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Set Visit: Drive Angry 3D Interview with director Patrick Lussier
Considering his status as one of Hollywood's up and coming directors, Patrick Lussier is an awfully nice guy. I remember everyone in Lousiana putting him over as being incredibly friendly- Todd Farmer (Pat's writing partner) told me that Lussier personally stops and thanks every single member of the cast and crew at the end of every day of shooting, which is quite a gesture.�
As such, when Patrick's interview time came up he came tearing down the sidewalk, moving as quickly as he could. He walked over to our table, shook our hands and quickly asked us to excuse him for a moment so he could go to the bathroom, as he had been holding it for hours. That really summed the guy up for me. Anyway, read on to find out what the director of My Bloody Valentine had to say about his current project, DRIVE ANGRY.
Does shooting 3D slow you down at all?�
Lussier: Not really. There�s a couple different things you have to do framing wise and things like that and occasionally you have some technical things because you have to have a few eyes that our two cameras are basically shooting every single shot and have to function in perfect sync all the time. So occasionally you�ll have technical things but overall maybe it�s 10% slower overall�maybe.�
What�s changed about shooting in 3D from My Bloody Valentine�to this?�
Lussier: Big thing is the sensors on the camera can allow you to shoot closer to what it�s like to shoot film, so you can shoot with a lot less light. So it allows you to shoot�the thing that slowed us down on �Valentine� all the time was the amount of lights we had to use. It wasn�t the 3D, it was the fact that we had to use massive lights everywhere we went. And of course we were doing it underground in a real mine where walls could move or anything like that.� We don�t have any of those issues here. It�s much�the faster cameras in terms of faster and exposure.� It�s one of the big things. �
There�s been a lot of mention of 70�s car chases. What is your vision and the end result shooting long lens/wide lens film grain?�
Lussier: Well, film grain�we discussed doing some of that. A lot of it will depend again on what that looks like in 3D because you have to match the grain eye for eye and everything like that. It�d have to be identical so there�s all sorts of anomalies with 3D that will give that.� You know the big thing that we wanted to do was create something that had that vibe, yet with the 3D you don�t even have a tendency to play a lot of things wider�at wider closure. Although we�re using 150�s and stuff like that which normally you don�t use in a 3D movie, so we have a lot of long lens stuff that really compresses the action, compresses the close-ups where the background�s out of focus so the 3D is mostly on the face and then everything else falls away in that world of mono at different times. �
Have you had any really hard challenges in the long car trips, the wide open road, shooting with 3D since lots of time you see 3D it�s in the short range??
Lussier: �Yeah, you know we haven�t so much. We�ve been cooling down the road at 50, 60 70 mph with cars chasing us. You know usually it�s trying to keep up with Nic because he drives and he drives so well and so fast that�s been the biggest challenge and it�s nothing related to 3D.�
Sorry, just one last camera question. Was that�I mean something when you�re shooting a homage of this style, is it weird to shoot digital instead of film and�?�
Lussier: �You know, it�s something that we never even thought about because technically we couldn�t do anything else. Yeah, because we couldn�t do anything else it wasn�t even anything that we considered because in order to shoot in 3D this is the venue we were going to work in so that�s where we were.
Are there major set pieces or is it just smaller ones littered throughout?�
Lussier: Yeah,�there�s major action�set pieces. You know, they�re sort of different. Yeah, but there are�there�s a huge car chase in the middle that has Milton chasing after Piper, you know, Nic chasing after Amber Heard and she�s in the middle of massive fist fight inside an RV traveling down the road while he�s being chased by multiple people and you know, gunfire, murder and mayhem and things blow up and all kinds of crazy shit.�
Do you rely on storyboards a lot to plan out how you�re going to��
Lussier: �You know what? I rely on them for certain sequences, you know, certain specific sequences that have a lot of second unit. They�re valuable. I find the way I like to work is I shot list everything and then we go through it, block everything, so that everybody knows what we�re doing on a daily basis. You know, storyboards a lot of the times are a great way to show things to the suits. Like "Ooh look! It�s a flip-book." And then but again for like the big visual effects sequences its vital to have them.. so you know you have a big road block sequence that has all sorts of murder and mayhem and all kinds of crazy shit that happens, but that we storyboard pretty specifically because we did a couple of gags in there that we hadn�t done before, so.�
Can you talk about what Nic brings to the film?�
Lussier: Yeah, I mean when we first wrote the script and went to meet with Mike De Luca to produce the film and then Mike immediately came up with Nic as somebody who would love the project. And we took it to Nick and met with him. Nic, the first conversation�he�s the only actor we talked to to play Milton. We went and met with him and within 23 minutes he was just like I have to play this part. I am this guy. I�ve never played anything like this. I�ve never played anything like this. I�ve never played anything this hard as this, as edgy as this, as relentless as this and I want to play this part. And so we were all sold together and that�s what he brings.� He brings an undeniable passion and enthusiasm for not just the film but for the era of the films it plays homage to. For the sort of the idea of a very hard guy doing a very noble thing even though he�s basically a bad guy, which he loved. He loved that sort of that duality. And that�s in a lot of the characters. There�s sort of dual nature to the characters. �
Is Nic's performance in Drive Angry at all similar to his performance in Bad Lieutenant?
