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Download Yoga Poses for Kids to learn through movement in your home, classroom, or studio. The yoga kids featured in the illustrations are multicultural and from a variety of countries. Download Yoga Poses for Kids here. Managing Big Emotions through Movement , Childhood Come back regularly or sign up for our weekly Kids Yoga Stories Newsletter place your email address in the box at the top of the page to find out when this page of kids yoga poses is updated.
Hope you find this list of yoga poses for kids useful for bringing yoga into your home, classroom, or studio. Do you sell flash cards of the above Yoga Poses illustrations, or are they available to download somewhere on your website?
Excellent question, Kathryn! Yes, yoga cards are in the works � but proving to be harder to organize the printing than I had anticipated. Stay tuned! Hi, I have a suggestion about the flash cards.
As a former graphic artist and now a certified kids yoga teacher. Have them as a downloadable e-book format where people can purchase them and save the file to their hard drive.
They can then print them out any size and get them laminated if needed. TeachersPayTeachers is a site you can sell downloadable graphics for educating kids on all topics. I too would love the flash cards to use with kids! Thank you, Sharon!
Very kind of you. This page is still a work-in-progress, so we will keep you posted. If I include a citation and a link to your site, can I use your images and quote your descriptions where applicable?
Great, thanks Kim! Would love to hear more about your Masters Degree project. Thank you for including a link to the site as credit for the poses. Really appreciate you asking! My email is giselle at kidsyogastories dot com if you need anything else. Thank you for sharing this easy to follow guide complete with pictures! It makes it easy to try these out with my children. Thanks for stopping by, Theresa! Your picture of your FOUR children looks amazing.
You are one super-momma! I am a pediatric physiotherapist for children with special needs and a yoga teacher for kids. We use yoga poses in therapy all the time and the children love it! In the past I have been using an image of an animal for the children and then demonstrating the pose.
I am wondering if it would be possible to use your images of the poses with credit along with the animal so that children may see the pose, the animal and then also the demo. I think it would really help the children and the parents to put it all together! Your images are wonderfully simple and will work perfectly for the children I work with. Directing them to your site would also give the descriptions of pose to practice at home and some further options for ongoing practice!
Hi, I am planning on using your books with some of my storytimes at the public library and outreach. I would like to leave a picture of the pose with the preschools I visit once a month so they can practice inbetween visits. Do you have pics that can be enlarged? Thank you. Thanks for your message. We are also creating a Yoga Card Deck to match the yoga stories. I enjoy your poses and would like to use them in my classroom and with other teachers.
Can I copy your poses and give them out? They are wonderful for all ages. We are just now producing yoga cards with the yoga poses above. I love the list of 58 yoga poses for kids and would be very interested in purchasing them as flash cards to set up in centers. Please let me know when they become available. They are so cute and I think the children will enjoy learning the poses!
Hi, I loved your article and I am a Yoga instructor myself so I know how hard it is when it comes to making kids do yoga, it is a real pain to get a bunch of them together to hold on to their positions. I loved your 58 yoga poses for kids and I think it can save me a lot of trouble. I would love to buy the book and get it printed on my studio walls. Can you help me out with it? Doing yoga has several health benefits. Learn some easy asanas that you and your child can do together and have fun.
Hi, I am doing my teacher training in Yoga. As part of the course I am supposed to instruct the kids. So can I please use ur illustrations for my class plan. Thanks for sharing the interesting post about yoga poses. Yoga is really useful for kids and keeps them calm, active and healthy. According to me, sending your kid to yoga class is one of the best options.
If you also want to boost the confidence of your kid then select the right Yoga class. This is so cute and really appropriate for kids! Aside from the pictures, the instructions are also easy to understand. Brilliant yoga poses for kids. I will let my two kids practice some of these every weekend. We can make this a weekly bonding activity. Jhoei � Thanks so much. Yoga does make for wonderful bonding time with your kids.
Thanks for explaining that teaching yoga to children should be focused on having fun with the movements and poses, not getting them exactly perfect. Looks great. This post is good. Thanks for the steps to start yoga. My nephew will surely follow the tips you have mentioned. He just joined the yoga classes. However, it seems difficult to pose every step but I know it takes him some time to follow it in routine. And I love the first tip, as it is often the most overlooked in the Yoga world, and yet it is so important.
For printables of the yoga sequences, click here. For other forest animal books and yoga sequences, click [�]. There are many places to learn about our planet and explore the beauty and wonder of nature in Los Angeles County.
My favorite? Her extensive list of yoga poses for kids with easy-to-read instructions for [�]. Further information and poses can be found at Kids Yoga Stories. This can also help for those kids who have a problem mimicking or copying a sequence of moves. For some examples of easy animal poses, take a look here.
