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Skinny Dipping in the Fountain of Youth: How to be UNDENIABLY Radiant, Beautiful, Youthful and Sexy at Every Age | Lambaer, Elizabeth | ISBN. Skinny Dipping in the Fountain of Youth: How to be UNDENIABLY Radiant, Beautiful, Youthful and Sexy at Every Age (English Edition) eBook: Dr Elizabeth. Attractive sexy smiling girl bathing in city fountain – kaufen Sie dieses Foto und finden Sie ähnliche Bilder auf Adobe Stock. Auf Discogs können Sie sich ansehen, wer an CDr von Sexy Fountain Noise mitgewirkt hat, Rezensionen und Titellisten lesen und auf dem Marktplatz. Sexy Fountain Noise. Lexie Mountain Boys. Alternative · Hörprobe. TITEL. LÄNGE. Where We Are From. 1. VORSCHAU. Smack Those Lips. 2.

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Instead of facing this tragedy in terror, she is coming to terms with what is happening to her Many patients actually start opening up to the possibility of what's happening to them, but there's very little vocabulary to help them deal We decided to expand it with this woman [Izzi] offering a gift to her husband as a metaphor that tells him where she's come to in her awe inspiring journey towards death.

Hopefully through time he'll be able to understand it and basically get where she is. The Fountain ' s theme of fear of death is "a movement from darkness into light, from black to white" [14] that traces the journey of a man scared of death and moving toward it.

The film begins with a paraphrase of Genesis , the Biblical passage that reflects The Fall of Man. Hugh Jackman emphasized the importance of the Fall in the film: "The moment Adam and Eve ate of the Tree of Knowledge of Good and Evil , humans started to experience life as we all experience it now, which is life and death, poor and wealthy, pain and pleasure, good and evil.

We live in a world of duality. Husband, wife, we relate everything. And much of our lives are spent not wanting to die, be poor, experience pain.

It's what the movie's about. He inquired of the Fall, "If they had drank from the Tree of Life [along with the Tree of Knowledge] what would have separated them from their maker?

So what makes us human is actually death. It's what makes us special. In April , he entered negotiations with Warner Bros. The group also visited Tikal , a jungle location featured in the film Star Wars.

The start date for production was tentatively set in summer In June , Warner Bros. Watson petitioned independent production companies for support and was able to enlist Regency Enterprises for assistance.

Pictures, announced that The Fountain would cease production, [27] with Blanchett receiving compensation for her time and the Australian crew being fired from the halted project.

Aronofsky began to develop other films. When he looked over the books he used to research for The Fountain , he decided to return to The Fountain , feeling closer to it creatively than the other possible projects.

Without a studio and an actor, he decided to write a "no-budget" version of the film, using his experiences filming Pi and Requiem for a Dream with small budgets.

When Aronofsky saw The Matrix in , he considered it a film that redefined the science fiction genre. He sought to make a science fiction film that would explore new territory in the genre like The Matrix and its predecessors Star Wars and A Space Odyssey.

Aronofsky had in mind a science fiction film that would go beyond the other films whose plots were driven by technology and science.

The director said, "We've seen it all. It's not really interesting to audiences anymore. The interesting things are the ideas; the search for God, the search for meaning.

In , when Aronofsky turned 30 years old, his parents were diagnosed with cancer. He began reflecting on human mortality, "That was a really heavy-duty emotional time.

I know it's a very young age, but turning thirty marks when your twenties are over and you could start considering, 'Wow, one of these days I'm actually going to die.

He shared the concept with Handel, his undergraduate school roommate at Harvard University. Handel earned a Ph. D in neuroscience from New York University but was uncertain about a future in neuroscience.

He recalled the discussion, "Darren and I just started talking about the story. We kept wanting to talk more about it as the story kept getting bigger.

I decided to make some life choices to continue working with Darren, because it was so much fun. The director relied on a change of locale to inspire him to write Pi and Requiem for a Dream.

For The Fountain , Aronofsky was inspired by a research trip he took to Guatemala with Handel to learn about Mayan history and philosophy.

Aronofsky realized that since writing in the battle scene between the armies of Mayans and conquistadors, The Lord of the Rings film trilogy , Troy , King Arthur , and other films had featured massive battle scenes.