Lussier: It�s different.� It�s not a manic. That�s the wrong way to describe the character. There�s a definite energy to it that�if I tell you what it is it�ll tell you too much. Because it has to do with what the character is, so.�
Is there a certain scene or point in the film that really encompasses what this movie is all about?�
Lussier: �Yes. I can�t tell you what it is. �
Todd said we should ask you specifically which 70�s films you were looking at.�
Lussier: �When we wrote it we talked a lot about� �Vanishing Point� obviously. We talked even further back�I�m trying to remember them all. My mind is going totally blank. But �Duel� we talked about a lot. You know, that kind of story and then sort of edgier stories like �Outlaw Josey Wales� which is that sort of character. That character�s journey, what that character�s journey is as a similar model for this character. There�s a host of other ones and I�m blanking, sorry about that.�
You went with the red camera system. The other competitor out there is the Pace camera system. What was it about the red camera that��
Lussier: Well we�re using the paradise effects. They�re the ones who are doing our 3D. We, on �Valentine�, we met with Pace, we met with Reality. There was only one company which is Paradise who said yeah,sure. You want to go into the mine? You want us to do this? You want us to do this? You want to make a camera that can flip up invert from low mode to high mode in 5 minutes? Yeah, we can do that. They�re the only people who did that. The only people who said they could do anything we wanted anytime we needed it and could work at the pace that we needed to work at. Somebody that could embrace on �Valentine� what was a $50 million budget and� come in and deliver the 3D that we needed in the time allotted.� So naturally we had such a great experience with them that we wanted to return to them on this.�
It seems like such a big guy action movie, what will attract women to want to see this?�
Lussier: You know there�s�one of the main characters is played by Amber Heard who�s very compelling, very strong female heroine who�s at the forefront at how she gets involved with Nic�s character. And then becomes part of his journey. You know, she�s not a victim, she�s not just a girlfriend.� She�s not anything like that. She is there together the entire way neck and neck. I mean to have them really bring that kind of strength and female identification.�
Does it annoy you, do you get pissed off when stuff about your films leaks out on the Internet before you�re ready to have it revealed? I mean, is that frustrating for you?
Lussier: �Yeah ,sure it is. But there�s a point when things are no longer in your hands . You know, sh*t gets out and there you are. �
Is this a movie that�s being looked at as if it does well are we left at the end of the story where we could see �Drive Angrier�?�
Lussier: �Perhaps. It�s all subject to interpretation. �
Is the name Milton a direct reference to Paradise Lost?�
Lussier: �Yes.� (laughter)�
What drives you creatively to go to such a hard movie, you know?�
Lussier: �Again, my wife asked me that exact same question. I was sitting there describing a scene, one of the early scenes in the movie that involved Billy Burke�s character and described it to her in detail and she�s like just like �Oh my God. How did you shoot that?� Because I thought about it technically, and it was sort of mortifying to realize "oh my God, this is what we�re actually doing".� But it gives justification for Nic�s character�s journey. I mean, everything he does has to�the hero�s journey can only be emboldened by the length and breadth of how villainous the villain can be.� So if you really want to give the hero big to combat then your villain�s got to be a major motherf*cker and we, of course, shot that. What compels me to do that? It�s just the stories that I�ve worked with Wes Craven for so many years it�s the stories we�ve become intrigued by. And in this story, Todd and I set out to write something that we wanted to see and the story that�the whole script came out of, and I don�t know if Todd told you this, that of the opening of the movie which is basically we describe this guy named Milton chasing after these guys� known only as �the f*ckers��, these three f*ckers, who were scared sh*tless. And we probably felt that before �5 minutes before they were probably dead f*ckers. And then of course, he catches up to them and then there are no f*ckers.� And then the journey goes on from there. �
Do you fear going into the editing process?�
Lussier: God no.� I love the editing process. �
Well, do you fear that something might not make it into the final cut? Do you feel you might not get that R?�
Lussier: Having walked down the road with the MPAA many times, you know we have protected ourselves in certain ways. There are things that are extreme. A lot of them are extreme in tone.� A lot of it is, when dealing with the MPAA is about presentation. Certainly with �Valentine� that was a very tricky and intriguing process to land where we landed and what their main objectives were in that film were quite intriguing which are all related to sexy. You know, I think we said that the only gore trim we made in that film was 9 frames with the pick axe coming through Kevin Tighe�s head.� Other than that, we cut 2 minutes of the sexy. And we also showed them the version that was 2 minutes longer than we wanted.�
How does the gore in this compare with �Valentine�? Like is it more extreme, not the same?�
Lussier: It�s a little different. There are some extreme stuff in it, you know? It�s a very different kind of story so it�s not about ripping people�s jaws off and things like that. It�s not a horror movie. You know, it�s much more of an action thriller. So by virtue of that there are extreme violence things. A lot of them, though is gun violence and things like that. There�s a lot more of that kind of thing than some of the mayhem we got up to in �Valentine�.��
Have you built in padding for dealing with the MPAA like scenes you know you can trim?�
Lussier: Um, yes. Yeah, there are things we know we can do.
Are they there expressly for that purpose?�
Lussier: I would never say expressly for that purpose. They�re there knowing that that is a safely valve. If you need it, you can always let steam off there. Or you know and sometimes just the inverse can happen . On �Scream 2� we trumped up all the violence on the cut and Wes sent it in and they gave us an R the first time, which shocked us all. We�re like, what? Because Scream went back 9 different times to try to get an R rating.
