MNIK is rock solid overseas

My Name Is Khan continues to dominate the international charts. The combined total from key international markets, at the end of 10 days, is approx. Rs. 46.25 crores.
U.K. BOX-OFFICE
Note:- Collections of several films are unavailable. Hence, this list is incomplete.

* My Name Is Khan [last weekend: No. 6, this weekend: No. 9]: In its second weekend, the film has collected £ 4,48,747 on 91 screens, with the per screen average working out to £ 4,931.
Total: £ 19,60,349 [approx. Rs. 14.05 crores].

U.S.A. BOX-OFFICE
* My Name Is Khan [last weekend: No. 13, this weekend: No. 17]: In its second weekend, the film has collected $ 7,00,885 on 125 screens, with the per screen average working out to $ 5,607.
Total: $ 32,53,168 [approx. Rs. 15.01 crores].

AUSTRALIA BOX-OFFICE
* My Name Is Khan [last weekend: No. 10, this weekend: No. 15]: In its second weekend, the film has collected Aus. $ 1,73,846 on 37 screens, with the per screen average working out to Aus. $ 4,699.
Total: Aus. $ 7,62,584 [approx. Rs. 3.17 crores].

OTHER KEY MARKETS

* Singapore: USD $ 3,01,094 [approx. Rs. 1.39 crores]

* Pakistan: USD $ 3,65,298 [approx. Rs. 1.68 crores]

* East and West Africa: USD $ 1,65,260 [approx. Rs. 76.22 lacs]

* Middle East Markets: USD $ 2.21 million [approx. Rs. 10.19 crores

My Name Is Khan looses to 3 Idiots

This is a a piece of news which will hurt the fans of Shahrukh Khan. King Khan has lost it out to the perfectionist Aamir Khan once again. Shahrukh's My Name Is Khan which had got a bombastic opening opening in it's first week has lost grip over the Box Office in it's second week and seems to be no match for Aamir's 3 Idiots. My Name Is Khan has seen a steep fall in the second week with occupancy falling as much as 60% to 80%.

The movie had started off well thanks to the controversy created by the Shiv Sena over Shahrukh's support to the Pakistani players in the IPL. Fox Star India which is distributing the movie was excited after the movie had a better start than 3 Idiots. But My Name Is Khan seems to have lost the momentum having grossed Rs. 150 Crores in the second week compared to Rs. 240 Crores , 3 Idiots grossed in the first 10 days.

This is not the first time that Shahrukh has emerged No. 2 in the race. In 2008 too Shahrukh's Rab Ne Bana Di Jodi was going well but when Aamir's Ghajini released the movie found tough to breathe. Ghajini had gone on to establish records at the Box Office which was incidentally broken by Aamir starer 3 Idiots. Now having lost two consecutive rounds to Aamir, Shahrukh will find it tough to keep his 'Baadshah of Bollywood' tag.
Related posts:

Shah Rukh Khan's "My Name Is Khan" : Questions of religious and national identity

Kites- Realising on may 21

Banner
Filmkraft Productions (I) Pvt Ltd

Release Date
May 21, 2010

Language
Hindi  /  English

Genre
Thriller  /  Romance

Shooting Studios
Filmistan

Producer
Rakesh Roshan
Sunaina Roshan

Director
Anurag Basu

Star Cast

• Hrithik Roshan
• Kangna Ranaut
• Barbara Mori
• Kabir Bedi
• Nick Brown

Cassettes and CD’s on
T-Series

Music Director
Rajesh Roshan

Story / Writer
Akash Khurana
Anurag Basu
Robin Bhatt

Hrithik Roshan starrer romantic saga ‘Kites’, which also marks the Bollywood debut of Mexican model Barbara Mori, will hit theatres worldwide on May 21.

The Hindi and English versions of ‘Kites’ will release worldwide simultaneously in 60 countries.The first trailer of the movie, which has been produced by Rakesh Roshan, distributed and marketed by Reliance Big Picture, was unveiled in 1700 screens on 12th February.

The Sandpit New York- or Everyday is Beautiful

Probably the beauty of the product lies not in the subject of the product, but in the way it is done. Might not be the latest headline, but there is something to this. Can one build nice highways, is it possible to design a meaningful park and ride or can a disused railway lines turned into a park? Well you must have guessed it by now, I am thinking of specific examples here. Even though it is probably a lot easier to come up with terrible examples for infrastructure projects, you probably only have to look out the window, there are some really 'knock you out of your shoes' examples of good practice. A great collection is put together in the book 'the Landscape of Contemporary Infrastructure', published by NAi Publishers.


Image taken from Archphoto / A view of the Swiss highway A16.

And of course here are the examples I was thinking of, 'Tunnel Artifices', highway projects by Flora Ruchat-Roncati and Renato Salvi 1988-2008, realized in Switzerland; 'Terminal Hoenheim Nord' by Zaha Hadid Architects 1999-2001, realized in Strassbourg, France; or the 'High-Line' by Dillier Scofidio + Renfro with James Corner Field Operations 2005-2010, in New York, USA.
And actually New York was what I wanted to get at, to introduce this beautiful timeLapse. A day in the Sandpit of the big Apple portrayed so beautifully the everyday situations that it lives up greatly to the examples give. Everyday life is beautiful, no matter what.