These were the suggestions she gave us to go along with the story. You can see all the directions for the poses on Kids Yoga [�]. This list of 58 illustrated yoga poses for kids is a good place to [�]. There, visitors can find 58 kid-friendly yoga poses along with instructions by Shardlow and [�].
Simply grab a deck of yoga cards or find images of yoga poses online. Then [�]. Yoga is particularly great for younger children because many of the pose names are inspired by animals so you can create a really fun practice by pretending to be animals together. Look for flexibility [�]. She could make up her own sequence by looking at our Yoga Poses for Kids page for inspiration or by following this yoga flow [�].
Read about the Stages of Block Play. Gross motor activities offer children important practice as they develop physical balance. Add a balance beam to your outdoor play. Learn, be active, [�]. Below find five beach yoga poses for kids to get you started on your pretend beach [�]. Use this list as a guide, but feel free to make up your own tide pool yoga postures. These poses [�]. Because maybe you, too, have a little budding mermaid in your class, at home, or in your [�].
But why not take the learning further by using breathing techniques and yoga poses? I have also included a three-pose flow sequence, a Spanish-integration idea [�]. Close your eyes, if that feels comfortable, or gaze gently down in front of you. Take a few deep [�].
Over time, she learned to act out the animals through zoo yoga poses for kids before she could speak the names. She also pointed out her favorite zoo animals in books. Now, [�]. It may not always be a [�]. Look at our Yoga Poses for Kids page for a list of almost 60 yoga poses suitable for children to add to your yoga-and-books [�].
Then check out our list of yoga poses for kids for ideas on creating yoga poses matching the pirate keywords �or simply follow this pirate yoga [�]. Check out the collection of [�]. It also includes a 3-pose flow sequence, a Spanish-integration idea, and links to [�]. We are very grateful for the opportunity to live in this beautiful country.
Meanwhile, when Harry and Sarah mention Cybermats, Tyrum decides to take them to the gold mines to confront Vorus. The Doctor wonders what Kellman's reward is, if it is not Voga's gold. He taunts the Cyber Leader, saying that the Cybermen were finished once humans discovered their weakness to gold and ended the Cyber-Wars. The Cyber Leader tells the Doctor that is the reason why Voga must be destroyed before the Cybermen begin their campaign again.
The Cyber Leader says that Kellman was promised the rule of the solar system after the Cybermen had conquered it. With Cyberbombs strapped to their backs, the Doctor, Lester and Stevenson are briefed. They are to plant the bombs in the planet's core, after which they have 14 minutes to return and escape via transmat. If they try to remove their harnesses before they reach the target zone, a secondary explosion will kill them.
Their progress will be followed by radar, so if they go off course the Cybermen can use manual controls to explode the bombs. The three beam down, accompanied by two Cybermen, one of them holding a timer.
Militia arrive and start to fire on the Cybermen. The Doctor, Lester and Stevenson run away as the two Cybermen kill two out of three Vogans, the other running away. The two Cybermen climb under a rock and enter a chamber with a staircase going up the side.
Vogans who were stationed on the stairs open fire on the Cybermen but their weapons are useless and they are all killed by the Cybermens lasers. None of the three men believe that the Cyber Leader will keep his word about letting them escape, but they have to keep moving towards the target zone as they are being monitored. On Nerva, the Cyber Leader declares that Kellman is of no further use to them.
Tyrum questions Kellman, who tells him that he and Vorus were working to lure the Cybermen to the beacon, which Vorus has targeted with a rocket. At that moment, a Militia man arrives to tell Tyrum about the arrival of the Cybermen, and how their weapons are useless. Although Kellman urges them to use the rocket, Tyrum orders his men to use every weapon they can while he speaks to Vorus.
Harry tells Sarah to get back to Nerva and warn the Doctor while he tries to stop the rocket from being fired. However, with the Cybermen already on Voga, they have no time to get it ready.
Vorus claims his plans were to just free his people from the fear of the Cybermen and bring them back into the light. Tyrum scoffs, seeing as Vorus has allied himself with Kellman, a double agent and murderer, motivated only by the promise of gold. Harry suggests finding another way into the core to stop the bombs. The Cybermen continue their slaughter of the Vogans as the bomb timer ticks down. Sarah uses a motor boat and transmats back to Nerva, where she overhears the Cybermen monitoring the three men's progress.
However, as they descend, the heavier concentration of gold interferes with the radar. The men continue onward, however to the centre of the asteroid. Meanwhile, Harry and Kellman are crawling down a cross shaft towards the same location.
With the exit blocked, Harry pushes against the rocks, causing a rock slide. Kellman pushes Harry out of the way, but is crushed to death by a boulder, while on the other side, rocks rain down on the Doctor. Harry exits the shaft and finds the Doctor unconscious. Not realising the danger, Harry tries to unbuckle the Doctor's harness. Fortunately, Harry is stopped by Lester. The Doctor awakens and conceives a plan. Stevenson will continue on and create a radar trail, while the rest use the cross shaft to surprise and attack the Cybermen with gold.