When shooting a film with 3D in mind so it�s already set in stone, do you still use it as a tool to tell your storyline or is it�can it become a character in the storyline?�
Lussier: Yeah, sort of both. Both. You definitely use it as a tool to tell the story. You look for things when you set up your shots that are depth related. What sells depth more? Not just 'Dr. Tongue's House of Pancakes', but also just different things. One of the things that�just shooting through the windshield of a car and there�s a point where Nick�s character has to kick out a windshield and everything like that so you see him whipping down the highway. You see the big long hood of the Charger. You see him inside the wind blowing him, the back and the depth behind him, all the cars spiraling out of control behind. So there�s all those kind of things in 3D are very aggressive.��
Has there been anything that you shot that was�this has only been a 40-day shoot so far and you�re ending at the end of this week, has there been an logistical sort of like unexpected nightmare that you can�t believe you got through?�
Lussier: Oh God, everyday!� Every day is a bit of an uphill pit fight. But it all comes together, you know? We�ve got a fantastic crew. We�re very smart and we look at our limited amount of time every day and figure our way through it. Nic and the cast are amazing at helping us do that. We have everything planned out so that when we walk into a place we know how we�re going to get out and move through it. There�s occasionally logistical things come up with cars breaking down or things like that. We can figure them out and make them all work.��
Did you shoot stuff for the DVD? Any extra stuff for it?�
Lussier: Extra stuff? No not per se. We shot stuff that may end up solely in extra stuff. Again, it�s a whole background story that has the ability to show as much or as little as the cut requires when we put it together, but that would certainly�and it can be cut very stylized or it can be cut as a scene as itself. So in the body of the movie, it�ll probably play very stylized and then probably be for the DVD a separate cut of�what that story was.�
Was there stuff shot before the release of the film like for the website?�
Lussier: It�s definitely talked about doing that just in the grand scheme of things given our limited amount of time that we haven't been able to do, but we certainly would like to so it�s a matter of whether or not we�ll be able to, but there�s a lot of strange and wonderful characters in this story and we�ve talked about getting new adventures of each one of them before they run into Milton and what�s happened to them.��
Do you try and figure out the train schedule to know when these�things are coming?
Lussier: We have not. We�ve discovered that when dealing with trains that the schedule is whenever they fucking want to go by and you can never control them. So we just basically suck it up. And usually it�ll happen just as you�re about to say action.��
Can you give us an update on �Halloween 3� because I keep hearing these things about it and��
Lussier: I know nothing about �Halloween 3�. My last involvement with the project was Christmas. My last conversation with the Weinsteins was at that time. Beyond that I know nothing.� You know as much as I do.
Do you see yourself working in 3D? Is that something that you want to ��
Lussier: Sure, yeah. I enjoy working in 3D. It�s a great format to work in. It�s visually very exciting. It�s visually intoxicating. It�s a great way to tell a story, you know, and you don�t have to tell a 3D story to tell a good story in 3D, you know? Any story in 3D in can be great, you know? I shot them all sitting around this table, 3D would be amazing.�
Do you feel like it something that you wouldn�t want to go�like would you only want to shoot in 3D as opposed to making a more shooting in 2D?
Lussier: No. I mean I think it�s�I�d shoot anything whatever the story warranted but certainly the 3D is an exciting way to tell it. It�s visually stunning. It�s the technology in terms of seeing it in the theater is such that it doesn�t try to split your head into two, which makes it a far more intriguing and enjoyable experience, so as long as it sticks around, I�m more than happy to make them.
What did you learn on �My Bloody Valentine�� that you were able to take into this film, if anything?�
Lussier: Oh, tons. Lots of other technology. A few storytelling things from my own perspective that things were sort of new, things that we had let go on �Valentine� for various reasons, some political reasons, some just purely function of time reasons and perhaps we shouldn�t have done and things we don�t let go here.


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10-11 AM Networking
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How does a campus minister suddenly become a successful tech start up entrepreneur? Join us to hear Jon Paris' journey where faith and technology intersect. Jon will share his journey from campus ministry to successful tech start up exit.
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Confirmed: Geoff Johns Is the New President of DC Entertainment
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A parody "Man of Steel: The Animated Series" video combines the morality and logic of the film with the tone of the cartoon with hilarious results.
The new creative team on "Action Comics," Greg Pak and Aaron Kuder, discuss Superman, the new characters populating their run and "Zero Year."
Ron shares his con diary from Cleveland Comic Con in a bonus column featuring a visit to the Superman house and time with Green Lantern collaborator Darryl Banks.
Universal Studios Hollywood has canceled its Bill and Ted Halloween Horror Nights show, which featured a Man of Steel who is a mincing gay stereotype.
A Warner Bros. exec addressed rumors of Wonder Woman and other DC heroes in "Batman Vs. Superman," plus Ben Affleck's controversial casting.
Showrunner Scott Gimple discusses the series tone, Clark Gregg teases Coulson's "Agents of SHIELD" resurrection, plus new "Arrow" clips and more.
The untitled "Man of Steel" sequel is set to film in Los Angeles this weekend, during halftime of an East Los Angeles College football game.
At New York Comic Con, DC Comics hosted a special panel for Superman's 75th Anniversary, with the world premiere of an animated short by Zack Snyder and Bruce Timm.
During DC Comics' Superman panel at New York Comic Con, writer Scott Lobdell announced the upcoming death of Superboy in the pages of "Superman," a statement supported by the issue's solicitation copy.
At New York Comic Con, comic book writers Scott Snyder, Greg Pak, Tony Daniel, Charles Soule and others discussed "Superman Unchained," the death of Superboy and plans for the Superman line of books.
Courtesy of DC Comics, CBR has an advance preview of "Batman/Superman" #5 by Greg Pak & Brett Booth. On Nov. 6, the Toymaster's plans turn deadly when his new video game becomes reality!
At the Las Vegas Comic Expo, writer Scott Lobdell talked about his work on "Superman," including the pitch that got him the job and how his feeling towards the Man of Steel have changed since he began writing the icon.
ROBOT 6 contributor Tom Bondurant looks back 20 years to DC Comicsâ big event that rocked the summer of 1993: the 20-issue âReign of the Supermen!â Has time changed his take?