Book - Subnature the Other Side of the World

There are things and things in our material world, that are not the same. Some things, especially if they inherit the ability to change between different forms and states or even context, are contradictially received. This phenomenon is known in all areas, but it is particularly distinct in the context of the environment. More so because it is so consequently denied.
And I am probably taking it a little far here, but a great deal of the sustainability debate of the recent decade is related to this denial of context and integrativity of more than a century of constructing and theorizing environment. So in this context the debate about how and especially why we should build ecological or sustainable buildings and cities makes more sense. Because of the radical and to a large extend successful exclusion of anything unplanned, uncontrolled we now are doomed to sit out the debate around how to live a life on our planet and to learn to accept that everything is part of the plan even and particularly the planner. This is a tuff one, I know, but there is no return, we have to obey the culture we live in (@geno).
Beauty might lie in this. Louis Sullivan wrote a poem to one such banned commpanion of the environment:

"I made a little one to a weed the other day. I like weeds: they have so much 'style' to them and when I find them where they grow free they seem most interesting and suggestive to me. I think I'm something of a weed myself....And then there are so many of them, and they differ so much in shape, colour and arrangement; the form follows the function so beautifully as you would say. I wish I knew the names of the little rascals; then it seems to me, I could talk to them better." (David Gissen (2009), Subnature. p. 154)

In his book Subnature - Architecture's Other Environments, published by Princeton Architectural Press, the author David Gissen goes to a great length to shade light on different aspects of denial of context in the practical and theoretical construction of environment. It is a book that you probably wouldn't take first down from the shelve in the store, but not because it is not good written or pleasant looking (the opposite is true), but very likely because the topic puts oneself against so much practice and cultural conventions, that it might still be hard for people to take this step of acceptance.
It is worth it, moreover it is necessary and I believe this publication is only the start of the theorization of a movement that has developed tools and practices to allow numerous completely forgotten dimensions to feed into the man made environment.
Gissen has positioned the book very cleverly out of the main line of commercial sustainability debate and with this can avoid all the unnecessary discussion around the education of professionals and can concentrate on actually discuss concrete examples, approaches and theories on this subject.
The book is organised in three parts. Part one is on darkness, smoke, gas, exhaust; Part two is on dust, puddles, mud and debris; Part three is on weeds, insects, pigeons and crowds. A not on first blink self explaining structure, but as you dive into the content a skeleton that starts to make sense as Gissen continuously feeds the reader with examples. An this is really the strength of the book. The author has illustrations for most of his arguments and subjects. This is really brilliant and pulls the reader in immediately. It is not one of these "I tell you to to this!" books, but a real discussion of the subject matter. THe examples are not presented as right or wrong, but as a way of reading something, leaving it open for the reader to read more into it or read something completely different from it. This is something very few books mange to do, creating this platform for an debate between professionals.
For the conclusion, I realize that I have actually given away very little on the content of the book, but I guess this is a good thing in this context. There is little point in me repeating what David Gissen has put so beautifully and engaging in print. This is simply a must read, if you are prepared to take the plunge and be prepared to see the world, and definitely your work, with different eyes.
For further and detailed reviews visit Landsacpe+Urbanism or Archidose or see the authors blog for a 11 point list on Subnature.


Image taken from HTcExperiments / Alternative book cover, showing the work by Jorge Otero Pailos.


Gissen, D., 2009. Subnature: Architecture's Other Environments 1st ed., Princeton Architectural Press.

Will ‘Hurt Locker’ have an ending like ‘Brokeback’?

With wins at the Producers Guild, Directors Guild, Writers Guild, and British Academy Awards, “The “Hurt Locker” ” has clearly been racking up the major pre-Oscar prizes in the last month.

In fact, with the exception of a couple big-ticket losses at the Golden Globes and SAG Awards, Kathryn Bigelow’s film has nearly accomplished the same sweep that “Slumdog Millionaire” pulled off last year. By that yardstick, the film seems like a sure thing to win the Best Picture Oscar on March 7, particularly because those two high-profile losses came at the hands of two different films (“Avatar” at the Globes, “Inglourious Basterds” at SAG) rather than one.

But then I started looking at all ““Brokeback”  Mountain’s” pre-Oscar record from four years ago and I found some striking similarities. 

“Brokeback” managed the rare feat of winning Best Picture and Best Director at both the New York and Los Angeles film critics awards; so did ““Hurt Locker.” “Brokeback” also picked up those two big prizes at the Broadcast Film Critics Awards; so did “Hurt Locker.” “Brokeback” won the trifecta of PGA, DGA, and WGA trophies; so did “Hurt Locker.” “Brokeback” won 4 BAFTAs, including Best Film, Director, and Screenplay; “Hurt Locker” picked up 6 awards, including Best Film, Director, and Screenplay. And of course, “Brokeback” lost the SAG cast award, and so did “Hurt Locker.” (The main difference between the two films’ tallies is that “Brokeback” did win four Globes, including Best Drama and Best Director, while “Hurt Locker”  went 0 for 3.)

All of this is on my mind right now because we’re about to put our Oscar Odds issue to bed (it’ll be on stands this Friday), and it’s really making me think twice about my prediction that The “Hurt Locker”  will emerge victorious on March 7.

There’s still a distinct possibility that “Hurt Locker”  will mirror “Brokeback”  yet again and win three Oscars (let’s say Best Director, Best Original Screenplay, and Best Editing) but lose the big one to a more easily-digestible rival, in this case “Avatar.” 

But I’m swayed by the argument (best articulated by Steve Pond over at The Wrap) that even if “Avatar” scores the most No. 1 votes, The “Hurt Locker”  is likely to perform better in subsequent rounds of voting, since Bigelow’s film may have more No. 2 and No. 3 rankings than “Avatar” will. So, fully knowing that I may end up being wrong, I’m sticking with The “Hurt Locker”.

Related Posts:

"Avatar" Vs "Heart Locker" hard contest

Nominees for the 82nd academy award

How Predictable is our Movement?