The Doctor and Harry jump the two Cybermen, trying to push gold dust into their chest plates. However, the Cybermen are too strong, and Harry and the Doctor are forced to retreat. Lester leaps onto the Cybermen and undoes his harness, the explosion killing both himself and the Cybermen in a burst of flames. With the loss of contact, the Cyber Leader orders immediate detonation.
Sarah tries to stop them but is thrown to the floor. However, when the button is pressed, no explosion follows. The Doctor has managed to disarm the countdown device, which allows him to release his harness safely. With Sarah tied up, the Cyber Leader now plans to send Nerva, loaded with more Cyberbombs, to crash into Voga to destroy it.
Magrik tells Vorus that the Sky Striker is now ready, but before he can launch it, the Doctor asks them to give him 15 minutes to transmat to Nerva and deal with the Cybermen himself, armed with a bag of gold dust. If he does not contact them by that time, then they can launch the rocket. The Doctor reaches Nerva and frees Sarah while the Cybermen are loading the bombs. He takes the cybermat and its control box, filling the cybermat with gold dust. The Doctor sends the cybermat to attack a Cyberman, injecting him with the dust and killing him.
As Nerva begins to move towards Voga, Vorus sees this and attempts to fire the rocket. Tyrum shoots Vorus, but as the Guardian dies, he triggers the launch. The Doctor and Sarah's attack on the remaining Cybermen fails; The Doctor is forced by the Cyberleader to tie himself and Sarah up and they are left to perish in the crash.
However, the Sky Striker is approaching just as fast. The Doctor manages to untie them both with a trick learned from Harry Houdini , and contacts Voga, instructing them to steer the rocket towards the Cybership. The Sky Striker veers away from Nerva and destroys the Cybership. However, the beacon is still on a collision course. The Doctor unlocks the gyro controls, skimming Nerva just above Voga's surface until they reach the other side of the asteroid and open space.
The Doctor tells his companions to hurry up; he has received a message from Brigadier Lethbridge-Stewart through the space-time telegraph the Doctor left him, which means it is a grave emergency.
Although Harry asks if they should say good-bye to the Commander, Sarah tells him not to argue. Gerry Davis wrote the initial script, titling it Return of the Cybermen. Robert Holmes' rewrite added the Vogan elements and changed Return to Revenge.
Letts and Holmes felt that with a new Doctor coming in and at that stage little idea of how he would be played, it would be best to play safe by using familiar big-name monsters such as the Daleks and Cybermen in the first season.
The script was modified as production developed to incorporate Tom Baker 's style, and also had to be rewritten to modify how writer Gerry Davis had envisaged the new Doctor � as a more timid, reserved figure much in the manner of Patrick Troughton , which happened to be rather unlike Baker's portrayal.
The story was shot on the same set as The Ark in Space � representing a substantial cost saving � with location filming in Wookey Hole Caves. It was also shot in the production block immediately after Ark , which explains why the production code is out of broadcast sequence. The location filming at Wookey Hole was plagued by a series of problems which the crew blamed on a curse. Despite warnings, they proceeded to put a witch hat and cloak on it.
Briant encountered an individual in spelunking gear which the Wookey Hole staff had no knowledge of, whom Briant was convinced Buy Boat Props Online 5g was the spirit of a potholer who had died in the caves, three years earlier. The assistant floor manager suffered a severe attack of claustrophobia, another crew member fell ill, and an electrician suffered a broken leg when a ladder collapsed.
During the scene when Sarah Jane rides one of the water skimmers, the boat went wild and Sladen was forced to jump off, treading water despite heavy boots until her rescue by Terry Walsh , the programme's longtime stuntman. Both required precautionary vaccinations at a local hospital but were otherwise unhurt. The boat disappeared and was never seen again.
The secret radio transmitter disguised as a clothes brush, used by Kellman, Buy Boat Props Online Zoom is the same prop that appears in the James Bond film Live and Let Die. He later told the Radio Times that the props master, not recognising Moore, had paid him two shillings and sixpence for the item: "I'd popped into the Beeb [BBC] for a cup of tea and spotted a notice about an upcoming "Doctor Who", so I thought the darlings would be so cash-strapped they'd need anything they could get their hands on.
It wasn't MGM , after all. But I didn't expect to walk out with two and six! The masks for the principal actors playing the Vogans were specially moulded to their faces, but for the non-speaking artists the BBC had to cut costs.