He felt less inclined to mimic the scale and rewrote the battle to be mainly between Jackman's conquistador character and the Mayans.

The director realized that, with one man against the army, the rewrite was a suitable metaphor for his film's theme of a man defying odds to do the impossible and conquer death.

The filmmakers researched space travel and Mayan culture, including its history, religion, and spirituality.

They attended brain surgeries with the actors. With the research in place, Aronofsky said, "We decided which things we wanted to be purely factual and which things we wanted to bend.

He said, "It was more about painting a relationship between a queen and her warrior, and just using that for more fantasy reasons.

The director met with Jackman, who sought "a role that could show a lot of dimension," and cast him into the lead role in The Fountain.

Jackman practiced t'ai chi for seven months to demonstrate it in a second scene. He also practiced yoga for over a year to achieve the lotus position for scenes set in space.

For these scenes when he is seen in the position in mid-air, he was immersed in a swimming pool and harnessed to a rig that rotated him degrees so his clothes floated freely about him.

Jackman also watched a woman undergo brain tumor surgery and was shaken to see the woman have similar blond hair to his wife: "All I could think of was my wife on that table.

As much as I'd read the script and theorized and practiced philosophy, I knew in that moment that I was so not ready for death.

As the conquistador, Jackman was upright and forward-leaning to evoke an unstoppable nature. As the scientist, the actor hunched over with a dedicated focus on his character's work, being weighed down by the "world on his shoulders.

Jackman suggested that Aronofsky cast Rachel Weisz as his character's wife. The director, who was in a relationship with the actress, had originally hesitated to show the studio signs of favoritism in casting Weisz.

The Fountain also stars Ellen Burstyn as Dr. Burstyn and Margolis appeared in Aronofsky's Requiem for a Dream , and the director wrote into the script roles for both of them.

One of the twenty, a real-life spiritual leader, was cast as the Maya spiritual leader in the film.

The film's locations, with the exception of scenes filmed at a museum and at a farmhouse, were built on the Montreal sound stage. The sets included the 16th century jungle settings and the bubble-shaped spacecraft containing the tree of life and its garden.

One material would be moved into place instead of the heavy equipment, and with the other materials partitioned off, a light source was used with the preferred material.

Silver was used for scenes in which the spacecraft moved through the stars, and gold was used for when it entered the nebula.

In The Fountain , the Tree of Life was a central design and part of the film's three periods. The tree was based on Kabbalah 's Sefirot , which depicts a "map" of creation to understand the nature of God and how he created the world ex nihilo out of nothing.

The Sefirot Tree, being two to three hundred feet tall in lore, had to be resized for The Fountain to fit in the camera's frame. The tree set itself had been a collaboration between Chinlund, Aronofsky, and cinematographer Matthew Libatique to create the appropriate design, particularly the palette in comparison to the biospheric ship that carries the tree in the astronaut period.

Aronofsky and cinematographer Matthew Libatique also discussed using a limited palette of colors, an approach that started with Aronofsky's Pi and continued with Requiem for a Dream.

Gold represents "the Mayans, a sort of fool's gold, a false truth"; [52] Aronofsky explained the choice, "When you see gold, it represents materialism and wealth and all these things that distract us from the true journey that we're on.

Weisz's characters are white, and wear white or are enveloped in white light to accentuate this presentation. Secondary colors are green, representing the color of life, and red, representing death.

The 16th century conquistador's tale reflected triangles through pyramids and constellations, the 21st century researcher's period reflected rectangles through doors, windows, and computer screens, and the 26th century contemplative's journey reflected circles and spheres through the spacecraft and stellar bodies.

Libatique, who worked with Aronofsky throughout the s, [54] prepared for over a year for The Fountain when Aronofsky tried to produce the film for the first time.

When production restarted on a smaller budget, Libatique felt that the more budget-conscious approach resulted in a better film, "I think the streamlining of the film helped us tell the story more effectively.

It's been stripped down to its core, to what it's really about: a search for immortality, when the truth of life is mortality. Aronofsky planned to have a strong presentation of the thematic movement from darkness into light.

He originally sought to show only a silhouette of the man until the second of the film's three acts, but he chose not to be so extreme, wanting to be more communicative to the audience.