Physicist Albert-László Barabási, well known for his work on network theory, has tuned his attention in a recent paper to the human movement. In the latest issue of Science 19 February 2010
Vol 327, Issue 5968, his paper 'Limits of Predictability in Human Mobility' reports the research work undertaken with 50'000 anonymized mobile phone user data.
Barabási has don a lot of work on networks as early as 1999 were he coined the term Scale Free Networks, describing a type of networks with major hubs, such as for example the world wide web. In his barabasilab at Northeastern University, Centre for Complex Network Research a number of network related project are researched.


Image taken from The University of Chicago / Diagram of a scale-free network that contains components with a highly diverse level of connectivity. Some components form highly interconnected hubs, while other components have few connections, and there are many levels of interconnectivity in between.

However in this recent work the focus is on the predictability of human movement. The authors say: "By measuring the entropy of each individual's trajectory, we find a 93% potential predictability in user mobility across the whole base. Despite the significant differences in the travel patterns, we find a remarkable lack of variability." The work was intended to close a gap in the approaches to modeling human behavior. Despite personally we rarely perceive our actions as random, the existing models are largely based on the factors of random movement. The paper demonstrated that even though the activities, distances and motivations for individual movement might be very divers and different the predictability of an individuals location is not. They all have very similar predictability values, ranging between 80 % and 92 %. AOL News titles their article on the work "Study Makes It Official: People Are So Predictable" implying that this must be soooo boring.


Image taken from AOL News / These diagrams represent the movements of two mobile phone users. The one on the left shows that the person moved between 22 different cell towers during a three-month period, and placed 52 percent of his calls from one area; the other subject hit 76 spots, and was much less rooted.

This might be very surprising news for most people. The fact that there is so much less changing and spontaneity might seem unrealistic, but a similar impression was given by the data collected with the UrbanDiary project last year. Even though this was a really small sample, the fact that individuals travel most of the time along their known routes, between only a few hot spots clearly emerged. This can also be seen visualised in the What Shape are You? renders. Also Hagerstand's work pointed in to this direction arguing that the 'Constraints' are too strong for too many out of rhythm activities.
Barabási already undertook similar work with mobile phone data in 2008, which war published as an article in nature, by Gonzalez MC, Hidalgo CA, Barabasi A-L. with the title 'Understanding individual human mobility patterns'. In this article they analysed data of 100'000 mobile phones. Was the media coverage back then (two years) very much concerned about privacy issues related to the data source, for example NYTimes is this less of an issue. Nevertheless it is obvious that the researchers try to play it save by mentioning about ten times in the article that they work with anonymized data.
The argument is largely the same in both articles and the finding too. In both papers the researchers show their surprise about the outcome, that the movement can be predicted. However to my surprise they stick to their study and do not draw any strong links to routines and rhythms of personal habits. You can listen to a podcast where Barabási talks about this research.
In the more recent paper they conclude "At a more fundamental level, they also indicate that, despite our deep-rooted desire for change and spontaneity, our daily mobility is, in fact, characterized by a deep-rooted regularity."
I believe that the former, spontaneity, is very much a cultural phenomenon similar to the urge to stay young. The later, regularity, is the provider of identity and orientation resulting in stability and safety and therefor fundamental to human everyday life. Interesting should be Barabási's upcomming new book Burst on "The Hidden Patterns Behind Everything We Do".

A Buzz for the iPhone - Latitude is Dead

Google seemed for a long time to kind of miss the upcoming social networking hype. They have actually paved the way for this development to happen, especially where it comes to location based services and now it looks like they miss the train.
This is not the first time though, already with the chat they could not catch up with msn or with voip, skype was the number one. Same here again with social networking, Google had to watch the rise of facebook and twitter for quite a while and similar with the location based social networking services. Here Brightkite or foursquare are small, but very agile and successful providers of location based services. Earlier these services were discussed HERE.
Google came up with the Google Latitude service. It offers the option to let a mobile device track its route and broadcast it on the web or share with invited friends. It was a very simple platform and did not offer anything in addition. Were Brightkite offered tools for networking, commenting and socializing, Latitude would only show a the location. This inability not to interact could be frustrating and this might be the reason why Latitude stayed a niche product.
But Google was determined to come up with some sort of service to mach the still growing social networking community. So earlier this month they launched Google buzz, sort of an extension to Gmail. Google buzz was introduced on their official blogs HERE or HERE or on googlemobile.
It is kind of a cross between a chat and micro blogging tool that can be used directly from within Gmail. It combines elements of Gmail, Wave and Latitude, looks a bit like facebook (in the way it displays the activities) and works a bit like twitter (the way you can sign up and follow other users). There are however also differences. It is tied to the Gmail account, which means no strange names or funny images. It automatically links to everyone you have ever emailed through Gmail, your identity is set. Also the fact that it is embedded in Gmail means you have to be inside your mailbox to use it and follow your friends (for now, there will be for sure other clients pop up - depending how it develops).
I have to say for me is the Gmail integration at the moment not the most interesting part, but rather a bit annoying. I very seldom log in to check my email. In fact I basically have only joined buzz because I am logging in to the Gmail service at the moment due to a faulty machine and I don't have access to my regular mail client. But lucky me, the real deal with the Google buzz is the way it works on mobile clients such as the iPhone. Blogs, for example the next web, have this week described the service, what twitter should be, or what the next generation facebook with integrated location awareness must be! And really this is it, buzz mobile, in this case one could say it is an extended Google Latitude, gives you the service you'd expect. In a list or on the map you see the buzz's around you and you can interact with them. Nothing new, yes we know, Brightkite or Foursquare do this for a year already, but twitter doesn't yet properly do this.
THe main problem really is the graphical interface. I know this is a tricky one, but I really can't get warm with this Google style. This was already one of my main complaints with Google Wave and now it is again with Google buzz. It is simply ugly and unfriendly. It might work properly, but if it aint good looking you don't want to use it. Compared to twitter or facebook , similar complaints apply there too and the boring design of facebook is one of the reasons I hesitated long before starting to use it. Twitter is a different case. It took me a while to get used to it, but they managed to develop their own stile and invented a format for micro blogging.
To come back to the actual functions of the buzzing buzz, it is integrated with Gmail as mentioned above, so direct buzzing is easy, even more Google has integrated the buzz button on the search page too. So as you have found something while searching, simply click the buzz button and your very personal news go out to the world. Similar with the location based integration, Google makes the most of the services they already have and are successful. They have added a buzz layer to Google Maps for example, where you can see what is buzzed around a certain location. For a more complete list on the features and how to use them see mashtrends. The map feature is great and you get quick and simple an impression of what is going on in an area. This, however, creates an interesting problem of how to represent the aspect of time. At the moment this is not really a question, but soon certain places will become very buzzy and it will become impossible to decide which buzz you actually want to see. It was similar with the user generated KML files that would be automatically be integrated into the general Google Earth layer in the early days of Google Earth. It obviously quickly grew to be too much user generated information and Google started selecting. By now the have established 'official' layer contributors, such as Panoramio or Discovery Channel. But here, with Google buzz, the aim is different n so should be the solution. How can Google simplify the growing content without losing the important content you are looking for? There are aspects of time involved, beside possible categories or tags. A feature like the timeline in Google Earth would be a good start, to see how this location developed and where the information lies that one is looking for.
Anyway, if other clients start picking up the format it might all change, at least this is what was the promise with Google Wave, we'll see. For now there is a new Google buzz button with each post here on the blog, so keep buzzing away, it could develop into something.

