have a plan." Recently Sir Michael revealed that a sequel had been planned but because of poor U.S. gate returns it was scrapped. He said that the plan was that the lightest gangster was to crawl forward and start the engine thereby using all the fuel and lighten the part hanging off the cliff.

The BBC radio poll was in conjunction with a series of talks at the British Library, The Orange Word Screenwriters season that featured Chris Columbus (director of the first two Harry Potter films), Mike Leigh and Withnail and I's creator Bruce Robinson. That film's order by Richard E. Grant ("We want the finest wines available to humanity, we want them here and we want them now") was third in the survey.

Radio listeners were also asked for the worst line. Andie MacDowell won that dubious honor with "Is it raining? I hadn't noticed," from Four Weddings and a Funeral.

The top ten:

1. "You were only supposed to blow the bloody doors off"--The Italian Job

2. "Frankly my dear, I don't give a damn"--Gone with the Wind

3. "We want the finest wines available to humanity, we want them here and we want them now"--Withnail and I

4. "You talkin' to me?"--Taxi Driver

5. "I love the smell of napalm in the morning"--Apocalypse Now

6. "I'll have what she's having"--When Harry met Sally

7. "All my life I wanted to be a gangster"--Goodfellas

8. "I do wish we could chat longer but I'm having an old friend for dinner"--Silence of the Lambs

9. "Infamy, Infamy, they've all got it in for me"--Carry on Cleo

10. "He's not the Messiah--he's a very naughty boy"--Life of Brian

Calendar of Events

FILMS

American Film Institute
The new AFI Silver Theater opens in April with three screens. Le Cercle Rouge and Ten have extended runs; there is a series of films from 1938, the date of the Silver Theater's opening; and trilogies (Godfather, Kiarostami's Earthquake trilogy, Satyajit Ray's Pather Panchali trilogy, and the Marius trilogy); plus lots more! Check out the AFI's website.

Freer Gallery of Art
In April the retrospective of Indian director Adoor Gopalakrishnan with Face to Face (1984) on April 11 at 7:00pm; Monologue (1987) on April 12 at 2:00pm; Walls (1990) on April 25 at 7:00pm with Adoor Gopalakrishnan in person; The Rat Trap (1981) on April 26 at 2:00pm with Adoor Gopalakrishnan in person; and Shadow Kill (2002) on April 27 at 2:00pm.

In a separate series celebrating the Korean American Centennial is a panel discussion with filmmakers Christine Choy, Greg Pak, and Grace Lee, discussing making films in a Hollywood dominated industry, on April 10 at 7:00pm.

National Gallery of Art
In April the Gallery presents a series of seven Italian films including La Dolce Vita (Federico Fellini, 1959) on April 11 at 2:30pm and April 19 at 2:00pm; Francesco Guillare di Dio (Roberto Rossellini, 1949) on April 2 at 12:30pm and 4:30pm; Mamma Rosa (Pier Paolo Pasolini, 1962) on April 12 at 2:00pm; L'Avventura (Michelangelo Antonioni, 1960) on April 13 at 4:30pm and April 18 at 2:00pm; I Vitelloni (Federico Fellini, 1953) on April 20 at 4:00pm; Umberto D (Vittorio De Sica, 1952) on April 24 and 25 at 2:30pm; and 8½ (Federico Fellini, 1963) on April 27 at 4:00pm.

Also in April is Der Schwarze Tanner (Xavier Koller, 1985) shown with The Frozen Heart (Xavier Koller, 1979) on April 6 at 4:00pm; Ernst Ludwig Kirchner (Michael Trabitzsch, 2001) on April 9, 10, and 11 at 12:30pm; Der Rächer Von Davos (Heinrich Brandt, 1924) on April 18 and 19 at 12:30pm; Frederic Remington: The Truth of Other Days (1991) on April 16 and 17 at 12:30pm; and The Cabinet of Dr. Caligari (Robert Wiene, 1919) on April 27 at 12:00pm.

Hirshhorn Museum and Sculpture Garden
On April 3 and 4 at 8:00pm is How to Draw a Bunny (John Walter, 2002), a documentary about artist Ray Johnson. on April 10 and 11 at 8:00pm are two different programs of shorts and features from the Slamdance 2003 festival.

National Museum of African Art
On April 3 at 7:00pm is Taxi to Timbuktu (1994); on April 10 at 7:00pm is Diaspora Conversations: From Gorée to Dogon (Manthia Diawara, 2000) and Drive-By Shoot (Portia Cobb, 1994); on April 24 at 6:00pm is a film and discussion about sacred practices and traditions from West Central Africa to Cuba When the Spirits Dance Mambo (2003); and on April 25 at 7:00pm is Otomo (Frieder Schlaich, 1999), a drama about a West African immigrant in Germany.

