Hans Florian Zimmer is a German film score composer and record producer. Since the 1980s, he has composed music for over 150 films, his works include The Lion King, for which he won the Academy Award for Best Original Score in 1995, the Pirates of the Caribbean series, Gladiator, Inception and The Dark Knight Trilogy. Zimmer spent the early part of his career in the United Kingdom before moving to the United States, he is the head of the film music division at DreamWorks studios and works with other composers through the company that he founded, Remote Control Productions known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly. Zimmer's works are notable for integrating electronic music sounds with traditional orchestral arrangements, he has received four Grammy Awards, three Classical BRIT Awards, two Golden Globes, an Academy Award. He was named on the list of Top 100 Living Geniuses, published by The Daily Telegraph.
Zimmer has collaborated on multiple projects with directors including Ridley and Tony Scott, Penny Marshall, Ron Howard, John Woo, Michael Bay, Gore Verbinski, Antoine Fuqua, Steve McQueen, Zack Snyder, Denis Villeneuve, Christopher Nolan. Zimmer was born in West Germany; as a young child, he lived in Königstein-Falkenstein, where he played the piano at home but had piano lessons only as he disliked the discipline of formal lessons. In one of his Reddit AMAs, he said "My formal training was 2 week of piano lessons. I was thrown out of 8 schools, but I joined a band. I am self-taught, but I've always heard music in my head. And I'm a child of the 20th century, he moved to London as a teenager. During his childhood, he was influenced by the film scores of Ennio Morricone and has cited Once Upon a Time in the West as the score that inspired him to become a film composer. In a speech at the 1999 Berlin Film Festival, Zimmer stated that he is Jewish, talked about his mother surviving World War II thanks to her escape from Germany to England in 1939.
In an interview with Mashable in February 2013, he said of his parents "My mother was musical a musician and my father was an engineer and an inventor. So, I grew up modifying the piano, shall we say, which made my mother gasp in horror, my father would think it was fantastic when I would attach chainsaws and stuff like that to the piano because he thought it was an evolution in technology." In an interview with the German television station ZDF in 2006, he commented: "My father died when I was just a child, I escaped somehow into the music and music has been my best friend." Zimmer began his career playing keyboards and synthesizers with the band Krakatoa. He worked with the Buggles, a new wave band formed in London in 1977 with Trevor Horn, Geoff Downes, Bruce Woolley. Zimmer can be seen in the Buggles' music video for the 1979 song "Video Killed the Radio Star". After working with the Buggles, he started to work for the Italian group Krisma, a new wave band formed in 1976 with Maurizio Arcieri and Christina Moser.
He was a featured synthesist for Cathode Mamma. He has worked with the band Helden. Both Zimmer and Cann, were invited to be part of the Spanish group Mecano for a live performance in Segovia in 1984. Two songs from this concert were included in the "Mecano: En Concierto" album released in 1985 only in Spain. In 1985, he contributed to the Shriekback album Gold. In 1980, Zimmer co-produced a single, "History of the World, Part 1," with, for, UK punk band The Damned, included on their 1980 LP release, The Black Album, carried the description of his efforts as "Over-Produced by Hans Zimmer." While living in London, Zimmer wrote advertising jingles for Air-Edel Associates. In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together and Zimmer worked on fusing the traditional orchestral sound with electronic instruments; some of the films on which Zimmer and Myers worked are Moonlighting, Success is the Best Revenge, My Beautiful Laundrette.
Zimmer's first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he wrote the songs. Zimmer acted as score producer for the 1987 film The Last Emperor, which won the Academy Award for Best Original Score. One of Zimmer's most durable works from his time in the United Kingdom was the theme song for the television game show Going for Gold, which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: "Going. It's the sort of stuff. God, I just felt so lucky because this thing paid my rent for the longest time." A turning point in Zimmer's career occurred with the 1988 film Rain Man. Hollywood director Barry Levinson was looking for someone to score Rain Man, his wife heard the soundtrack CD of the anti-apartheid drama A World Apart, for which Zimmer had composed the music. Levinson hired him to score Rain Man. In the score, Zimmer uses synthesizers mixed with steel drums. Zimmer explained that "It was a road movie, road movies have jangly guitars or a bunch of strings.