"Avatar" Vs "Heart Locker" hard contest

Britain's love of the underdog triumphed Sunday as intimate war drama "The Hurt Locker" beat 3D spectacular "Avatar" to take six prizes, including best picture, at the British Academy Film Awards.

Kathryn Bigelow won the best-director battle with "Avatar"'s James Cameron, her ex-husband, for her intense depiction of a bomb-disposal squad in Iraq.

"It means so much that this film seems to be touching people's hearts and minds," Bigelow said. 

Both films had eight nominations for the British awards, considered an indicator of possible success at the Academy Awards in Los Angeles next month. "Avatar" and "The Hurt Locker" each has nine Oscar nominations.

"The Hurt Locker" also took British prizes for original screenplay cinematography, editing and sound.

"Avatar" won awards for production design and visual effects for its vivid vision of a distant moon populated by a blue-skinned species called the Na'vi.

"Hurt Locker" screenwriter Mark Boal dedicated the best-film prize to the hope of peace "and bringing the boys and girls back home."

Bigelow also paid tribute to soldiers serving in Iraq, and said the goal of the film was "putting a bit of a spotlight on a very, very difficult situation."

"I hope that in some small way this film can begin a debate ... and bring closure to this conflict," she said.

David vs. Goliath?

The "Avatar"/"Hurt Locker" battle initially seemed like a David-and-Goliath story. Cameron's last feature, "Titanic," won 11 Oscars, including picture and director. "Avatar" is a global phenomenon that has taken more than $2 billion at the box office.

"Hurt Locker" has made about a hundredth that much.

"It did not seem like a slam-dunk commercial proposition," said Boal, who thanked Bigelow and the cast for making "an unpopular story about an unpopular war."

Homegrown British talent did not go home empty-handed. Rising star Carey Mulligan was named best actress for playing a precocious teenager in 1960s London in "An Education."

Colin Firth was named best actor for his performance as a bereaved Englishman in California in Tom Ford's "A Single Man."

Firth said he almost declined the award-winning role, which has also earned him an Oscar nomination. He said he had been about to turn it down by e-mail "when someone came to repair my fridge." He never sent the e-mail.

"I would like to thank the fridge guy," Firth said. 

Firth said he had emerged from working with fashion designer-turned-director Ford "better groomed, more fragrant and more nominated than one has ever been before."

Austrian actor Christoph Waltz, already a hot Oscar favorite, won the supporting actor prize for his turn as a chilling, charming Nazi colonel in "Inglourious Basterds." The supporting actress award went to Mo'nique for "Precious: Based on the Novel 'Push' by Sapphire."

Director Duncan Jones took the award for best British debut for his lost-in-space drama "Moon."

A tearful Jones, whose father is musician David Bowie, said it had taken him a long time to figure out what he wanted to do with his life.

"Finally, I think I've found what I love doing," he said. 

Situation: ‘Jersey Shore 2’ is best series ever

Mike “The Situation” Sorrentino is confident that “Jersey Shore’s” second season won’t disappoint fans of the hit MTV reality show.

“Season 1 was the best reality show in history,” he told the Chicago Tribune. “Season 2 may be the best series ever. It’s going to be legendary.”

And The Situation, whose catchphrases helped make the MTV show a household name, said he’s not preparing any material in advance for the upcoming season. 

“I don’t save material,” he said. “That’s called being on the spot.”

As for what the future holds for the cast, he wasn’t sure if Ronnie Magro and Sammi “Sweetheart” Giancola were still dating.

“I think they broke up — I have no clue,” he said.

According to a previous report from TMZ, the volatile couple split after the taping of the series’ reunion show on January 21, but just days later, co-star Nicole “Snooki” Polizzi told Us Weekly that the pair had gotten back together.

“You never know with them,” Snooki said at the time.

But The Situation told the Tribune that he would be front and center when the show returned no matter what’s going on with his castmates.

“I run that house,” he said. “[Ronnie and Sammi] are the cartoon section. I’m the front page.”

Ryan Phillippe, Abbie Cornish break up-Actress moves out of shared home; couple met during 2006 film shoot

It's over between actress Abbie Cornish and boyfriend Ryan Phillippe, her spokesperson confirms to e-celebrity exclusively.