Originally, Cyber-costumes from the serial The Invasion were to have been used, but only two had survived, and in poor condition. This necessitated entirely new outfits, which included chest panels constructed from the innards of old television sets and trousers which, for the first time since The Moonbase , were not tucked into the Cyber-boots. This is a perfect vehicle for sketches. Terry Jones, actor-co-director in The Pythons: Autobiography, : "The coconut gag was the original gag that sparked the whole thing off.
We did talk about having horses at one point and then we quickly dismissed it because we thought it be funnier not to and because we couldn't afford horses anyway. I remember that I tried to find one before thinking about making one. I did not think I would find him. But one day I was in a garden shop looking for plants and suddenly I saw it. It was so obvious, like a thunderbolt. He had a wheelbarrow. By chance, as if he was waiting to be a star, there was a double in the store.
I just had Buy Boat Props Online Order to repaint the face to strengthen his expression and remove the wheelbarrow! The company had disappeared. This is the kind of miracle that happens when you make movies! A few years ago this gnome has traveled to New York for an exhibition about cinema. Usually he stays in my living room. The cronos device, Cronos Guillermo del Toro, director in an interview for the Cronos: 10th Anniversary DVD : "Strangely enough, [David] Cronenberg specifically is an acknowledged vital influence.
He's a lifelong influence We're not along the same lines but I think Cronenberg is the existentialist, whereas I'm the romantic. So we're a bit different. But for example The Fly is his most romantic film. There are parallels in the decomposition Horror films looked at things which I think were very interesting. In the '80s, the films are brutal. They reach a wonderful climax of the grotesque.
The gore of the '80s will never be bettered. But at the same time, Cronos had a strange poetic flavor. In that sense, that was shared with some of Clive Barker's stories, which had a mixture. There's a beautiful sentence in a story called "The Sins of the Fathers. There are elements of vampirism in the Catholic communion, alchemical elements in the idea of transfiguration, the transformation of flesh into spirit.
There are elements in all of that which I found very interesting. There were great monks who were great alchemists. There was one I liked in particular called Aurillac who constructed a metal head made of bronze, which answered certain questions asked of it.
That influenced Cronos , the idea of the mechanical apparatus. The idea for the front of the cronos device, the shape was the egg, which is a symbol of eternity and immortality, the scarab, another symbol of immortality, [and] the serpent swallowing its own tai in the coil which starts the device, another symbol of immortality.
And I will be so bold as to say, with great enthusiasm, that Cronos and all the films I've made contain things which perhaps only have symbolic meaning for me. But they're hidden away in there for anyone who wants to see them.
There are repetitions. In alchemy, and in symbolism, repetition is important. It's important to return to the same element to illuminate its meaning in the previous sentence or page.
In fact, coded language is always based on repetition, so if anyone wants to watch them again, all of them in one afternoon, they'll see new stuff. That's what's nice about watching them. The captive bolt pistol, No Country for Old Men Keith Walters, property master: "They use those things to stun cattle, but I think this was a little bit of creative license on Cormac McCarthy's part that it worked like it did in the film.
Basically the effects guy designed and built the little bolt part so they could have one that was really practical and could knock the locks out, and then, of course, one that was inert that they could put against someone's head. Then we searched different places to find an air tank and I happened to find two tanks taped together at a surplus store in Albuquerque.
I bought those tanks and the guys loved them, so that gave us two of those. We got some hose and fit it together. We needed something that was handheld and mobile enough that he could carry the tank and the bolt itself. No one really knew what it was. No one was particularly scared of it when he came out -- it wasn't like he was carrying a gun -- so he put it to the guy's forehead and killed him.
I don't think anybody realized you could kill someone with it. That was part of the mystique of the whole thing: until he did it the first time you really didn't know what it was.
It wasn't your conventional weapon. Especially with all the guns and things. I just went through the book and listed everything that Cormac described and that's why we used the shotgun with the silencer on it. We built that to his description, which was a silencer that 'looked like a beer can. John [Waters, director] came up with it because it was in the script, but back then, everyone did everything. We made the table collapse in that whole sequence with Divine in the house which was John's house.
Lots of cheap special effects. I also built the trailer then burnt it down. Everything else was what we could find. We made things for the moment that we'd never need again. Although the baby crib that Edie sits in is currently the arbor for my garden.
We'd shoot on the weekends since we had school or work. We dressed ourselves. Eventually we all found our place in John's hierarchy of film. Pat became his producer and casting person. I built Lobstora, [the giant lobster from Multiple Maniacs ], in that movie, and that was the beginning of my career as a production designer, and eventually I'd do The Wire and stuff. None of us expected those movies, except maybe John, to go very far.
Reese's Pieces, E. They had decided to use Reese's Pieces and it would play a featured part in the picture, and they would like us to cooperate by promoting the picture. So we weren't sure whether this picture was going to be a success. The idea of an extraterrestrial creature was unusual and, therefore, risky. We wanted to know the plot, because we didn't want some 'Monster That Ate Chicago' type movie.