I kept. Try to keep it contained; the Raymond character do
Seymour Joseph Cassel was an American actor. Cassel first came to prominence in the 1960s in the pioneering independent films of writer/director John Cassavetes; the first of these was Too Late Blues, followed by Faces, for which he was nominated for an Academy Award and won a National Society of Film Critics Award. Cassel went on to appear in Cassavetes' Minnie and Moskowitz, The Killing of a Chinese Bookie, Opening Night, Love Streams, he appeared in a number of independent and Hollywood film productions. Notable films he was featured in include Coogan's Bluff, The Last Tycoon, Convoy, Johnny Be Good, Mobsters, In the Soup, Honeymoon in Vegas, Indecent Proposal, Beer League, Fort McCoy. Like Cassavetes, Wes Anderson cast Cassel - first in Rushmore, in The Royal Tenenbaums and in The Life Aquatic with Steve Zissou. Cassel was born in Detroit, the son of Pancretia Ann, a performer, Seymour Joseph Cassel, a nightclub owner. Cassel's early career was tied to fellow actor John Cassavetes, informally part of his clan of actors.
He made his movie debut in Cassavetes' first film, Shadows, on which he served as associate producer. In 1961 he co-starred with Cassavetes in Too Late Blues, 1962's The Webster Boy, he appeared in The Lloyd Bridges Show in the episode "A Pair of Boots," directed by his friend Cassavetes. Cassel appeared on such popular programs as Twelve O'Clock High, Combat!, The F. B. I.. He appeared as "Cancelled," one of Colonel Gumm's henchmen in the 1960s Batman TV episode "A Piece of the Action," which featured guest stars Van Williams and Bruce Lee as The Green Hornet and Kato, respectively. In 1968, Cassel was nominated for the Academy Award for Best Supporting Actor for his role as Chet in John Cassavetes's Faces. Other collaborations with Cassavetes included a starring role with Gena Rowlands in Minnie and Moskowitz, supporting roles in The Killing of a Chinese Bookie and Love Streams, a cameo appearance in Opening Night. Having appeared in major Hollywood productions such as Dick Tracy, Tin Men, Indecent Proposal, Cassel was very supportive of the American independent film community in the wake of Cassavetes's death.
Cassel had a small role in Steve Buscemi's directorial debut Trees Lounge and appeared in three films by Wes Anderson: Rushmore, The Royal Tenenbaums and The Life Aquatic. Cassel appeared for four seasons in comedian Tracey Ullman's television series Tracey Takes On.... Cassel married Elizabeth Deering in 1964. Guitarist Slash, childhood friends with Cassel's son, credited Cassel with giving him his nickname, because he was always zipping from one place to another and never sitting still. Cassel died on April 2019, aged 84, of Alzheimer's disease. In September 2007, Cassel was a candidate for national president of the Screen Actors Guild, along with Charley M. De La Peña, Alan Rosenberg, Barry Simmonds. In 2009, Cassel was once again a candidate for national president of the Screen Actors Guild along with Anne Marie Johnson and Ken Howard. Howard was the eventual winner. In 2012, the Oldenburg Film Festival in Germany introduced an actors' prize named the Seymour Cassel Award, he won the National Society of Film Critics Awards, USA award for Best Supporting Actor for his role in Faces.
Seymour Cassel on IMDb Interview with the Palisadian-Post
William Moseley is an American film actor and musician who has starred in a number of cult classic horror films, including House of 1000 Corpses, Repo! The Genetic Opera and The Devil's Rejects, his first big role was in The Texas Chainsaw Massacre 2 as Chop Top. On the HBO TV series Carnivàle Moseley had a recurring role as camp cook Possum, he has released records with guitarist Buckethead in the band Cornbugs, as well as featuring on the guitarist's solo work. For a period of time, Moseley operated as a journalist, writing for such magazines as Omni Magazine, National Lampoon and Psychology Today. At the age of 29, Moseley got his first film role in Alan Rudolph's Endangered Species as a cab driver. In 1985's Osa he played a character named "Quilt Face." His third role has become one of his most well known. In 2000 he reprised his role as Chop Top in All American Massacre, directed by Tobe Hooper's son William, but the film was never released to the public. Two years after TCM 2, he played Frank in 1988's Mamba.