Screenwriter David S. Goyer reveals "Man of Steel" is further into development than many may suspect while addressing fan pressure and who would win in a fight: Batman or Superman.
Acknowledging that he and director Zack Snyder knew the ending of "Man of Steel" would be controversial, screenwriter David S. Goyer explains why, in this case, Superman had to kill.
Tim chats with soon-to-be-superstar artist Aaron Kuder about what it's like to write and draw comics and how his upcoming "Superman: Parasite" Villains Month one-shot came to be. Plus, exclusive art!
Writer and "Arrow" executive producer Marc Guggenheim discusses "Tears of Krypton," a three-part "Adventures of Superman" story asking some pointed questions about the DC Comics icon's origins.
CBR and 5th Cell kick of Monday with our fourth exclusive "Scribblenauts Unmasked" DC Comics homage, this time reinterpreting the Georg Perez's classic "Crisis on Infinite Earths" #7 cover.
Following up on the Batwoman marriage controversy, ROBOT 6's Tom Bondurant discusses DC Comicsâ apparent need to keep characters "relatively unchanged, which these days includes being young and unmarried."
In celebration of the release of "Scribblenauts Unmasked," WB Games, 5TH Cell and DC Entertainment has provided CBR with an homage parody cover for the grandaddy of all superhero comics: "Action Comics" #1.
Creative team Tim Seeley and Mike Norton explore the digital-first frontier with "Adventures of Superman" #21, with two stories containing "simple and rewarding" execution.
"Man of Steel" star Henry Cavill dropped in on "Sesame Street" to explain the meaning of respect to Elmo, the Big Bad Wolf and the Three Little Pigs in a skit from the PBS series' Season 44 debut episode
Ben Affleck appeared on "Late Night with Jimmy Fallon" to discuss how he became the next big screen Batman and why, despite warnings from Warner Bros., he wasn't fully prepared for Internet reactions to his casting.
"Awake" creator Kyle Killen spoke exclusively with CBR News about making the jump from television to comic books in DC's "Adventures of Superman" and teases an "Awake" comic revival.
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DC Comics has released solicitation information and images for items shipping in December, including the latest on "Forever Evil," "Nightwing," "Harley Quinn" and more. UPDATED with new "Batwoman" solicitation.
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Licks Pacmans Taint
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Marquez looks ripped and roided.
Face looks bigger and unnatural. His face is filled up with testosterone lol.. Looks like his skin is tender from all the roids his getting. This guy is going the extra mile to defeat Pac.
This is going to be an all out war. One shall fall. Can't wait to see these 2 fight again.
Puffy face found on roided wrestlers and his vains seems to pop like wrestlers too lol
His biceps, delts are freakishly big @ an age where it shouldn't be getting that toned anymore. Suspicious. plus the fact JMM's strength and conditioning coach is Angel Memo Heredia ..an admitted streoids dealer who Made Marion Jones a multiple Gold Medalist in the olympics.....I think that's enough evidence to suspect JMM might be on steroids .
But I don't really care if Marquez is roiding in this fight. This fight will be epic. I'm just saying it looks obvious he is. Fight on Marquez. I see your grit and determination. May the best man win! Roided or not.
Link: http://philboxing.com/news/story-77395.html
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Who cares? Marquez got the hint.
Mayweather roids
Pac roids
Marquez prob does too.
Roids are a stain in the sport but they all juice
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marijuana is more harmful than roid..
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Piss is NOT a PED! hehe
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Pro athletes are not above suspicion in regards to PED usage. But why are we (yes, I include myself) fans so quick to jump to conclusions about who might be doping when there's no substantial evidence to back up those claims? More importantly, if we are so convinced that every athlete is juicing and pretend to care about the integrity of the sports we supposedly love, why do we still watch?
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larry's world
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lmfao really?did u really post this sh1t?
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That is an unfair accusation. Marquez is willing to undergo any tests that Pacquiao himself is willing to take.
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Wow I never seen him this muscular before. As a matter of fact Marquez never had a muscular physique in the first place.
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this same guy says manny should not be accused cause he never failed a test..yet neither has JMM
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"Guns Don't Kill People...Lazers Do" is the first album from the moombahton group Major Lazer. Major Lazer is a collaboration between producers Diplo and Switch, of M.I.A fame. The album itself is full of the usual sporadic drumlines and heavy Jamaican accents that I expect from a moombahton album. And for those who do not know what moombahton is, it is basically a crossover between electronic and reggae. This makes for a very experimental and strange genre that has only recently come into light. But, I felt like this album, and Major Lazer as a whole, have done an excellent job of expanding the content and limits in the genre of moombahton. The heavy bass backgrounds and excessive reggae lyrics make this a very interesting album to listen to, whether you're writing a review, like I am right now, or playing games by yourself on a Friday night, which I also do. The construction of each track helps make each song unique in not only their content, but also in their vibe. For example, the opening song "Hold the Line" envisions the more furious and groovy side of moombahton, with a LOT of background basslines, and so much varying lyrical parts and drums that you just cannot help the urge to get up start dancing. But then the third track, "Can't Stop Now", brings the more subdued and calm version of reggae to your ears, and helps refresh your palate with a female vocalist instead of the usual male. I personally like the album more and more after delving deeper into the content of each song, such as the occasional lyrics that you can actually understand. (Do keep in mind this is a mostly reggae-esque album) But, when it comes down to the sheer basics of electronic music, the production on this album tends to dip as you reach the middle of the album. It all starts at about the 6th track, " Cash Flow", where the background mostly consists of alternating, and often times annoying, synth pads. I found this to be slightly irritating, mostly because I liked the half sporadic, half subdued, style of the first five tracks. But, all in all, the album itself makes the trip into Diplo and Switch's minds a very worthwhile journey. "Guns Don't Kill People...Lazers Do" is a very well made album, with lots of highly impressive songs, but some lazy producing and personal queries held this album back from being some even more impressive.
