Frederik's Church, popularly known as The Marble Church for its rococo architecture, is an Evangelical Lutheran church in Copenhagen, Denmark. The church forms the focal point of the Frederiksstaden district; the church was designed by the architect Nicolai Eigtved in 1740 and was along with the rest of Frederiksstaden, a district of Copenhagen, intended to commemorate the 300 years jubilee of the first coronation of a member of the House of Oldenburg. Frederick's Church has the largest church dome in Scandinavia with a span of 31m; the dome rests on 12 columns. The inspiration was St. Peter's Basilica in Rome; the foundation stone was set by king Frederick V on October 31, 1749, but the construction was slowed by budget cuts and the death of Eigtved in 1754. In 1770, the original plans for the church were abandoned by Johann Friedrich Struensee; the church was left incomplete and, in spite of several initiatives to complete it, stood as a ruin for nearly 150 years. In 1874, Andreas Frederik Krieger, Denmark's Finance Minister at the time, sold the ruins of the uncompleted church and the church square to Carl Frederik Tietgen for 100,000 Rigsdaler — none of, to be paid in cash — on the condition that Tietgen would build a church in a style similar to the original plans and donate it to the state when complete, while in turn he acquired the rights to subdivide neighboring plots for development.

The deal was at the time controversial. On 25 January 1877, a case was brought by the Folketing at the Court of Impeachment, Krieger being charged with corruption over this deal, he was, however acquitted. Tietgen financed its construction. Due to financial restrictions, the original plans for the church to be built entirely from marble were discarded, instead Meldahl opted for construction to be done with limestone; the church was opened to the public on August 19, 1894. Inscribed in gold lettering on the entablature of the front portico are the words: HERRENS ORD BLIVER EVINDELIG. A series of statues of prominent theologians and ecclesiastical figures, including one of the eminent Danish philosopher Kierkegaard, encircles the grounds of the building. Official website

Jeremy Coon is an American executive producer and editor of the 2004 film Napoleon Dynamite, a cult hit made on a $400,000 budget that has earned more than $44 million since its release. Coon attended film school at Brigham Young University and graduated in 1997 from Lloyd V. Berkner High School in Richardson, Texas, he was friends at Brigham Young with fellow film student Jared Hess, where he was told of Hess' nascent screenplay for Dynamite and agreed to raise the money to produce the film. On the opening day of the 2004 Sundance Film Festival, Coon sold the film to Fox Searchlight Pictures for $3.2 million. After a 22-day shoot in Preston, Coon edited the film during a nine-day cram session using Apple Final Cut Pro software for the first time. "We spent about a year assembling our crew -- 95 percent were friends from the BYU post department," he told the Apple publication Pro. "People would come by to check on me and I didn’t know what time of day it was." Jeremy Coon on IMDb Apple Pro interview MovieMaker interview

When We Dead Awaken is the last play written by Norwegian dramatist Henrik Ibsen. Published in December 1899, Ibsen wrote the play between November of that year; the first performance was at the Haymarket Theatre in a day or two before publication. The first act takes place outside a spa overlooking a fjord. Sculptor Arnold Rubek and his wife Maia have just enjoyed breakfast and are reading newspapers and drinking champagne, they marvel at. Their conversation is lighthearted. Maia hints at disappointment. Arnold had promised to take her to a mountaintop to see the whole world as it is, but they have never done so; the hotel manager passes by with some inquires if the Rubeks need anything. During their encounter, a mysterious woman dressed in white passes by, followed by a nun in black. Arnold is drawn to her for some reason; the manager does not know much about her, he tries to excuse himself before Squire Ulfheim can spot him. Unable to do so, Ulfheim corners him and requests breakfast for his hunting dogs.

Spotting the Rubeks, he introduces himself and mocks their plans to take a cruise, insisting that the water is too contaminated by other people. He is stopping at the spa on his way to a mountain hunt for bears, he insists that the couple should join him, as the mountains are unpolluted by people. Maia takes Ulfheim up on his offer to watch his dogs eat breakfast, leaving Arnold alone with the mysterious woman, he realizes that she is Irena, his former model. Irena refers to herself as being'dead'. During their conversation, she explains that posing for Arnold was akin to a kind of'self murder', where he captured her soul and put it into his masterpiece, a sculpture called Resurrection, he confesses. Though Resurrection brought him great fame and an abundance of other work, he feels a similar kind of death as Irena feels. Irena mysteriously alludes to killing all of her lovers since posing for Arnold, she claims to always possess a knife, admits to murdering every child she has had, sometimes while they are still in the womb.

When Irena asks where Arnold is going after his stay at the spa, she dismisses the idea of the cruise and asks him to meet her up in the high mountains. Maia returns with Ulfheim, asking Arnold if they can abandon the cruise and join Ulfheim on his mountain hunt. Arnold says that he is thinking of going that way himself; the second act takes place outside a health resort in the mountains. Maia finds Arnold beside a brook, she has spent the morning with Ulfheim. The couple return to their discussion of Arnold's unhappiness, he confesses that he has grown tired of Maia, he wants to live with Irena because she had the key to the lock which holds his artistic inspiration. Their relationship was never sexual. Maia insists that Arnold should do as he pleases, she suggests that the three of them could live together if she cannot find a new place to live. Irena enters, Maia urges Arnold to speak with her; the pair cast flower petals into the brook and reminisce sentimentally about their long-ago collaboration.

At one point, Arnold refers to their'episode', Irena draws her knife, preparing to stab him in the back. When he turns around, she hides the knife. Arnold asks Irena to come live with him and work with him again, explaining that she can unlock his artistic vision once more, she insists that there is no way to resurrect a partnership like theirs, but they agree to pretend they can. Maia returns on their way to a hunt, she is happy and explains that she feels like she is awake. She sings a little song to herself, "I am free... No longer in prison, I'll be! I'm as free as a bird, I am free!" The final act takes place on the rocky mountainside, with a shabby hunting hut. Maia and Ulfheim enter in an argument over his sexual advances. Maia demands to be taken down to the resort. Ulfheim points out that the path is too difficult for her and she will die on her own. Arnold and Irena come up the path from the resort. Ulfheim is surprised, he warns them. Since he can only guide one person at a time, he agrees to take Maia down the path, urges Irena and Arnold to take shelter in the hut until he can return with help.

Irena is horrified at being rescued. She is convinced, she draws the knife again to kill herself. Arnold insists. Irena confesses that she killed him earlier, but she stopped because she realized he was dead, she explains. However, Arnold points out that they are both still free, insisting that "we two dead things live life for once to the full". Irena urges that they must do it above the clouds of the gathering storm, they agree to climb the mountain. As they ascend out of view, Maia's song is heard in the distance. An avalanche roars down the mountain. Arnold and Irene can be seen carried to their deaths; the nun has followed witnesses the horror with a scream. After a moment of silence, she says "Pax vobiscum!", as Maia's song still lingers in the air. The play is dominated by images of petrification; the play charts a progression up into the mountains, Rubek is a sculptor. One of Ibsen's most dreamlike plays, When We Dead Awaken is one of his most despai