Renwick Gallery
On April 16 is Frank Lloyd Wright: A Film by Ken Burns and Lynn Novick at 1:00pm.

Films on the Hill
On April 2 at 7:00pm is a silent double feature Helen's Babies (William Seiter, 1924) with Clara Bow, child superstar Baby Peggy, and Edward Everett Horton shown with Yankee Clipper (Rupert Julian, 1927) which stars William Boyd and Junior Coghlan. On April 11 at 7:00pm is It Happens Every Spring (Lloyd Bacon, 1949), a comedy with Ray Milland. On April 23 at 7:00pm is The World in His Arms (Raoul Walsh, 1952) with Gregory Peck and Anthony Quinn in the first of their three films together.

DC Jewish Community Center
On April 1 at 7:00pm is How I Learned to Overcome My Fear and Love Arik Sharon (Avi Mograbi, 1997), a mockumentary about the former general and cabinet minister. On April 7 at 7:00pm is Mah-Jongg: The Tiles That Bind (Bari Pearlman and Phyllis Heller, 1998) followed by a reception and mah-jongg instruction. Director Bari Pearlman is the special guest. On April 13 at 3:00pm is Zehava Ben the Solitary Star (Erez Laufer, 1997), a video documentary about the Israeli singer's 1996 tour.

JUST ADDED!--On April 28 at 7:00pm is Hitler's Hat, (Jeff Krulik, 2003), a video about how Richard Marowitz, a 19 year old Jewish-American GI who stormed Adolph Hitler's apartment on April 30, 1945 in Munich searching for military intelligence found a black top hat belonging to the Fuehrer. First hand testimony from the Rainbow Division veterans mixes with archival footage to make an unconventional and entertaining film. Special guests: Jeff Krulik, the director and Rich Marowitz, the finder of Hitler's hat.

Pickford Theater
Phantom of the Paradise (Brian DePalma, 1974) is on April 1 at 7:00pm; Bedazzled (Stanley Donen, 1967) is on April 4 at 7:00pm; and The French Connection (William Friedkin, 1971) is on April 11 at 7:00pm. Check the website for others.

Goethe Institute
Starting in April is a series of four programs of films by Karl Valentin (1882-1948), an early pioneer in the German film industry who wrote, directed short comedies and sketches using styles derived from the circus and music hall. The Nazis censored most of his work which was finally rediscovered in the 1960s. On April 14 at 6:30pm is Program I "Body Catastrophes Without Words--Film Studies of a Stage Eccentric" which includes Karl Valentin's Wedding (1913), The Jolly Vagabonds (1913), The New Desk (1914), The Mysteries of a Hairdresser's Shop (1922), and Karl Valentin and Liesl Karlstadt at the Oktoberfest (1923). The series continues in May.

Griot Cinema at Erico Cafe
On April 30 at 7:30pm is Mogzitwa (The Nanny, Nikodimos Fikru) The filmmaker will be present.

National Museum of Natural History
On April 18 at noon is The 1899 Harriman Expedition Retraced (2003) about two scientific expeditions to Alaska, 100 years apart. On April 25 at noon is Mystery of the Yunnan Snub-Nosed Monkey (2002) about the rare non-jungle living monkey in China shown with In Quest of the Frogmouth's Nest (2001) about the rare owl in Sri Lanka.

Smithsonian Associates--SPECIAL PRICE FOR DCFS MEMBERS
On April 21 at 7:00pm is a film premiere of Confidence (James Foley, 2003) with James Foley as special guest. The film stars Dustin Hoffman, Andy Garcia and Ed Burns. Author and journalist Tom Wiener will interview Foley before the screening at the Smithsonian's National Museum of Natural History Baird Auditorium. James Foley's other credits include Reckless, Glengarry Glen Ross, After Dark, My Sweet, Fear, and The Chamber. Call (202) 357-3030 for more information.

Special price for DC Film Society Members: $10.00. Another special offer is coming up next month!

FILM TALKS

Smithsonian Associates
On April 5 at 1:00pm is a half-day seminar "Billy Wilder: Master of the Sublimely Subversive Film" with film historian Max Alvarez.

FILM FESTIVALS

FilmfestDC begins on April 23 and runs through May 4. Check the story above or the website.

This on-line version of the newsletter was last updated on April 15. Please check periodically for additions and corrections.

Previous Storyboards

March, 2003
February, 2003
January, 2003
December, 2002
November, 2002
October, 2002
September, 2002
August, 2002
July, 2002
June, 2002
May, 2002
April, 2002
March, 2002
February, 2002
January, 2002
December, 2001
November, 2001
October, 2001
September, 2001
August, 2001
July, 2001
June, 2001
May, 2001
April, 2001
March, 2001
February, 2001
January, 2001
December,2000
November, 2000

Membership
For members only:

E-Mailing List

Ushers

Website

Storyboard

All Else