In 1988 appeared as a soldier in the remake of the Steve McQueen film The Blob. He next played Darrell in the film Pink Cadillac starring Clint Eastwood, he played the lead role of Ricky Caldwell in Silent Night, Deadly Night 3: Better Watch Out!. In 1990, Moseley appeared in four films: Crash and Burn, The First Power, The End of Innocence, playing Johnny, in Tom Savini's remake of George A. Romero's 1968 zombie film, Night of the Living Dead. In 1993, he had a small role in the cult hit Army of Darkness as the Deadite Captain. A year he was featured in the video game Corpse Killer. In 1997 he did voiceover work, for Anders Jacobsson's Evil Ed, he would not, have a role as popular as Chop Top until 2003, when he starred as the maniacal Otis B. Driftwood in Rob Zombie's directorial debut House of 1000 Corpses; as Otis, he again became an icon in the horror community. In 2005, he reprised the role of Otis in the sequel The Devil's Rejects and in 2009 he played Otis in a voice cameo in Rob Zombie's animated film The Haunted World of El Superbeasto.
Moseley's performance in Rejects inspired an independent campaign for a Best Supporting Actor Oscar nomination, which failed. He played in other Rob Zombie films such as Halloween and the Grindhouse fake trailer segment Werewolf Women of the SS. In 2008, Moseley played the role of Luigi Largo in Repo! The Genetic Opera. In this futuristic, genetic opera, he was able to network with Nivek Ogre of Skinny Puppy and ohGr, subsequently appearing on ohGr's new album Devils in my Details, he speaks at the beginning or ending of the songs in vivid, poetic rants. He appears on Eyecandy, Feelin' Chicken, Timebomb and Witness. Additionally, in 2008, Moseley appeared as a telemarketer in the music video for Combichrist's Sent to Destroy". Moseley contributed songs to the 2008 soundtrack of Vampira: The Movie, a documentary by Kevin Sean Michaels on Maila Nurmi, in which he stars, it was released on a division of Alpha Video. He appears as Kozlowski in Robert Lieberman's 2009 thriller film The Tortured, in 2012 played as The Magician in The Devil's Carnival.
Moseley has provided voice-over recordings for the Florida-based heavy metal band – Generichrist and British goth-metal band Sinnergod on the track "Overture" which features on their 2013 debut album Seven Deadly Sinphonies. He made appearances in Texas Chainsaw 3D and American Exorcist. Moseley was born in Stamford, grew up in Barrington Hills, is a graduate of Yale University, he has Marion Moseley and Jane Moseley. Moseley was the lead singer of Cornbugs, a three-man band he had between 1999 and 2007 with avant-garde rock/metal guitarist Buckethead and Deli Creeps' drummer, Pinchface, he contributed vocal parts to the songs I Come in Peace and Onions Unleashed from Buckethead's album Giant Robot and Jowls from Buckethead's album Monsters and Robots as Chop Top. Moseley, along with Rani Sharone, released the album No Way Down, calling themselves Spider Mountain. A sample of Moseley shouting "dog will hunt!" in The Texas Chainsaw Massacre 2 is used in the hit Primus song "Jerry Was a Race Car Driver".
Chop Top's BBQ, Bill Moseley's official site Vampira: The Movie soundtrack featuring Bill Moseley Bill Moseley on IMDb Interview with Bill Moseley at Eye for Film
Dawn: Portrait of a Teenage Runaway
Dawn: Portrait of a Teenage Runaway is a 1976 American made-for-television drama film which premiered on NBC on September 27, 1976. The story follows a 15-year-old girl named Dawn Wetherby who runs away from home to Hollywood and becomes a prostitute to support herself. Dawn finds herself taken under the wing of a tough-talking pimp named Swan; the film's soundtrack features the song "Cherry Bomb" by The Runaways. A sequel, Alexander: The Other Side of Dawn, focuses on Dawn's friend and fellow runaway, Alexander Duncan. Plumb reprised her role as Dawn for this film. Eve Plumb... Dawn Wetherby Leigh J. McCloskey... Alexander Duncan Lynn Carlin... Dawn's Mother William Schallert... Harry Anne Seymour... Counterwoman Joan Prather... Susie Marguerite DeLain... Frankie Lee Bo Hopkins... Swan Georg Stanford Brown... Donald Umber David Knapp... Doctor Roberts Stephanie Burchfield... Randy Kaaren Ragland... Melba Anne Ramsey... Librarian Paul Bryar... Counterman Queenie Smith... Old Woman Paul Sorensen... Police Sergeant Brad Trumbull...