The movement was presented less aggressively in the film; Jackman's characters are seen in silhouette at the beginning, kept out of key light.

In each of the three periods, the lighting on Jackman's characters is initially dim and gradually grows brighter as the storylines unfold. Aronofsky preferred to use one camera whenever possible, only using a second camera if the scene was more about the setting and could be shot from two distinctly different axes.

Libatique said Aronofsky preferred the eyeline match , "Darren is big on eyelines, and if you sacrifice an eyeline on an angle, he feels it nullifies the shot and de-emphasizes the performances.

When production restarted in , there was a more budget-conscious approach to filming The Fountain , whose original budget was mostly intended for visual effects.

Libatique reflected, "Visual effects comprised of a lot of the budget in the original conception. The popcorn moments were in there to justify the budget and bring target audiences into the theater.

Ultimately, I think the streamlining of the film helped us tell the story more effectively. It's been stripped down to the core, to what it's really about: a search for immortality, when the truth of life is mortality.

I think at the end of the day, the theme of the film will be easier to feel. To create a death scene, Aronofsky drew from Mayan mythology the description of flowers and butterflies emerging from the bodies of valiant warriors when they die.

Aronofsky excluded butterflies from the death scene to minimize the film's computer-generated imagery but kept the effect of flowers bursting from the body.

The pair was assigned the task of creating as little computer-generated imagery as possible, a difficult task with a third of the film taking place in deep space.

Aronofsky chose to avoid effects that would make the film look dated in several decades but instead hold up as well as a film like A Space Odyssey.

Dawson said, "Using CG is really the easy route because it's so prevalent and the tools are great. What it did was really force us to come up with creative solutions to solve a lot of our problems.

One creative solution was uncovering Peter Parks, a specialist in macro photography , who had retrieved deep-sea microorganisms and photographed them in 3-D under partial funding from the Bahamas government.

Parks brewed chemicals and bacteria together to create reactions that Schrecker and Dawson shot, recording 20, feet worth of film over eight weeks.

That's because the same forces at work in the water—gravitational effects, settlement, refractive indices—are happening in outer space," Parks said.

The specialist's talent convinced the film's creative department to go beyond computer-generated imagery and follow Parks' lead. The visual-effects company Look Effects worked on 87 shots for The Fountain that included major set extensions, digital mattes , image enhancement, face replacement and blemish removal, as well as animating key elements to the film's story.

Henrik Fett, the visual effects supervisor of Look Effects, said, "Darren was quite clear on what he wanted and his intent to greatly minimize the use of computer graphics The San Francisco-based string quartet Kronos Quartet —who previously performed for the Requiem for a Dream soundtrack—and Scottish post-rock band Mogwai also contributed to the film score.

The soundtrack was released by Nonesuch Records in and received numerous award nominations. When Warner Bros. He said, "I knew it was a hard film to make, and I said at least if Hollywood fucks me over at least I'll make a comic book out of it.

Aronofsky hired Williams to create the graphic novel, and Ari Handel, co-writer for the film, provided Williams with research, photographs, and images on "Mayans, astronomy, pulsars, and all kinds of cool stuff" for the graphic novel's design.

Aronofsky gave Williams the freedom to interpret the story as the artist saw fit. He invited them to interpret the screenplay in each one's chosen medium, and the interpretations were intended to be available on the film's website.

Users could download freely provided audio parts from The Fountain' s film score, remix the music, and upload the work onto the website to be evaluated by other users.

The Fountain was met with mixed reviews from critics noted at review aggregator Metacritic. This film received a weighted average score of 51 out of , based on 36 reviews.

The site's average rating is 5. By The Fountain ' s end, the multilayered meta-narrative There are a lot of Fountain -haters out [at the Venice Film Festival].

The film's about the fact that it's OK that we die, and we should come to terms with it. But many, many people don't want to think about that, so why pay money for a meditation on losing someone you love?

Everything about western culture denies that. It was pre- Obama , smack in the middle of Paris Hilton time. But there has been a serious turn now, people are starting to realise that the party's over, finally.

So we can stop thinking about the culture of superficiality, start to remember there are other things going on. Niemiec and Danny Wedding cite the film as one which depicts the development of perspective.