We didn't want to frighten our consumers; we wanted to entertain them. I was told that this creature was lured into the house by Reese's Pieces. Adults didn't know as much about it as the children did. We needed some promotion for our product. We said we would back it up with about a million dollars' worth of promotion, in consumer promotions, trade promotions, displays, in-store displays, using, featuring "E.
We could also use "E. There was no contract written at the time. It was written, sent to us later, and approved by our legal department. So we went along and produced the point-of-sale material, got a picture. We were going to offer a teeshirt that had a picture of E.
We wanted a picture, and they sent us a picture of E. I proudly showed the picture at the staff meeting, and Earl [Spangler, Hershey's president] said, 'That is the ugliest creature I have ever seen in my whole life. You just sit quietly and let the eruption die down. Nobody seemed to want to get off the mountain; they wanted to stay up there. And then there was enormous applause. So I ran out in the lobby to watch the faces of the people that came by. Many of them were tear-stained.
And Earl, who is a very emotional man, came out and his eyes were quite moist, and I said, 'Is he still ugly, Earl? The tennis racket, The Apartment Jack Lemmon, actor Baxter in Lemmon: A Biography , : "Working with Billy [Wilder] I began to understand 'hooks' -- those little bits of business that an audience will remember, sometimes long after they've forgotten everything else about the picture. The key was a 'hook. Billy Wilder, writer-director in Conversations with Wilder, : [The spaghetti-strained-through-the-tennis-racket idea in The Apartment began with an innocent comment by co-writer Izzy Diamond: "Women love seeing a man trying to cook in the kitchen.
Then we both set about trying to find the perfect situation that shows] how a man tackles a problem with a missing kitchen object. It was obvious that it was his apartment -- you know, he just never cooked. Or he just bought himself a sandwich or something, on the way home.
But there I did not have a sieve, you know. So I don't know whether it was [Diamond] or it was me, but it came kind of spontaneously. For macaroni or spaghetti, we need a sieve, So I said, 'Let's have a tennis racket. The warlord character, Immortan Joe, needed a musician to rally his troops. Who better in the wasteland than a heavy metal guitarist? It was reminiscent of the helicopter sequence in Apocalypse Now , with the chopper pilots playing Wagner's 'Ride of the Valkyries.
The theme of recycling and re-purposing objects was a major part of the design language -- making the absolute most out of the remaining stuff that was around was an essential part of life in a post-apocalyptic world. And who doesn't want a flaming guitar that can kill people? So Ulman created a version of the Doof guitar as a sculptural piece out of second-hand metal scrap. Some of the objects he used included car horns, trumpet parts, and a bedpan.
It needed to function as a real guitar so that iOTA, the Doof actor, could play tunes onset for his warboy comrades. It also needed a fully working flamethrower. To make it all work, I needed to build a chassis for the guitar -- just like a car. I transplanted the electrics from a pre-existing double-necked guitar into the new Doof guitar chassis I built, and, after much swearing, bolted on the bedpan cover.
I got an old guy in the slums of Namibia, Africa, who restored guitars, to help me with the electrics. He was a bit perplexed with the design: 'Do you play shit music with this? But the day we finally plugged it into an amplifier and strummed the first notes of Chris Isaak's 'Baby Did a Bad Bad Thing' was a happy day indeed.
Like we'd mime everything -- we never had real props. For comedic response, I would pull out the biggest joint ever. But it was an imaginary joint. So when we did the movie, we could have the imaginary joint take form. It was like tissue paper, only a little heavier. We weren't using real weed, we were using an herbal mixture and it wasn't that tasty.
They put a periscope through the windshield, so [the stunt driver] could see where they were going. But it looks like the car is filled with smoke. That wasn't Cheech and Chong, for sure. When it gets that smoky, I'm usually stopped somewhere. That big joint was like our trademark, and it still is. We've been on the road for years and especially since weed has been legalized, we have fans coming up and presenting us with giant joints all the time.
And we accept them, too. Billy the Puppet, Saw James Wan, director: "Billy was built in my apartment back in Melbourne when I made the [original short film]. I made it from clay, ping-pong balls for eyes, and newspaper wrapped together -- all hidden underneath a cheap, kid's suit.
Who the fuck makes suits for kids? Here's a morbid thought: they're either for weddings, events, or funerals. But the movie was so low budget, the producers just said, 'use that again'! The hamburger phone, Juno Steve Saklad, Juno production designer: "The hamburger phone was actually in the very first script that Diablo Cody wrote. She spec'ed out the phone and based it on recollections of her youth.