Production- 7.9/10
Quality- 8.5/10
Accessibility- 9/10
Overall- 8.75/10


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El propietario
(5 opiniones)
Anunciado desde 25 nov. 2012
Idiomas hablados Inglés, Alemán, Español
The 2 storey villa 305 m2 + 50 m2 removed covered outdoor area + 200m2 terrace situated in the outdoor area of Moraira, 400 m distance to the water and adjacent to the urbanization San Jaime, 5 car minutes from the center of Moraira. The site has about 975 square meters. The house is furnished to a high. On the ground floor is the living room, as well as a second living room (large flat screen TV with German, English., French, Polish, Italian programs via Astra satellite, also suitable for connection of X-Box, etc.). Dining room, kitchen, stairs to the upper floor are the bedrooms, 1st Bedroom with large double bed 2,60 x 2,00, 2nd Bedroom with large double bed, 3rd Bedroom with large double bed, 4th Bedroom with 2 separate beds together adjustable. On the floor are a bathroom with bath, wc and a second bathroom with shower and toilet. The 5th Bedroom with double bed (1.40) is in daylight-bright basement, the basement apartment is about 35 m2 and consists of 2 rooms, the 4th Bedroom and living room with TV and deluxe sofa bed (box spring) for 2 people (1.50 x 2.00) well maintained (in the basement ceiling height 1.96 m). Belonging a separate outside bathroom with shower and toilet.
Interior: Spacious bright rooms, floor to ceiling windows with safety glass and flying blind and mostly electric. Shutters, the house is designed with light marble flooring. The kitchen has an American double fridge and is fully equipped Astra satellite TV English / German / Dutch / French. throughout the house, and Spanish digital TV, 1 TV in the outdoor area, 1 TV in the main living room, 1 TV room / TV room, 1 TV in the 4th bedroom, Internet DSL wired connection in the house and 2 x wireless LAN (WiFi) reception . (5 bars) on the terraces, alarm, gym (rowing machine Kettler, Life Fitness Cross Trainer, TechnoGym Ergometer, Kettler Basic Power Station) Klimanalagen in all 5 bedrooms and the dining room / TV room, a living room and one in the gym. Central heating (oil) all over the house.
Outdoors: Bio-pool 8 x 4 meters with Roman steps, water depth up to 2.20 from 1.20. Pool water without chlorine, about 200 sqm terrace, covered about 45 square meters, where there are the outdoor kitchen / outdoor dining, and an outdoor living room. The Naya (covered terrace) is approximately 15 square meters and offers a second comfortable outdoor dining. Depending on the time of day and sunlight can choose between the outdoor dining rooms. In the rear of the garden is a pond with a waterfall with Kojs and goldfish. This area is ideal for relaxing, reading or sunbathing.
The terraces and pool area invite you to extensive sunbathing. Excellent wireless internet reception even outside the house outside possible. In the front there is the outdoor sauna house (sauna f 6-8 people), the oven is normal for sauna and steam room and Turkish bath for suitable. The sauna house in the garden has a private shower with dressing. In outdoor living room, and fitness room are each a JVC stereo with iPod dock connector port, so you can listen to your music with your iPhone or iPod. It is a Non smoking home, on the terraces are designed ashtray.
Area: Holidays in Moraira means primarily relaxation and family holidays. The area around Moraira is hilly and covered with pine trees. The villa is located near the coast road Moraira - Calpe (about 300m). The exterior of the house has hardly any traffic. In the neighborhood there are only single-family homes, there are no hotels or apartment buildings for miles around. A small pine grove next to the house you plan a wonderful view of the nature and partial sea view and a view of the Rock of Ifach. The distance as the crow flies from the sea is about 400 meters from the nearest beach is about 1500 meters. Shopping to the supermarket Más y Más 300m, Pepe la Sal 800 m, the nearest Aldi or Lidl in Moraira each 6 car minutes. Within a radius of one kilometer there are numerous restaurants. A review and recommendations of the local restaurants are available in the house. Moraira town is 3 car minutes. To the nearest bakery (with delicious sandwiches) are on foot 3 minutes.
|Aeropuerto (Alicante):
|80 kilómetros
|1500 metros
|1500 metros
|600 metros
|1 semana
|Estancia mín.