Man John Rose... Salesman Romo Vincent... Fat Man Sylvia Anderson... Sumi Suzanne Crough... Runaway Dawn: Portrait of a Teenage Runaway on IMDb
The Northern or Northwestern is a genre in various arts which tell stories set in the half of the 19th century in the north of North America in Canada but in Alaska. It is similar to the Western genre but many elements are different, as appropriate to its setting, it is common for central character to be a Mountie instead of a sheriff. Other common characters include fur trappers and traders, prospectors, First Nations people and townsfolk. International interest in the region and the genre was fuelled by the Klondike Gold Rush and subsequent works surrounding it, fiction and non-fiction; the genre was popular in the inter-war years of the twentieth century. Northerns are still produced but popularity waned in the late 1950s. Northerns are set in the frozen north of North America. Of the two, Canada was the most common setting. Popular locations within Canada are the Yukon, the Barren Grounds, area around Hudson Bay. Generic names used for this general setting included the "Far North", the "Northlands", the "North Woods", the "Great Woods".
Common settings include boreal forests, isolated cabins, mining towns. Snow featured to such an extent that Northern films were sometimes termed "snow pictures". Animals were a common feature too. Dogs and dog sleds were popularized by The Call of the White Fang. Scenes involving attacks by bears date back to The Klondyke Nugget; the primary antagonist in a Northern can be the wilderness, the weather and other natural elements, which the protagonists must endure and survive. Northerns explore the'Matter of Canada'. Common elements of which are the Black Donnelly murders, the North-West Rebellion, the Klondike Gold Rush, the pursuit of Albert Johnson, the October Crisis, persistent national anxiety about potential annexation by the United States; the Western idea of lawlessness set in American towns was not a part of the Canadian Northern, though individual lawbreakers or uprisings by Canadians feature in works such as Quebec and Northwest Mounted Police. In Northerns and wider crime fiction, the general Canadian preference is for law enforcement to be performed by the state rather than vigilantes or private investigators.
Northerns feature the heroic outlaws found in Westerns. On the subject, David Skene-Melvin writes "Canada never had a Wild West because the Mounties got there first," while Margaret Atwood writes "No outlaws or lawless men for Canada. Like snow, Mounties are a common enough feature to become a synonym for the genre, with Northern films sometimes called "Mountie films", their popularity was not confined to film. Where a protagonist in a Western is part of both civilization and the wild, Mounties in Northerns are a part of civilization; the nature of fictional Mounties can vary depending on the nationality of the author. Mounties as written by British authors are younger members of upper class British families serving the British Empire in the colonies. American-authored Mounties are little different from US Marshalls and project the values of Westerns in that they place their individual sense of justice and conscience above their duty to the law. Canadian-authored Mounties represent, are self-abnegating champions of, the Canadian establishment and its laws.
Further, their authority does not come from either physical abilities. A common story outline for Northerns involving Mounties is a pursuit and capture: the Mountie's pursuit of a fugitive takes place across the Canadian wilderness and may be resolved non-violently. According to Pierre Berton "the French-Canadian was to the northerns what the Mexican was to the westerns — an exotic primitive, adaptable as a chameleon to play a hero or a heavy." French-Canadians were a ubiquitous element of the genre. As characters, French-Canadians are depicted as rustic and uneducated; these characters were divided into two broad types: the heroic, happy-go-lucky bon-vivant and the villainous, lecherous killer. Some examples merged the two stereotypes into a charming, roguish anti-villain. Common visual elements were a sash and a pipe. All were present in the first appearance in film, in A Woman's Way. Female French-Canadian characters followed the "tempestuous" stereotype of female Mexican characters. Mexican actress Lupe Vélez, in line with her identity as "The Mexican Spitfire", played the title character in Tiger Rose in this mode.