We found an obscure Japanese online website that had them, and we only got one. It was shipped from China. We were shooting in Vancouver, and the customs impounded it, because it qualified as some toy, and there were restrictions on toys going from China to Vancouver at the time, so it was actually imported to the US, to Seattle, and then somebody drove it up to Vancouver to get it past the customs ban. It was one of the very first set-dressing items that we searched for when we were putting together Juno's bedroom.
For about two weeks, our set decorator was sweating bullets until he found the thing that would please Jason. Jason was very much hands-on. Every single poster on the walls of Juno's bedroom were approved by Jason and some of them were ones that Jason required us to get clearance for and put on the wall.
Then he shot it so you saw it. He had beauty shots of the phone and the walls of posters. But that's the whole point of the hamburger phone: It's this inane kid thing crashing into a completely adult challenge, adult problem -- that's why it works so brilliantly: that's encapsulated in one piece of plastic. I could detect a tinge of concern, which made me anxious, remember that all of Sennett's comedians were oldish-looking men.
Sennett introduced me to him. Ford was leaving Keystone to form his own company with Universal. He was immensely popular with the public and with everyone in the studio. They surrounded his set and were laughing eagerly at him. Sennett took me aside and explained their method of working. Ford Sterling was on one set, Arbuckle on another; the whole stage was crowded with three companies at work. I was in my street clothes and had nothing to do, so I stood where Sennett could see me.
He was Anything will do. I did not like my get-up [in Making a Living ]. However, on the way to the wardrobe I thought I would dress in baggy pants, big shoes, a cane and a derby hat. I wanted everything a contradiction: the pants baggy, the coat tight, the hat small, and the shoes large. I was undecided whether to look old or young, but remembering Sennett had expected me to be a much older man, I added a small mustache, which, I reasoned, would add age without hiding my expression.
But the moment I was dressed, the clothes and the make-up made me feel the person he was. I began to know him, and by the time I walked on to the stage he was fully born. When I confronted Sennett I assumed the character and strutted about, swinging my cane and parading before him. Gags and comedy ideas went racing through my mind. The eggs, Alien Roger Christian, art director: "The eggs were made with grips underneath where you could pull and open them up.
Everything in H. Giger's world is combined with female or male body parts, so the eggs had to look menacing and sensual at the same time. The membrane is a sheep's stomach -- I know, because I had to buy stuff from the abattoir all the time or I'd get my buyers to go. To get that burst out, the only way to do it, Ridley [Scott] had to put on a rubber glove and put his hand up and chucked it out at the camera.
That was the only way to get it to work. The rest were background ones, which they made a lot of. The banjo, Deliverance John Boorman, director on the Deliverance DVD commentary : "In this first sequence of the film, there are the two cars with the canoes that come up to the filling station. There they encounter this boy who seems to be retarded.
He plays the banjo. Ronny Cox, as Drew, with his guitar, play the 'Dueling Banjos,' a traditional piece. That was always written into the script. They demanded that I cut more out of the budget. I had an orchestra and composer in the budget, and I intended to use 'Dueling Banjos' as the theme running through the film.
So I decided to dump the composer and orchestra and use 'Dueling Banjos' as the entire score. I spent two hours in the recording studio with a banjo-picker and a guitarist and we recorded the whole thing. Unfortunately, he couldn't play the banjo. So what I did was find another kid who could play banjo. If you look, the [fretting] hand is not his. There's another kid who's crouched behind him. We just made an extra sleeve into the shirt there. He's doing the strumming, but this other kid never got credit because we didn't want to reveal it.
Gristle gun, eXistenZ Stephan Dupuis, special makeup designer: "I was told [the gun] was 'made of bones and it shot teeth. I said to myself, 'Let's see, made from bone and there's some meat attached and it's served in a restaurant. Let me tell you: it was not. You could see he was turning green towards the end of the fifth take.
The psychotic waiter comes over, and Law shoots him in the cheek and part of his ear goes. Then the waiter goes berserk with the meat cleaver, and he shoots his face off. So we made several prop ones with the handle -- that you would assemble and click together -- for Jude.
Then there was one that was rigged like a prop gun. It wasn't really shooting teeth but there was a loading zone for the teeth in there. And that was it. When he shoots his face off it was synchronized with the prop gristle gun, the mechanical one with the tubing that was hidden underneath.
It was kinda a mask that I made for the guy with his last expression -- kinda screaming. There were different plugs in it and different chambers that were going to shoot all the goo and the blood.
That was done with air pressure -- not with explosives because that was right against his face. So that's what you see in the movie.
I just bought a whole bunch of model kits basically. Human skeletons, cat skeletons -- you name it. And then I looked at the pieces and arranged them in a fashion with some plastic and fused them together and built it from those anatomy class skeletons It was a really cool concept.