|16 jul. 2016
|27 ago. 2016
|€ 2.190£ 1.844$ 2.429
|1 Semana
|27 ago. 2016
|03 sep. 2016
|€ 1.690£ 1.423$ 1.874
|1 Semana
|03 sep. 2016
|10 sep. 2016
|€ 1.099£ 926$ 1.219
|1 Semana
|10 sep. 2016
|17 sep. 2016
|€ 990£ 834$ 1.098
|1 Semana
|17 sep. 2016
|29 oct. 2016
|€ 869£ 732$ 964
|1 Semana
|29 oct. 2016
|17 dic. 2016
|€ 869£ 732$ 964
|1 Semana
|Tasa de reserva:
|30 %
|Pagar el resto 6 semanas antes de la llegada
|Depósito de garantía reembolsable:
|€ 400,00£ 336,88$ 443,60
|Limpieza final:
|€ 180,00£ 151,60$ 199,62
|No se incluye en el precio
|Añadir € 30,00£ 25,27$ 33,27 (por estancia) si piensa traer mascotas
|Sábanas y toallas:
|No se incluye en el precio
|Añadir € 12,00£ 10,11$ 13,31 (por estancia) si desea obtener sábanas
|No se incluye en el precio
|Añadir € 25,00£ 21,06$ 27,73 (por estancia) si desea utilizar una cuna
|Incluído en el precio
|No se incluye en el precio
|Añadir € 0,25£ 0,21$ 0,28 (por kWh) consumido
|No se incluye en el precio
|Añadir € 2,20£ 1,85$ 2,44 (por m³) consumido
|Incluído en el precio
|Formas de pago admitidas:
|Transferencia bancaria
|Rental Charges:
Power: 100 kW / week Price 0.25 euros contain more kw kw / hr (100 kW in the included management for pool, pond, street lighting further technical equipment)
Water containing 15 m3 / week (including 7,5 m3 for management pool, fishing pond, lawn and garden irrigation)
Final cleaning: 180,00 EUR
Deposit: € 400.00
Optional linen / towels if required: EUR 12.00 per person (1x bed linen, 1 large towel, 2 hand towels, tea towels)
Winter period
minimum 3 months per month 790 EUR + final cleaning 180 EUR +electricity + water + central heating


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|Home | About | Journals | Submit | Contact Us | Français
A knowledge synthesis attempts to summarize all pertinent studies on a specific question, can improve the understanding of inconsistencies in diverse evidence, and can identify gaps in research evidence to define future research agendas. Knowledge synthesis activities in healthcare have largely focused on systematic reviews of interventions. However, a wider range of synthesis methods has emerged in the last decade addressing different types of questions (e.g., realist synthesis to explore mediating mechanisms and moderators of interventions). Many different knowledge synthesis methods exist in the literature across multiple disciplines, but locating these, particularly for qualitative research, present challenges. There is a need for a comprehensive manual for synthesis methods (quantitative/qualitative or mixed), outlining how these methods are related, and how to match the most appropriate knowledge synthesis method to answer a research question. The objectives of this scoping review are to: 1) conduct a systematic search of the literature for knowledge synthesis methods across multi-disciplinary fields; 2) compare and contrast the different knowledge synthesis methods; and, 3) map out the specific steps to conducting the knowledge syntheses to inform the development of a knowledge synthesis methods manual/tool.
We will search relevant electronic databases (e.g., MEDLINE, CINAHL), grey literature, and discipline-based listservs. The scoping review will consider all study designs including qualitative and quantitative methodologies (excluding economic analysis or clinical practice guideline development), and identify knowledge synthesis methods across the disciplines of health, education, sociology, and philosophy. Two reviewers will pilot-test the screening criteria and data abstraction forms, and will independently screen the literature and abstract the data. A three-step synthesis process will be used to map the literature to our objectives.
This project represents the first attempt to broadly and systematically identify, define and classify knowledge synthesis methods (i.e., less traditional knowledge synthesis methods). We anticipate that our results will lead to an accepted taxonomy for less traditional knowledge synthesis methods, and to the development and implementation of a methods manual for these reviews which will be relevant to a wide range of knowledge users, including researchers, funders, and journal editors.
PubMed Central Canada is a service of the Canadian Institutes of Health Research (CIHR) working in partnership with the National Research Council's national science library in cooperation with the National Center for Biotechnology Information at the U.S. National Library of Medicine(NCBI/NLM). It includes content provided to the PubMed Central International archive by participating publishers.


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The vicars wife just can't resist in the end.
Suzie was generally happy with her life. Married to Jason, a Vicar, Suzie had become a sort of freelance amateur councillor, or agony Aunt, to her husbands flock, or at least the female half, and kept herself busy. Jason had three parishes to cover, that kept him busy. Suzie showed her face in all three places, but did more of the group stuff, flower club, help the heroes coffee mornings...Read On
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Sandrine finishes paying her bet, and what comes after.
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RuthAnn is back on the bus. A new guy joins the party!
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Andrew may be Maddie's only chance to leave prostitution, but can she trust him?
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"Jess are you still up here?" Sam was just outside the bedroom door. I stood there rooted to the spot with my trousers around my ankles and my rapidly softening cock exposed. Jess was still crouched in front of me, unwilling to make any kind of movement. My heart leapt into my mouth as he attempted to turn the door handle, but thankfully Jess had taken the time to lock it. "Jess I just want...Read On
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A teacher uses a student's poor grades to his gain
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Lucia's vacation takes another turn when someone from her past shows up.
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I find myself once again in the clutches of my hot deputy lover
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Poor Eowyn has a bunch of secrets from her time in Edoras before the war -- involving pesky Grima.
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Introduction - This is Part II of the story about my wife Ashley. You'll get more out of it if you read Part I first. If you have read part I and found it interesting enough to read Part II, thank you. This still isn't very naughty by lush story standards, but I was very erotic to me when it happened. If you have enough patience to get through this, the next couple of parts will be...Read On
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text:
Latest Headlines
Latest Headlines
Ruckus rolls out Ruckus Cloud Wi-Fi
Ruckus Wireless announced the general availability of Ruckus Cloud Wi-Fi, a wireless local area network (WLAN) management-as-a-service offer.
Brocade to acquire Ruckus for $1.2B in push toward 5G
Brocade, a major player on the NFV and SDN scene in the wireless industry, announced it plans to purchase Wi-Fi equipment company Ruckus Wireless in a deal valued at around $1.2 billion. The companies expect the transaction to close in the third quarter of this year, and Ruckus CEO Selina Lo will remain in the combined company and will report to Brocade CEO Lloyd Carney.