"Abbie ended the relationship with Ryan and she moved out of their home," the rep tells e-celebrity. On Sunday, the actress was spotted removing her belongings from the house she shared with Phillippe while he visited a friend with children Ava and Deacon.

The split follows months of tabloid speculation that Phillippe has been unfaithful to Cornish — regularly hitting the nightclubs and being linked to other women. When asked about the cause of the break-up and whether Phillippe cheated on Cornish, her rep replied, "No comment."

ornish, 27, and Phillippe, 35, met in 2006 on the set of the film, "Stop-Loss," and survived intense media scrutiny following Phillippe’s divorce from Reese Witherspoon. Cornish has been in Vancouver for the last seven months shooting the film "Sucker Punch."

Reps for Phillippe could not be reached for comment.

Movie Review- The Wolfman

Director: Joe Johnston
Screenplay: Andrew Kevin Walker, David Self, Curt Siodmak (1941 screenplay)
Actors: Anthony Hopkins, Benicio del Toro, Emily Blunt, Hugo Weaving, Geraldine Chaplin
Cinematography: Shelly Johnson
Music: Danny Elfman
Release Date: February 12, 2010
Rating: 6 out of 10


Review:

The Wolfman is a remake of the popular horror classic that was produced by Universal over 60 years ago. Instead of capitalizing on a more contemporary adaptation of the character the studio decided to stick with the old plot and feel of the original. This includes the overseas location and time period, accompanied by plenty of blood and gore. This film could have been an amazing revamp of its predecessor but the excessive violence and unnecessary bloodshed ruins it all.

Lawrence Talbot, a haunted nobleman, returns to his family estate after his brother’s fiancee informs him of his death. It turns out that his sibling was murdered in the woods by a mysterious creature, who inflicted fatal wounds that weren’t of human origin. Against the advice of others he delves deep into his search, which sets a life changing event in motion. Throughout the film we try to figure out if it was destiny, a curse, or bad luck that leads him to his fate of becoming the Wolfman.

The Good:

Anthony Hopkins: The Oscar winning actor was the epitome of evil as Lawrence’s father. He was so emotionally detached that every time his character appeared on screen you always wondered what was going on behind his eyes.

The Horror: This film was genuinely scary. There are a lot of jump scares, but they actually work and make you want to check your surroundings ever so often.

Editing: The editing here helped with building up tension and fear within the film. There were certain scenes that could only work with the right cuts at the right time, and they were able to pull that off.

The Bad:

The Direction: The cast of this film was great, but it didn’t seem like their talent shined through. It takes a good director to bring out the best in their actors, and that didn’t happen here. Joe Johnston had two Oscar winners, and a Golden Globe nominee, yet they all gave mediocre performances. It makes you wonder what type of direction he was giving them.

The Accents: The location of the film is supposed to be near London, yet everyone’s accents are completely different. Del Toro’s is American, which they explain in the film, but Blunt and Hopkins are another story. Both actors are British in real life, yet Blunt sounded like an American doing her best British impersonation.

The Gore: There are some extremely graphic scenes that didn’t need to be shown. Every time the Wolfman appears expect to see exposed intestines, stomachs, and plenty of heads being clawed off during your viewing.

Overall:

There are certain elements from the original Wolfman that do appear in the remake, the only problem is those similarities are overshadowed by unnecessary blood. This is not a movie for the weak at heart or those with sensitive eyes. The Wolfman is a mixture of old school Gothic horror mixed with the Saw franchise. Does that sound like a pleasant combination to you? If so, you should definitely give it a shot this weekend.

Book - Bioreboot the Projects of R&Sie

Bioreboot - The Architecture of R&Sie(n) by Giovanni Corbellini is published by Princeton Architetural Press, an architecture monograph with a cover that for once represents the book quite accurate. It is ambivalent, for one it draws you in and tickles your interest, but for two contains a strange irritation alongside.
The R&Sie(n) projects are through out fascinating and often surprising. However there are some projects that really stand out. Such for example 'the Invisible House' (2001), built for $160'000 in France. This 'stealth' building is a radical take on landscape, architecture and the debate around integration. As a model type it could almost be compared to 'The Slow House' (1990) by Dillier and Scofidio (http://www.dillerscofidio.com). Or there is also the 'Terra Incognita' (2006) project about 'global warming and the apparition of the island of the albino penguin'. Or the 'Hypnochamber' (2005) a experiment on 'unconscious planning' and participation.
There are also the more flat projects were catchy titles do suggest more than the images or visualisations, such as with the 'Mosquito Bottlenecck' (2003), the 'Aqua Alta' (1998) or the 'Waterflux' (2002/2007) a proposal that was good in the context of early blob architecture, but has lost a lot of it's charm since.
Nevertheless the work of this practice is really pushing the boundaries of architecture and the experiments with space, materials and visualisation draws you in and gives you a buzz for your own work (given you are involved in some sort of creative work). The work is quite poignant described by Bruce Sterling from Wired as '...(they are) exploring what happens when the usual constraints are allowed to fall away and things get wild and loose.' And yes indeed some of the projects go along the line of the book 'Installations by Architects' The thing about the work of R&Sie are the stories they create around each project. It is not simply a house or a space, but a whole world they carefully craft to allow the proposal to happen inside it. The resulting product is then simply the consequence of a logical sequence, beautiful.
The irritation from the front cover continues on the inside and the design of the book can not really catch up with the content. Since the projects are of such experimental nature the representation of them in the book tries to mirror this to some extend, but then also doesn't. This ambivalent and undecided state makes me as the reader really nervous. Only for the 'endlessness... chat' at the very end of the book a different form of representation is found in the form of the portrait orientation of the format rather than the landscape of the rest of the book. The rest is a conventional at times rather dull reporting of projects sorted in categories presented in a linear fashion. It is the sort of book to inspire architecture students starting a new project.