So bizarre. But then again, you know, that's David. Mark's cue cards, Love Actually Richard Curtis, director in an interview with Elle, : "When I get stuck on a script, in order not to get stuck, I write [the numbers] one through five on a piece of Buy Boat Props Online 88 paper and come up with five ideas, so I can allow myself the option of choice. I told them, 'There's this guy, he's never told you he loved you. Which of these ideas are romantic and which are off-putting?
Then I had the idea of the Bob Dylan signs. The scene was selected by group research. Barry Gibbs, property master: "Oddly, the cue cards on Love Actually were a no-brainer. It was so easy With our Set Decorator and the graphics team it was very simple.
The Kobayashi Porcelain mug, The Usual Suspects Howard Cummings, production designer: "What I really didn't know until we started getting into it is that Bryan [Singer, director] wanted all the clues in the room. So we started thinking, What could these different things be? We'd all stand around and argue about what [Kevin Spacey's character, Verbal Kint] should look at. But they don't really hold coffee well, so we had to find a matching mug. I can't remember if we picked the mug based on what we could find in breakaways or if we actually had to make a breakaway mug.
I didn't realize Bryan was going to do an ultra, ultra close-up. And there is no Kobayashi Porcelain. You can sort of see in the close-up that it's stamped on and I am sitting here cringing, going 'Nooo. It was coincidental that in the floor shot it broke looking the right way.
But we had to break several so the name was readable. And that [mug] had to be real because you could see the edges of it. The nunchaku, Game of Death As detailed for Spink's "Bruce Lee 40th Anniversary Collection" auction: "Lee personally designed this iconic weapon to match his celebrated yellow and black Game of Death jumpsuit.
Designed to deliver matchless combat sequences during Lee's electrifying nunchaku battle with senior student and co-star, Dan Inosanto, the design was conceived to facilitate the lightning-fast solo displays Bruce would deliver to camera. Unique amongst all Bruce Lee's nunchaku, the nunchaku is built from lightweight lacquered wood and the sticks are connected by a fortified cord. By requesting this design, Bruce ensured that the nunchaku would move with the maximum speed and fluency in his skilled hands.
At the time he thought it was a worthless piece of junk. When he moved to the LA area, I taught him how to use it. In three months he swung it like he'd be swinging it for a lifetime In the short time, every child was using this.
It became a household product. Now it's outlawed in California. That's what we need to do. I want to shake the mirror and I want to do something with the water. The water was a another story. It was very difficult thing to do. You couldn't do it. I had everyone working on it. Finally, messing around with a guitar one night, I set a glass and started playing notes on a guitar and got to a right frequency, a right note, and it did exactly what I wanted it to do.
I had always wanted to do the story of Perseus and the Gorgon, but I could never work out a coherent continuity. Beverley Cross was a Greek scholar, and the owl was a familiar symbol, even used on the ancient coins, so he weaved it into the story as a guide to Perseus.
I worked on the design for quite some time, trying to keep it simple and practical, but beautiful in its own way. As far as the noises he makes, what other sound would a mechanical owl make? Occasionally he would tell me to do more of this or less of that, but overall he seemed pleased with my work.
The first animation I did was the flying sequences with the tiny Bubo figure, shot against a blue screen. I would have to climb a ladder, move the model, climb down and take the ladder away, walk back to the camera and hit the exposure pedal.
Then repeat the thing all over again and yet again later when working with the vulture. Doing that day after day was totally exhausting. At least the Bubo figure was a lot easier to handle. I had a little trouble with relative size to the background plates and had to re-shoot a few sequences, but it was all part of the learning process. There are so many things you have to consider with the technical aspects, let alone concentrating on the animation movements. It just makes you realize just how brilliant Ray was as an animator.
The closet computer, Clueless Amy Heckerling, director: "Each day they go through outfits and they see what goes with what. It seemed like there'd be a lot of repetition and a big waste of time. Now I used to play with cutout dolls when I was a little kid, and I thought, 'What if I had cutouts of all my clothes, little pictures, and I could figure it out that way? It was always something I thought would be a time-saver. I thought that before there were computers. We photographed Alicia [Silverstone] so you could see the clothes coming on to her.
A computer expert who came in [described] exactly how it would go, swirling and swiping with her hands, how the outfit would come on, that was created by the computer guy. The designs are not realistic. When I wrote it, before we shot it, early '90s grunge was a big thing and it was an anti-fashion moment. Then big designers started cashing in on it. Suddenly you have an expensive plaid outfits. In Seattle they wear plaid as a practical, keep-warm, don't-care-about-what-you're-wearing feel. The hammer, Oldboy Park Chan-wook, director: "[The main character] Oh Dae-su is not some special forces agent nor an expert martial artist.