Distributed data centers, SDN and NFV play key roles in mobile network evolution, survey finds
Software defined networking (SDN) and network functions virtualization (NFV) will increasingly play critical roles in the development of mobile networking infrastructure over the next five years, a new white paper has found, with 80 percent of respondents to a survey for the paper saying they have a "high interest" in deploying SDN into mobile networks.
Ethernet switch sales surpass $6B in Q3 2015, says analyst firm
Driven by strong results from the largest Ethernet vendors-- Arista, Brocade, Cisco and Juniper-- Layer 2 and Layer 3 Ethernet switch sales surpassed $6 billion in the third quarter of 2015, said Dell'Oro Group in a new report. The research firm said that sales for these vendors reached an "all-time high."
Cisco buoyed by 16G Fibre Channel equipment; Ethernet a potential $10B market
Cisco bucked a downward trend in the SAN equipment market during the second quarter thanks to the introduction of its widely anticipated 16G Fibre Channel ports. The overall SAN equipment market, including Fibre Channel, suffered an 8 percent year-over-year decline, according to Infonetics Research.
Virtualization creating a breeding ground for rival vendors
This was one of those weeks when virtualization, or some derivative thereof, was on the tip of many tongues. It represents the concept du jour, the pot at the end of the rainbow, and lots of companies want in on the action.
Brocade makes pitch for telco NFV business
Telcos, including mobile operators, are increasingly interested in using Network Functions Virtualization (NFV) in order to save money as well as gain service flexibility and time-to-market advantages. Brocade is hoping that interest leads service providers to its Vyatta 5600 vRouter, which the company claims is the first virtual router designed for telco-class networks.
Week in research: Consumers not ready for 1 Gbps; Fibre Channel sees record Q4
Even as Google prepares to launch its Google Fiber product in Kansas City, Mo., a study from Point Topic suggests residential consumers are not yet willing to pay for gigabit speeds.
Brocade's Carney says company is not for sale
Brocade's new CEO Lloyd Carney is already debunking rumors that it will sell the network vendor to another company.
Brocade appoints telecom veteran Lloyd Carney as CEO
Brocade on Monday named networking and telecom industry veteran Lloyd Carney as its new CEO, replacing Michael Klayko.


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Hometown: Manchester, England
March 14, 2014
Via the Meetup website.
Knitting, paper crafts, jewellery making, you name it, I'll have a go! I'm also willing to share my skills with others.
Hi, I'm Laura, an English illustrator living in Valkenswaard, with a penchant for all things crafty!
Meetup members, Log in
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Copyright 2007-2012
Built with Indexhibit
I'm working on this show for my Mom
6 Families and DaNCEBUMS present Wow
Wow is a shared evening and collaboration between dancemakers DaNCEBUMS and soundmakers 6 Families. The affinity between these two groups is rooted in our commitment to experimentation. We push at the edges of what is expected from the disciplines of dance and music. In our first collaboration, we've created something to please ourselves and our Moms – who supported us as young artists at the barre and music stand. Performances are May 7th and 8th at 7pm at the Bryant-Lake Bowl Theater, located at 810 W Lake St, Minneapolis, MN 55408. Tickets are sliding scale $8-$16.


text:
Accidental Lessons
Accidental Lessons
A Memoir of a Rookie Teacher and a Life Renewed
Strategic Book Publishing & Rights Agency, LL, Hardcover, 9781609764111, 172pp.
Publication Date: August 26, 2010
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Writing a Java Class to Manage RPM Package Content
Installing a Linux system for the first time is quite straightforward. You can find good and cheap Linux packages on the market that will quickly install themselves. You need only choose some configuration options describing the type of hardware on which you want to install, and that's it.
As time goes on, you will add some new components to your Linux system, and that's where the nightmare may begin. A Linux system is composed of hundreds of components and dynamic libraries. In order to keep your system up and running, you should be careful, since installing a new version of a component may introduce incompatibilities in your system, making it more unstable as time goes on.
Replacing an existing component with a new version at first looks like a trivial task: you just need to pick up a new compiled version of the component, generally available on the Net in a .tgz file (tar + gzip compression), and install it on your system. Some dynamic libraries of the component you just upgraded may already be used by other installed components and might not be compatible with the new version you just installed.
It would be great to have a tool which could report the dependencies of each component installed on your system. Such a tool could tell you the version of Samba (for instance) installed on your system or that you can't install egcs-1.0.2-8 on your system prior to having binutils 2.9 up and running. This tool already exists on Linux—it is called RPM—and is on many existing Linux distributions, including Red Hat, Caldera, SuSE and Linux Mandrake.
RPM stands for Red Hat Package Manager and is described by its creator as "an open packaging system available for anyone to use and works on Red Hat Linux as well as other Linux and UNIX systems" (from the Red Hat installation guide).
Before starting the programming discussion, I will introduce the RPM package manager and give a general overview of it. If you need more information, see Resources for more than 400 pages of interesting details on RPM's history, design, usage and programming.
The diagram in Figure 1 represents the different components involved in the RPM tool. RPM is composed of three main parts:
a database
candidate packages
RPM utilities, which modify the database and packages
The RPM database, located in /var/lib/rpm on Red Hat distributions, is owned by root; it is a mirror of all the packages which are presently installed on your system. The RPM utility accepts various commands which query the database for installed packages, install or update the system with new RPM packages, remove unused packages from the system, and verify and check installed package dependencies. Usually, when a new version of a given component becomes available on the Net, you have two choices:
Look for a tar gzip file containing the sources. Compile the sources on your system, then proceed with installation of the binaries. The given package generally provides a README, a make and make install procedure to help you.
Look for a tar, gzip file containing the binaries, meaning that someone else has already compiled the sources for you on the same kind of computer as yours. Then proceed with installation of the binaries.