The book, it can be said as a sort of concluding summary, can not quite live up to the content. For which it is worth, though.



Giovanni Corbellini (2009), Bioreboot - The Architecture of R&Sie(n). Princeton Architectural Press, New York

Movie Review- Shutter Island

Directed by	Martin Scorsese
Produced by	Bradley J. Fischer Mike Medavoy Arnold W. Messer
Written by	Laeta Kalogridis Steven Knight Dennis Lehane (Novel)
Starring	Leonardo DiCaprio Ben Kingsley Mark Ruffalo Michelle Williams Patricia Clarkson Emily Mortimer Ted Levine John Carroll Lynch Elias Koteas Jackie Earle Haley and Max von Sydow
Music by	Robbie Robertson
Cinematography	Robert Richardson
Editing by	Thelma Schoonmaker
Studio	Phoenix Pictures Appian Way Productions Sikelia Productions
Distributed by	Paramount Pictures
Release date(s)	February 19, 2010 (2010-02-19)
Running time	138 minutes
Country	United States
Language	English
Budget	$80 million

Review:
Director Martin Scorsese's latest collaboration with Leonardo DiCaprio is a brain-scrambling good time.

The latest chapter in Martin Scorsese’s fruitful DiCaprio phase is the haunting psychological thriller Shutter Island. Based on the bestselling novel by Mystic River author Dennis Lehane, Shutter Island casts Leo as U.S. Marshal Edward “Teddy” Daniels, a World War II veteran and recent widower assigned with investigating the escape of a female inmate from Ashecliffe Hospital, a facility for the criminally insane housed on an ominous island outside Boston Harbor.

Ashecliffe Hospital is the Casa Bonita of mental institutions, a decaying, storm-battered Gothic fortress packed with raving, homicidal crazies from all sides of the lunatic spectrum. Orderlies, dressed in asylum white and almost uniformly African-American, attempt to subdue their screams, while impassive physicians subject their brains to all manner of rudimentary — and often barbaric — experimental “treatments” considered cutting-edge in the early ‘50s. (Shutter Island's story is set in 1954, back when lobotomies were regularly dispensed and homosexuality was still officially classified as a mental disorder.)

The proprietor of this madhouse is Dr. Cawley (Ben Kingsley), an effete, probing psychiatrist whose bowtie alone suggests a near-infinite capacity for evil. (Seriously — never trust any bowtie-wearer not named Pee Wee Herman. Just look at this guy.) He’s flanked by the German-born Dr. Naehring (Max Von Sydow), a vision of clinical Teutonic malevolence wrapped in a labcoat and wire-rimmed glasses. Needless to say, Marshal Daniels is immediately suspicious of both.

The case of the missing inmate proves to be something of a red herring, and Shutter Island an abrupt conspiratorial turn when Daniels reveals to his partner, Chuck Aule (Mark Ruffalo), his true motive for coming to Ashecliffe: Housed somewhere within its walls, he believes, is the arsonist responsible for the apartment fire that killed his wife, Dolores (Michelle Williams), just a few years prior. What’s more, Ashecliffe appears to be no mere hospital, but rather a secret government facility wherein gruesome, Nazi-inspired mind-control experiments are conducted by the House Un-American Activities Committee in the hopes of gaining an edge on the Commies.

Suddenly, faint sounds of the cuckoo alarm can be heard, and as Daniels sets out to unravel the conspiracy, the conspiracy has already begun to unravel him. Wandering through Ashecliffe’s creaking labyrinth, he's beset by haunting visions and engulfed by Scorsese’s menacing, atmospheric blend of flickering lights, leaky ceilings, violent thunderclaps, deranged inmates, and other classic crazymaking cinematic conventions. Throw in some abrupt smash cuts, a jarringly arrhythmic score, and an undercurrent of Cold War paranoia, and you've got yourself one terrifyingly potent, batsh*t crazy stew.

Sometimes too potent. Shutter Island's narrative is bedeviled by inconsistent pacing, its slow burn all too often interrupted by overlong, exposition-heavy dialogue exchanges that effectively halt the film's momentum, forcing Scorsese to build the tension again from scratch as we struggle to process the revelations that have just been dumped upon us. And its extended "I see dead people" denouement strays into the hackneyed abyss of Shyamalan-land. Thankfully for us, it doesn't linger long enough to spoil all the brain-scrambling fun.

For more movie review, visit:  http://single-blogs.blogspot.com/

Bryant Knox Family Pics

Just want to keep my promise to MG aka Melting Glory

[So sorry for the delay]

Hi!

Here are some pics of my sim Bryant Knox I got from MG.

She downloaded him from this blog

and pair him with her beautiful sim Cyanna Quin

Sorry MG but I cannot post all pics you sent me

I hope it's OK with you.
If you want to see more of her pics, here's the link

Anyway, Bryant and Cyanna got 5 offsprings.

Two boys, Azean and Drent.
And Triplet girls

[No joke :]
Phia, Kenla and Qualina

Thanks MG for telling me this :)

Here's the original pic of Bryant

And here's the pics MG sent me
Cyanna

When their love story began...
Cyanna & Bryant

Marriage Proposal

The Wedding

Expecting their first child
Azean

Azean 

when he was a baby

Second child

Drent

I love this one :P
Birthday Party
Bryant and one of his triplet girls - Ophia

That's all I can show you.