He is an ordinary person. That's why I thought that it would be good if his weapon is something that's not a weapon, which he turns into a weapon. As the hammer has a blunt head on one end and sharp teeth on the other, I really wanted to explore the idea of switching from one end to the other depending on the use to hit the opponents. On top of that, the fact that it could also be used as a torturing tool was a great advantage. Haven't all boys played with a hammer trying to pull their younger brother's tooth out instead of a nail?
Or is it just me? Then we made identical copies of it with soft rubber. Especially for the extreme close-up in the teeth-pulling scene, we used an extremely soft rubber. The original storyboard was divided into dozens of shots. We rehearsed the scene based on that plan, but decided to turn it into one long take in the late afternoon. Just counting the takes where we went from the beginning to the end, we shot 19 takes.
Considering the width of the corridor, it is obvious that the camera's position in this long take shot is not possible without taking away one side of the wall.
I think the audience would sense this unconsciously. So I think they take the scene as if it were some sort of a stage performance. Especially given the fact that this whole scene is without a cut. These two elements, which cinematically create distance for the audience, paradoxically give them the sense of being there with them in the scene.
I think as a result of this, the audience ended up embracing all of Oh Dae-su's isolation, solitude, fatigue, pain, his determination to meet any obstacles head-on and break through them, and even his Thanatos. They sent me a few movie stills to work with and I said, 'Sure, why not? They wanted a couple embracing with the skyline in the background, which they wanted to contrast with the elegance in the main figure of Audrey.
He wrote the producer that we should watch the two-foot cigarette holder and not come too close to Auntie Mame, but he thought we had Holly right, and that was the main thing. I couldn't agree more. Spellman, production designer: "I was doing the film Knocked Up with Judd Apatow [who] said he had this other film that he was producing and that he'd like me to meet on it and read the script.
I really laughed out loud a number of times. I remember reading about the guys trying to get alcohol and Fogell getting a fake ID. I don't believe it was really descriptive, I think it just said he brought out a fake ID and that his name was McLovin. I don't believe it said that he was from Hawaii. I actually mentioned to the guys, why don't we make his license from Hawaii [because] I had done a film there and I just thought about a state that's not even in the mainland.
I remember researching streets because we had to put a street name on there. Cocktail and he knows more about the history of cocktails and alcohol than anyone I've ever met. I knew that we had to create all these alcohol labels, because the kids were under 21 and we had to create fictitious labels.
So I brought Ted on, mainly to do the liquor labels and stuff. Sometimes the best part of working with Seth and Evan is actually making them laugh and hearing them laugh. I recall Seth laughing and saying, 'Yeah, let's make him from Hawaii. The batarang, Batman Terry Ackland-Snow, art director: "We did a rough design sketch of what was required, and then it got handed over to the special effects supervisor, John Evans, who made all the gadgets.
We were working on it all together at the same time, giving Tim Burton exactly what he wanted Batman to have. All the gadgets echoed each other. John Evans, special effects supervisor: "I think we made about a dozen. We made some with fiberglass and some with polished aluminum. Anton [Furst]'s team had done all the designs, so he gave us the designs, and we took it from there.
It was a simple thing to do. We just had to get the balance right so it could fly through the air. The blue box, Mulholland Dr.
My business partner and I were working at Prop and Custom Inc. From what I recall, David did some of the first rough sketches, and then based off those, I did some more drawings.
The script was pretty secret, [and] the scenes would be described loosely to us, like how Lynch wanted to see the box work -- he had a vision and direction in his head. He wanted the box to appear otherworldly, with a weird key that would unlock a seamless box and the hinges needed to be inside the box, so that when it would finally open, the metal would have a clean look.
Then we figured out a way to make it open where there were no hinges on the outside. The second box was just a cube with a key hole -- no door -- just smooth like the monolith from A Space Odyssey. We had to make two versions of the box, so Lynch could get the different shots he needed, where the box was being examined closed and opened.
The chunkier key was also aluminum. But Lynch didn't want you to look at these and think, Oh, these are definitely made out of aluminum. Jim, the guy I worked with, was a custom hotrod guy, so he was very into candy paint and clear coats and stuff like that -- stuff that would make the light bounce through, off the aluminum, and give it that otherworldly feel.
There's a luminescence to the blue that's on those props. Was it an inter-dimensional thing? Or was it some kind of life force? I am as close to having any answers about the meaning of the box as every single person who's seen the movie -- even though I've worked on it and had it described to me. They had to go through a lot of trouble for clearance on that.
Smarting from that, he pitched something that didn't have an obvious name on the face and I don't recall what the actual manufacturer was. It might've had something on the back of it. There was no name on the face. There were Roman numerals. So it was almost like it was a watch that was altered a little bit. You could almost see it on the images of the watch in movie. I'm assuming Quentin has the watch because he kept everything. He keeps everything from the movies and values all of this stuff.
Even the not-very-valuable stuff. He likes to keep all that -- including the cars.
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