Let's say you are interested in installing version 1.9.18 of Samba. First, you should look on the Net for an RPM of the Samba package (instead of a tar, gzip package). Once you have it, type:
rpm -uvh samba-1.9.18p8-50.1.i386.rpm
This command will install (or upgrade) a copy of Samba on your system. It will also check that all dependencies needed by this version of Samba are present on your system. If the rpm command completes with no error messages, you're guaranteed the installed package will be ready to run without trouble at the end of the installation process.
This installation process will also update the RPM database which keeps track of all installed packages on your system and all their dependencies.
So if, six months later, you want to find out which version of Samba is installed on your system, typing the following command:
rpm -q samba
will tell you
samba-1.9.18p8-50.1If you want to remove a package from your system, the RPM utilities will remove the files which were installed on your system during installation.
Trending Topics
Practical Task Scheduling Deployment
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One of the best things about the UNIX environment (aside from being stable and efficient) is the vast array of software tools available to help you do your job. Traditionally, a UNIX tool does only one thing, but does that one thing very well. For example, grep is very easy to use and can search vast amounts of data quickly. The find tool can find a particular file or files based on all kinds of criteria. It's pretty easy to string these tools together to build even more powerful tools, such as a tool that finds all of the .log files in the /home directory and searches each one for a particular entry. This erector-set mentality allows UNIX system administrators to seem to always have the right tool for the job.
Cron traditionally has been considered another such a tool for job scheduling, but is it enough? This webinar considers that very question. The first part builds on a previous Geek Guide, Beyond Cron, and briefly describes how to know when it might be time to consider upgrading your job scheduling infrastructure. The second part presents an actual planning and implementation framework.
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Shannon Pettini
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Who's coming and who's going. Tell us about your job move! Receive the Revolving Door Newsletter with expert analysis by email twice a week.
August 9, 2011: Shannon Pettini has been named creative director at Splice. She had been executive creative director at Good People Branding. (AgencySpy)


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Practical Arithmetics Book 2
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Product Description
Product Information
|Format: Hardcover
Number of Pages: 500
Vendor: AB Publishing
|Publication Date: 1989
Dimensions: 7 X 5 (inches)
Availability: In Stock
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Practical Arithmetics Book 1George Drayton Strayer, Clifford Brewster UptonAB Publishing / 1996 / Hardcover$13.49 Retail:4.5 Stars Out Of 5 6 Reviews
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Practical Arthimetics Book 3George Drayton Strayer, Clifford Brewster UptonAB Publishing / 1934 / Hardcover$13.495 Stars Out Of 5 1 ReviewsAvailability: In StockCBD Stock No: WW545011
The Original McGuffey's Eclectic Reading Series, Boxed Set with Teacher's GuideWilliam Holmes McGuffeyMott Media, LLC / Hardcover$84.99 Retail:5 Stars Out Of 5 8 Reviews
$113.99Save 25% ($29.00)Availability: In StockCBD Stock No: WW620293
The Field Book of Wild Birds and Their MusicF. Schuyler MathewsApplewood Books / Other$13.46 Retail:
$14.95Save 10% ($1.49)Availability: Expected to ship on or about 08/20/16.CBD Stock No: WW195183
Product Reviews
LisaAustraliaAge: 25-34Gender: female5 Stars Out Of 5Simple and easy to use text bookSeptember 28, 2011LisaAustraliaAge: 25-34Gender: femaleQuality: 5Value: 5Meets Expectations: 5I have found this series of books to be easy to use, the answers are all at the back of the book, the books are very well set out and easy to understand, my children used to dislike their maths but after starting this series they now look forward to their daily lesson, we do 4 pages per day and that gives us a full years worth of lessons from one book,It is a compact well made book that I will be using for all 5 of my children,
Margaret B.5 Stars Out Of 5April 12, 2010Margaret B.I bought this book 3 years ago and used it 1 school year. It was simple to use; very straighforward. In my infinate wisdom, or lack there of, I decided to try Singapore due to good reviews. Then Saxon. Now on my 3rd daughter we are going back to this book in the fall for 3rd grade and continue with it for 4th. It looks small and cheap but it is something you will absolutely get your money for, can use on mulitple kids and is by far better than any "math" program out there. To complete it do about 1-2 pages per day.
Vickie Madrigal5 Stars Out Of 5March 25, 2008Vickie MadrigalI have tried many arithmetic products & this is my favorite. These books are small in size but packed full of practical/every day math that children can relate to. I also like that there are word problems that are easy to read & understand. This is mixed in with regular problems. I have found that even though my children knew all of their "facts" on paper they sometimes did not know how to relate it to everyday uses. This book has some black & white illustrations & problems in black type.I am using book 1 with my younger child and decided to do book 2 with my older. This second book is packed full of useful information. I bought all 3 books in this series & I am glad I did because this will be my math program for some time. Practical, easy to understand. I would give it an A.
Vik5 Stars Out Of 5October 19, 2005VikSee my review for book 1. This series of books is extremely thorough; don't let the size of these books fool you! Answers are in the back so you need no separate key. As the title states, this is an *Arithmetic* series, not mathematics. I beg people to make sure their children are well grounded in arithmetic before moving onto higher math. They are not the same thing!Quaint, thorough, straightforward.
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Q: What grade level are each of the three Strayer-Upton Practical Arithemetics books for? I'm using the first book (red) for my 7 year old 3rd grader. She is doing well with it. I just want to make sure we're not behind grade level. I understand you can use each of the books for two school years. Is that correct?
Each of the books in this series covers 2 years. They are not designed to be used with a specific grade level, but simply to teach math systematically and progressively.
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