In , it was listed as number on Empire 's Greatest films of all time. The included extras were the theatrical trailer and a six-part featurette gallery about the film's periods and settings.

He reported that Warner Bros. He hoped to petition for the film to be re-released in the Criterion Collection with extras that were not made available on the initial media.

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India news. The star goes supernova, engulfing the ship and everything within. The traveler's body, engulfed by the dying star inside of the nebula, is absorbed by the tree, causing it to flourish back to life.

Izzi's apparition picks a fruit from the new tree of life and hands it to Tom, who plants it in Izzi's grave. The three stories are interwoven with match cuts and recurring visual motifs ; Hugh Jackman and Rachel Weisz play the main characters in all three narratives.

In a interview outlining the path of life depicted, Aronofsky stated that "ultimately the film is about coming to terms with your own death" oftentimes driven by love.

Related to this path, Darren Aronofsky described the core of the film as "a very simple love story" about a man and a woman in love, with the woman's life cut short.

The director researched people who were dying young, and learned from doctors and caregivers that such patients find new ways of coping.

Aronofsky observed that the patients often die more alone because their families cannot recognize what happens with them, calling it "an incredible tragedy":.

Instead of facing this tragedy in terror, she is coming to terms with what is happening to her Many patients actually start opening up to the possibility of what's happening to them, but there's very little vocabulary to help them deal We decided to expand it with this woman [Izzi] offering a gift to her husband as a metaphor that tells him where she's come to in her awe inspiring journey towards death.

Hopefully through time he'll be able to understand it and basically get where she is. The Fountain ' s theme of fear of death is "a movement from darkness into light, from black to white" [14] that traces the journey of a man scared of death and moving toward it.

The film begins with a paraphrase of Genesis , the Biblical passage that reflects The Fall of Man. Hugh Jackman emphasized the importance of the Fall in the film: "The moment Adam and Eve ate of the Tree of Knowledge of Good and Evil , humans started to experience life as we all experience it now, which is life and death, poor and wealthy, pain and pleasure, good and evil.

We live in a world of duality. Husband, wife, we relate everything. And much of our lives are spent not wanting to die, be poor, experience pain.

It's what the movie's about. He inquired of the Fall, "If they had drank from the Tree of Life [along with the Tree of Knowledge] what would have separated them from their maker?

So what makes us human is actually death. It's what makes us special. In April , he entered negotiations with Warner Bros.

The group also visited Tikal , a jungle location featured in the film Star Wars. The start date for production was tentatively set in summer In June , Warner Bros.

Watson petitioned independent production companies for support and was able to enlist Regency Enterprises for assistance. Pictures, announced that The Fountain would cease production, [27] with Blanchett receiving compensation for her time and the Australian crew being fired from the halted project.

Aronofsky began to develop other films. When he looked over the books he used to research for The Fountain , he decided to return to The Fountain , feeling closer to it creatively than the other possible projects.

Without a studio and an actor, he decided to write a "no-budget" version of the film, using his experiences filming Pi and Requiem for a Dream with small budgets.

When Aronofsky saw The Matrix in , he considered it a film that redefined the science fiction genre. He sought to make a science fiction film that would explore new territory in the genre like The Matrix and its predecessors Star Wars and A Space Odyssey.

Aronofsky had in mind a science fiction film that would go beyond the other films whose plots were driven by technology and science. The director said, "We've seen it all.

It's not really interesting to audiences anymore. The interesting things are the ideas; the search for God, the search for meaning.

In , when Aronofsky turned 30 years old, his parents were diagnosed with cancer. He began reflecting on human mortality, "That was a really heavy-duty emotional time.

I know it's a very young age, but turning thirty marks when your twenties are over and you could start considering, 'Wow, one of these days I'm actually going to die.

He shared the concept with Handel, his undergraduate school roommate at Harvard University. Handel earned a Ph. D in neuroscience from New York University but was uncertain about a future in neuroscience.

He recalled the discussion, "Darren and I just started talking about the story. We kept wanting to talk more about it as the story kept getting bigger.

I decided to make some life choices to continue working with Darren, because it was so much fun. The director relied on a change of locale to inspire him to write Pi and Requiem for a Dream.

For The Fountain , Aronofsky was inspired by a research trip he took to Guatemala with Handel to learn about Mayan history and philosophy.