A common anachronism in Northerns was the tyranny and absolute power of the Hudson's Bay Company and its officers into the modern period. This was repeated not just by reviewers and critics too; the concept of La Longue Traverse, or the Journey of Death, comes from The Call of the North and was popular in films. In this, the Hudson's Bay Company executes convicts by forcing them into the wilderness without equipment or supplies. In 1921, the Hudson's Bay Company succes
John Griffith London was an American novelist and social activist. A pioneer in the world of commercial magazine fiction, he was one of the first writers to become a worldwide celebrity and earn a large fortune from writing, he was an innovator in the genre that would become known as science fiction. His most famous works include The Call of the Wild and White Fang, both set in the Klondike Gold Rush, as well as the short stories "To Build a Fire", "An Odyssey of the North", "Love of Life", he wrote about the South Pacific in stories such as "The Pearls of Parlay" and "The Heathen". London was part of the radical literary group "The Crowd" in San Francisco and a passionate advocate of unionization and the rights of workers, he wrote several powerful works dealing with these topics, such as his dystopian novel The Iron Heel, his non-fiction exposé The People of the Abyss, The War of the Classes. Jack London's mother, Flora Wellman, was the fifth and youngest child of Pennsylvania Canal builder Marshall Wellman and his first wife, Eleanor Garrett Jones.
Marshall Wellman was descended from Thomas Wellman, an early Puritan settler in the Massachusetts Bay Colony. Flora moved to the Pacific coast when her father remarried after her mother died. In San Francisco, Flora worked as a music teacher and spiritualist, claiming to channel the spirit of a Sauk chief, Black Hawk. Biographer Clarice Stasz and others believe. Flora Wellman was living with Chaney in San Francisco. Whether Wellman and Chaney were married is unknown. Most San Francisco civil records were destroyed by the extensive fires that followed the 1906 earthquake. Stasz notes that in his memoirs, Chaney refers to London's mother Flora Wellman as having been his "wife". According to Flora Wellman's account, as recorded in the San Francisco Chronicle of June 4, 1875, Chaney demanded that she have an abortion; when she refused, he disclaimed responsibility for the child. In desperation, she shot herself, she was not wounded, but she was temporarily deranged. After giving birth, Flora turned the baby over for care to Virginia Prentiss, an African-American woman and former slave.
She was a major maternal figure throughout London's life. Late in 1876, Flora Wellman married John London, a disabled Civil War veteran, brought her baby John known as Jack, to live with the newly married couple; the family moved around the San Francisco Bay Area before settling in Oakland, where London completed public grade school. In 1897, when he was 21 and a student at the University of California, London searched for and read the newspaper accounts of his mother's suicide attempt and the name of his biological father, he wrote to William Chaney living in Chicago. Chaney responded. Chaney concluded by saying. London was devastated by his father's letter. London was born near Brannan Streets in San Francisco; the house burned down in the fire after the 1906 San Francisco earthquake. Although the family was working class, it was not as impoverished as London's accounts claimed. London was self-educated. In 1885, London read Ouida's long Victorian novel Signa, he credited this as the seed of his literary success.
In 1886, he went to the Oakland Public Library and found a sympathetic librarian, Ina Coolbrith, who encouraged his learning.. In 1889, London began working 12 to 18 hours a day at Hickmott's Cannery. Seeking a way out, he borrowed money from his foster mother Virginia Prentiss, bought the sloop Razzle-Dazzle from an oyster pirate named French Frank, became an oyster pirate himself. In his memoir, John Barleycorn, he claims to have stolen French Frank's mistress Mamie. After a few months, his sloop became damaged beyond repair. London hired on as a member of the California Fish Patrol. In 1893, he signed on to the sealing schooner Sophie Sutherland, bound for the coast of Japan; when he returned, the country was in the grip of the panic of'93 and Oakland was swept by labor unrest. After grueling jobs in a jute mill and a street-railway power plant, London joined Coxey's Army and began his career as a tramp. In 1894, he spent 30 days for vagrancy in the Erie County Penitentiary at New York. In The Road, he wrote: Man-handling was one of the minor unprintable horrors of the Erie County Pen.