Anyway, if you want to have them in your game,

you can download Bryant here

and Cyanna here

Enjoy and Happy Simming!
NewOne

Movie Review- Valentine's Day

Release Date: February 12, 2010
Studio: New Line Cinema (Warner Bros. Pictures)
Director: Garry Marshall
Screenwriter: Katherine Fugate
Starring: Jessica Alba, Kathy Bates, Jessica Biel, Bradley Cooper, Eric Dane, Patrick Dempsey, Hector Elizondo, Jamie Foxx, Jennifer Garner, Topher Grace, Anne Hathaway, Ashton Kutcher, Queen Latifah, Taylor Lautner, George Lopez, Shirley MacLaine, Emma Roberts, Julia Roberts, Taylor Swift
Genre: Comedy, Romance
MPAA Rating: PG-13 (for some sexual material and brief partial nudity)
Official Website: ValentinesDaymovie.com
Review: 3/10 rating | 5/10 rating


Story: While Valentine's Day is allegedly the busiest time of the year for the delivery of mushy messages and corny love trinkets all around town, the same should never be the case in a movie. Hyperactively busy in the extreme while negotiating endless crisscross plot lines between way too cute celeb cameos that include geriatric infidelity and worse, Garry Marshall's Valentine's Day is skits-ophrenic moviemaking when less would have indeed been much more.

In other words, where does one begin. It's Valentine's Day morning in LA, and shy guy florist deliveryman Reed (Ashton Kutcher) wakes up extra early to propose marriage to ambivalent girlfriend Morley (Jessica Alba), who seems to more attached to her cellphone. Literally. Which means that Reed has to figure out just how to pry her fingers loose from the notoriously addictive gadget, in order to find that spare finger for his engagement ring.

While on another side of town, anxious television news anchor Kelvin (Jamie Foxx) has just been demoted to puff piece patrol to sniff out human interest holiday stories, while the weathergirl taps dances away to stimulate the sagging ratings. And which Kelvin needs to wrap up, before jogging over to a press conference at which a famous athlete will announce he's gay.

Elsewhere, giddy grade school teacher Julia (Jennifer Garner) who is otherwise fairly luckless in romance, daydreams between classroom lessons about her current surprise requited crush on a possibly too good to be true affectionate physician. This while a more sensible and stern army captain (Julia Roberts) shares a philosophical plane ride with a mysterious stranger. Who will actually get to have the last word eventually in wrapping up this overly crowded scenario, that seems less like a smoothly paced script than a rush hour traffic jam on the LA freeway.

But there's more. Also getting in on the act for some dubious comic relief, is Jessica Biel as a thoroughly unconvincing sad sack who can't get a date. As a frantic Anne Hathaway appears to be revisiting her persecuted workplace drudge in The Devil Wears Prada, with Queen Latifah seemingly preempting Meryl Streep this time around, doing The Devil Wears Plus Size Prada.

And while Hathaway moonlights on the sly during work hours as a phone sex operator to make ends meet and pay for her health insurance and outstanding student loan, her dirty talk conversations are so lame PG, that the actual phone sex industry may end up losing business. Though Queen Latifah's boss from hell secretive impulse to move in and take over Hathaway's seductive operation with virtual bullwhip in hand, couldn't be funnier and saves this collaborative mayhem from looming movie overkill.