Aronofsky realized that since writing in the battle scene between the armies of Mayans and conquistadors, The Lord of the Rings film trilogy , Troy , King Arthur , and other films had featured massive battle scenes.

He felt less inclined to mimic the scale and rewrote the battle to be mainly between Jackman's conquistador character and the Mayans.

The director realized that, with one man against the army, the rewrite was a suitable metaphor for his film's theme of a man defying odds to do the impossible and conquer death.

The filmmakers researched space travel and Mayan culture, including its history, religion, and spirituality. They attended brain surgeries with the actors.

With the research in place, Aronofsky said, "We decided which things we wanted to be purely factual and which things we wanted to bend.

He said, "It was more about painting a relationship between a queen and her warrior, and just using that for more fantasy reasons.

The director met with Jackman, who sought "a role that could show a lot of dimension," and cast him into the lead role in The Fountain. Jackman practiced t'ai chi for seven months to demonstrate it in a second scene.

He also practiced yoga for over a year to achieve the lotus position for scenes set in space. For these scenes when he is seen in the position in mid-air, he was immersed in a swimming pool and harnessed to a rig that rotated him degrees so his clothes floated freely about him.

Jackman also watched a woman undergo brain tumor surgery and was shaken to see the woman have similar blond hair to his wife: "All I could think of was my wife on that table.

As much as I'd read the script and theorized and practiced philosophy, I knew in that moment that I was so not ready for death. As the conquistador, Jackman was upright and forward-leaning to evoke an unstoppable nature.

As the scientist, the actor hunched over with a dedicated focus on his character's work, being weighed down by the "world on his shoulders. Jackman suggested that Aronofsky cast Rachel Weisz as his character's wife.

The director, who was in a relationship with the actress, had originally hesitated to show the studio signs of favoritism in casting Weisz. The Fountain also stars Ellen Burstyn as Dr.

Burstyn and Margolis appeared in Aronofsky's Requiem for a Dream , and the director wrote into the script roles for both of them.

One of the twenty, a real-life spiritual leader, was cast as the Maya spiritual leader in the film. The film's locations, with the exception of scenes filmed at a museum and at a farmhouse, were built on the Montreal sound stage.

The sets included the 16th century jungle settings and the bubble-shaped spacecraft containing the tree of life and its garden.

One material would be moved into place instead of the heavy equipment, and with the other materials partitioned off, a light source was used with the preferred material.

Silver was used for scenes in which the spacecraft moved through the stars, and gold was used for when it entered the nebula.

In The Fountain , the Tree of Life was a central design and part of the film's three periods. The tree was based on Kabbalah 's Sefirot , which depicts a "map" of creation to understand the nature of God and how he created the world ex nihilo out of nothing.

The Sefirot Tree, being two to three hundred feet tall in lore, had to be resized for The Fountain to fit in the camera's frame. The tree set itself had been a collaboration between Chinlund, Aronofsky, and cinematographer Matthew Libatique to create the appropriate design, particularly the palette in comparison to the biospheric ship that carries the tree in the astronaut period.

Aronofsky and cinematographer Matthew Libatique also discussed using a limited palette of colors, an approach that started with Aronofsky's Pi and continued with Requiem for a Dream.

Gold represents "the Mayans, a sort of fool's gold, a false truth"; [52] Aronofsky explained the choice, "When you see gold, it represents materialism and wealth and all these things that distract us from the true journey that we're on.

Weisz's characters are white, and wear white or are enveloped in white light to accentuate this presentation. Secondary colors are green, representing the color of life, and red, representing death.

The 16th century conquistador's tale reflected triangles through pyramids and constellations, the 21st century researcher's period reflected rectangles through doors, windows, and computer screens, and the 26th century contemplative's journey reflected circles and spheres through the spacecraft and stellar bodies.

Libatique, who worked with Aronofsky throughout the s, [54] prepared for over a year for The Fountain when Aronofsky tried to produce the film for the first time.

When production restarted on a smaller budget, Libatique felt that the more budget-conscious approach resulted in a better film, "I think the streamlining of the film helped us tell the story more effectively.

It's been stripped down to its core, to what it's really about: a search for immortality, when the truth of life is mortality.

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