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I wish to express my heartfelt condolences to anyone who may have been impacted by the ongoing tragedy of the L.A. Fires 2025.

I am fortunate to be out of harm's way (at the moment) but know how it feels to be homeless and with very little support. Therefore if anyone needs (non-financial) assistance, I'd like to help.

Although I do not have room in my home, here is a list of the types of resources I can offer:

- Shuttle (transportation) Services
- Food (Grocery) Runs
- Concierge (Personal Assistance)
- Generator (5000W)
- Fax/Copy Machine
- Video Monitor
- Cell Phone
- Laptop Computer
- Desktop Computer
- IT Services (Cloud Data Retrieval/Recovery)
- Project Management
- Production Equipment (Camera, Mics, Lighting)

Basically, if you were in the middle of a project but were uprooted by the sudden impact of the fire, and have managed to get yourself set up with a temporary shelter, or a hotel/motel, I have resources and equipment that may be useful for you to reconnect and get things done more easily than without.

There is no upfront fee, I trust that everyone in this forum has been vetted and is an industry professional and/or union brethren. However, once you are back on your feet, if you'd like to donate to my college fund, that would be greatly appreciated.

Good luck and I wish you a safe and speedy journey back to normalcy,

Kurtis "D. King" Wilson, SAGG/AFTRA
IMDB: https://www.imdb.me/kurtisdking

DM for more information.

The last shot to be filmed in principal photography for Star Trek VI: The Undiscovered Country in 1991 was the final scene on the Enterprise-A bridge with Kirk and his crew. It was an emotionally-charged moment, and a lot of visitors gathered around the set to take in the proceedings. Director Nicholas Meyer called for a wide shot of the set, taking in the entire cast. The camera pushed gently in to Kirk, who reflected pensively on the end of an era. After that, William Shatner remained in his captain's chair as he recorded his voice track for Kirk’s final captain’s log.

And that was it. The director said "cut!" and it was a wrap for Star Trek VI. Well, almost. The cast and crew gathered in front of the set for a champagne toast. Denise and I remained on the bridge for a few moments to absorb the ambience. Then Denise noticed a strange smell. One of the video monitors had overheated and caught fire! It was one of the screens directly behind the captain's chair. It was just a small flame, and I tried to smother it a blanket. Meanwhile, Denise alerted one of the special effects technicians, who grabbed a fire extinguisher and put the small fire out very quickly. No big deal. After the commotion died down, we joined our coworkers in toasting the completion of the film.

Today (Fri Dec 6, 2024) is the 33rd anniversary of the release of Star Trek VI.

Imitation is the greatest form of flattery! How would you take on the task of extending a role created by another?

Steven Spielberg’s 20 favourite movies:
It’s a Wonderful Life – Frank Capra (1946)
The Godfather – Francis Ford Coppola (1972)
Fantasia -Walt Disney (1940)
A Guy Named Joe – Victor Fleming (1943)
Guardians of the Galaxy – James Gunn (2014)
War of the Worlds – Byron Haskin (1953)
Psycho – Alfred Hitchcock (1960)
2001: A Space Odyssey – Stanley Kubrick (1968)
Lawrence of Arabia – David Lean (1962)
Untouchable – Olivier Nakache and Éric Toledano (2011)
The Dark Knight – Christopher Nolan (2008)
The 400 Blows – François Truffaut (1959)
Day for Night – François Truffaut (1973)
Citizen Kane – Orson Welles (1941)
Captains Courageous – Victor Fleming (1937)
The Best Years of Our Lives – William Wyler (1946)
The Searchers – John Ford (1956)
Tootsie – Sydney Pollack (1982)
Seven Samurai – Akira Kurosawa (1954)
Dumbo – Walt Disney (1941)

Resource: https://faroutmagazine.co.uk/steven-spielberg-20-favourite-movies-ever

Robin Curtis discusses her long journey in "Becoming Saavik," recalling her work with Leonard Nimoy, and reflecting on the emotional experience of returning to the character in "765874 Unification," the new concept video from the Roddenberry Archive and OTOY, Inc. We produced "Becoming Saavik" with Roger Lay, Jr, and the Roddenberry Archive/OTOY team.

Stunt Driving sequences over the years:

#dyinghollywood
#actor

['The Pitt' is telling actors to take it or leave it…

Max's upcoming hospital drama ‘The Pitt’ is causing a stir in Hollywood—and not just because of that lawsuit claiming it copied ER.

The scoop: Usually, when actors join a big streaming show, their agents typically spend weeks haggling over every dollar of their client's paycheck. But ‘The Pitt’ is trying something different: except for Noah Wyle, who stars and executive produces, the show's regular cast members get fixed salaries of either $50K or $35K per episode—no negotiation allowed.

Why it matters: With 15 episodes and 10 regular cast members who need to be on set daily, 'The Pitt' is bigger than most streaming shows—making predictable costs crucial. At a time when TV networks are tightening belts (goodbye, 'Friends'-style million-dollar paydays), this fixed-fee approach:
• Makes casting faster
• Keeps budgets predictable
• Works well for large casts

Looking ahead: While this isn't industry standard (yet), ‘The Pitt’ could be the template for future "reasonably priced" streaming dramas. HBO/Max boss Casey Bloys is already pointing to it as the model for Max's drama strategy. Other shows testing fixed fees for guest stars:
• ‘Accused’ (Fox): $150K per lead guest
• ‘Elsbeth’ (CBS): $100K for special guests
• ‘Poker Face’ (Peacock): $75K (down from $150K in Season 1)

The bigger picture: This is part of TV's post-peak reality check. While top stars can still command big bucks, supporting players are facing a new normal. With fewer series-regular roles available and budgets shrinking, fixed-fee models might be the future of TV casting—whether actors like it or not.] ~ The Dailies

Love to hear some opinions or better still some first-hand reports.
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One must tip a hat to anyone who expresses themselves so articulately!

Labor Day 2024: I work for (mostly) good people whose legitimate business interests are often at odds with mine. I need strength in my corner to ensure that my equally-legitimate interests aren't trampled. That's why I'm a union member: IATSE Art Directors Guild - Local 800