I say'unprintable'. They were unthinkable to me until I saw them, I was no spring chicken in the ways of the world and the awful abysses of human degradation, it would take a deep plummet to reach bottom in the Erie County Pen, I do but skim and facetiously the surface of things as I there saw them. After many experiences as a hobo and a sailor, he returned to Oakland and attended Oakland High School, he contributed a number of articles to The Aegis. His first published work was "Typhoon off the Coast of Japan", an account of his sailing experiences; as a schoolboy, London stu
Turner Classic Movies
Turner Classic Movies is an American movie-oriented pay-TV network operated by Warner Bros. Entertainment, a subsidiary of AT&T's WarnerMedia. Launched in 1994, TCM is headquartered at Turner's Techwood broadcasting campus in the Midtown business district of Atlanta, Georgia; the channel's programming consisted of classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. and Metro-Goldwyn-Mayer. However, TCM licenses films from other studios, shows more recent films; the channel is available in the United States, the United Kingdom, Malta, Latin America, Italy, Cyprus, the Nordic countries, the Middle East and Asia-Pacific. In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before.
As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; the film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. Turner Classic Movies debuted on April 14, 1994, at 6 p.m. Eastern Time, with Ted Turner launching the channel at a ceremony in New York City's Times Square district; the date and time were chosen for their historical significance as "the exact centennial anniversary of the first public movie showing in New York City". The first movie broadcast on TCM was the 1939 film Gone with the Wind, the same film that served as the debut broadcast of its sister channel TNT six years earlier in October 1988.
At the time of its launch, TCM was available to one million cable television subscribers. The network served as a competitor to AMC—which at the time was known as "American Movie Classics" and maintained a identical format to TCM, as both networks focused on films released prior to 1970 and aired them in an uncut and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002. In 1996, Turner Broadcasting System merged with Time Warner which, besides placing Turner Classic Movies and Warner Bros. Entertainment under the same corporate umbrella gave TCM access to Warner Bros.' Library of films released after 1950. In the early 2000s, AMC abandoned its commercial-free format, which led to TCM being the only movie-oriented basic cable channel to devote its programming to classic films without commercial interruption or content editing. On March 4, 2019, Time Warner's new owner AT&T announced a planned reorganization that would dissolve Turner Broadcasting.
TCM, along with Cartoon Network, Adult Swim, over-the-top video company Otter Media, will be moved directly under Warner Bros.. Speaking about the move, then-Warner Bros. CEO Kevin Tsujihara explained that TCM was "a natural fit with Warner Bros." due the company's massive film library. In 2000, TCM started the annual Young Composers Film Competition, inviting aspiring composers to participate in a judged competition that offers the winner of each year's competition the opportunity to score a restored, feature-length silent film as a grand prize, mentored by a well-known composer, with the new work subsequently premiering on the network; as of 2006, films that have been rescored include the 1921 Rudolph Valentino film Camille, two Lon Chaney films: 1921's The Ace of Hearts and 1928's Laugh, Clown and Greta Garbo's 1926 film The Temptress. In April 2010, Turner Classic Movies held the first TCM Classic Film Festival, an event—now held annually—at the Grauman's Chinese Theater and the Grauman's Egyptian Theater in Hollywood.
Hosted by Robert Osborne, the four-day long annual festival celebrates Hollywood and its movies, featured celebrity appearances, special events, screenings of around 50 classic movies including several newly restored by The Film Foundation, an organization devoted to preserving Hollywood's classic film legacy. Turner Classic Movies operates as a commercial-free service, with the only advertisements on the network being shown between features – which advertise TCM products, network promotions for upcoming special programs and the original trailers for films that are scheduled to be broadcast on TCM, featurettes about classic film actors and actresses. In addition to this, extended breaks between features are filled with theatrically released movie trailers and classic short subjects – from series such as The Passing Parade, Crime Does Not Pay, Pete Smith Specialties, Robert Benchley – under the banner name TCM Extras (formerly On