Nominees for the 82nd academy award

                         Nominees for the 82nd academy award

Actor in a Leading Role
•    Jeff Bridges in “Crazy Heart”
•    George Clooney in “Up in the Air”
•    Colin Firth in “A Single Man”
•    Morgan Freeman in “Invictus”
•    Jeremy Renner in “The Hurt Locker”
Actor in a Supporting Role
•    Matt Damon in “Invictus”
•    Woody Harrelson in “The Messenger”
•    Christopher Plummer in “The Last Station”
•    Stanley Tucci in “The Lovely Bones”
•    Christoph Waltz in “Inglourious Basterds”
Actress in a Leading Role
•    Sandra Bullock in “The Blind Side”
•    Helen Mirren in “The Last Station”
•    Carey Mulligan in “An Education”
•    Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire”
•    Meryl Streep in “Julie & Julia”
Actress in a Supporting Role
•    Penélope Cruz in “Nine”
•    Vera Farmiga in “Up in the Air”
•    Maggie Gyllenhaal in “Crazy Heart”
•    Anna Kendrick in “Up in the Air”
•    Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire”
Animated Feature Film
•    “Coraline” Henry Selick
•    “Fantastic Mr. Fox” Wes Anderson
•    “The Princess and the Frog” John Musker and Ron Clements
•    “The Secret of Kells” Tomm Moore
•    “Up” Pete Docter
Art Direction
•    “Avatar” Art Direction: Rick Carter and Robert Stromberg; Set Decoration: Kim Sinclair
•    “The Imaginarium of Doctor Parnassus” Art Direction: Dave Warren and Anastasia Masaro; Set Decoration: Caroline Smith
•    “Nine” Art Direction: John Myhre; Set Decoration: Gordon Sim
•    “Sherlock Holmes” Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
•    “The Young Victoria” Art Direction: Patrice Vermette; Set Decoration: Maggie Gray
Cinematography
•    “Avatar” Mauro Fiore
•    “Harry Potter and the Half-Blood Prince” Bruno Delbonnel
•    “The Hurt Locker” Barry Ackroyd
•    “Inglourious Basterds” Robert Richardson
•    “The White Ribbon” Christian Berger
Costume Design
•    “Bright Star” Janet Patterson
•    “Coco before Chanel” Catherine Leterrier
•    “The Imaginarium of Doctor Parnassus” Monique Prudhomme
•    “Nine” Colleen Atwood
•    “The Young Victoria” Sandy Powell
Directing
•    “Avatar” James Cameron
•    “The Hurt Locker” Kathryn Bigelow
•    “Inglourious Basterds” Quentin Tarantino
•    “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels
•    “Up in the Air” Jason Reitman
Documentary (Feature)
•    “Burma VJ” Anders Østergaard and Lise Lense-Møller
•    “The Cove” Louie Psihoyos and Fisher Stevens
•    “Food, Inc.” Robert Kenner and Elise Pearlstein
•    “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers” Judith Ehrlich and Rick Goldsmith
•    “Which Way Home” Rebecca Cammisa
Documentary (Short Subject)
•    “China’s Unnatural Disaster: The Tears of Sichuan Province” Jon Alpert and Matthew O’Neill
•    “The Last Campaign of Governor Booth Gardner” Daniel Junge and Henry Ansbacher
•    “The Last Truck: Closing of a GM Plant” Steven Bognar and Julia Reichert
•    “Music by Prudence” Roger Ross Williams and Elinor Burkett
•    “Rabbit à la Berlin” Bartek Konopka and Anna Wydra
Film Editing
•    “Avatar” Stephen Rivkin, John Refoua and James Cameron
•    “District 9” Julian Clarke
•    “The Hurt Locker” Bob Murawski and Chris Innis
•    “Inglourious Basterds” Sally Menke
•    “Precious: Based on the Novel ‘Push’ by Sapphire” Joe Klotz
Foreign Language Film
•    “Ajami” Israel
•    “The Milk of Sorrow (La Teta Asustada)” Peru
•    “A Prophet (Un Prophète)” France
•    “The Secret in Their Eyes (El Secreto de Sus Ojos)” Argentina
•    “The White Ribbon (Das Weisse Band)” Germany
Makeup
•    “Il Divo” Aldo Signoretti and Vittorio Sodano
•    “Star Trek” Barney Burman, Mindy Hall and Joel Harlow
•    “The Young Victoria” Jon Henry Gordon and Jenny Shircore
Music (Original Score)
•    “Avatar” James Horner
•    “Fantastic Mr. Fox” Alexandre Desplat
•    “The Hurt Locker” Marco Beltrami and Buck Sanders
•    “Sherlock Holmes” Hans Zimmer
•    “Up” Michael Giacchino
Music (Original Song)
•    “Almost There” from “The Princess and the Frog” Music and Lyric by Randy Newman
•    “Down in New Orleans” from “The Princess and the Frog” Music and Lyric by Randy Newman
•    “Loin de Paname” from “Paris 36” Music by Reinhardt Wagner Lyric by Frank Thomas
•    “Take It All” from “Nine” Music and Lyric by Maury Yeston
•    “The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart” Music and Lyric by Ryan Bingham and T Bone Burnett
Best Picture
•    “Avatar” James Cameron and Jon Landau, Producers
•    “The Blind Side” Gil Netter, Andrew A. Kosove and Broderick Johnson, Producers
•    “District 9” Peter Jackson and Carolynne Cunningham, Producers
•    “An Education” Finola Dwyer and Amanda Posey, Producers
•    “The Hurt Locker” Kathryn Bigelow, Mark Boal, Nicolas Chartier and Greg Shapiro, Producers
•    “Inglourious Basterds” Lawrence Bender, Producer
•    “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers
•    “A Serious Man” Joel Coen and Ethan Coen, Producers
•    “Up” Jonas Rivera, Producer
•    “Up in the Air” Daniel Dubiecki, Ivan Reitman and Jason Reitman, Producers
Short Film (Animated)
•    “French Roast” Fabrice O. Joubert
•    “Granny O’Grimm’s Sleeping Beauty” Nicky Phelan and Darragh O’Connell
•    “The Lady and the Reaper (La Dama y la Muerte)” Javier Recio Gracia
•    “Logorama” Nicolas Schmerkin
•    “A Matter of Loaf and Death” Nick Park
Short Film (Live Action)
•    “The Door” Juanita Wilson and James Flynn
•    “Instead of Abracadabra” Patrik Eklund and Mathias Fjellström
•    “Kavi” Gregg Helvey
•    “Miracle Fish” Luke Doolan and Drew Bailey
•    “The New Tenants” Joachim Back and Tivi Magnusson
Sound Editing
•    “Avatar” Christopher Boyes and Gwendolyn Yates Whittle
•    “The Hurt Locker” Paul N.J. Ottosson
•    “Inglourious Basterds” Wylie Stateman
•    “Star Trek” Mark Stoeckinger and Alan Rankin
•    “Up” Michael Silvers and Tom Myers
Sound Mixing
•    “Avatar” Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson
•    “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett
•    “Inglourious Basterds” Michael Minkler, Tony Lamberti and Mark Ulano
•    “Star Trek” Anna Behlmer, Andy Nelson and Peter J. Devlin
•    “Transformers: Revenge of the Fallen” Greg P. Russell, Gary Summers and Geoffrey Patterson
Visual Effects
•    “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones
•    “District 9” Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken
•    “Star Trek” Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton
Writing (Adapted Screenplay)
•    “District 9” Written by Neill Blomkamp and Terri Tatchell
•    “An Education” Screenplay by Nick Hornby
•    “In the Loop” Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche
•    “Precious: Based on the Novel ‘Push’ by Sapphire” Screenplay by Geoffrey Fletcher
•    “Up in the Air” Screenplay by Jason Reitman and Sheldon Turner
Writing (Original Screenplay)
•    “The Hurt Locker” Written by Mark Boal
•    “Inglourious Basterds” Written by Quentin Tarantino
•    “The Messenger” Written by Alessandro Camon & Oren Moverman
•    “A Serious Man” Written by Joel Coen & Ethan Coen
•    “Up” Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthy

Shah Rukh Khan's "My Name Is Khan" : Questions of religious and national identity

Movie Review: ‘My Name Is Khan’
Director: Karan Johan
 Cast: Shah Rukh Khan, Kajol, Jimmy Shergill, Zarina Wahab

Questions of religious and national identity, of the sense of right and wrong, of combating a certain isolation that comes with a behavioural disorder. But what triumphs over all the complexities unfolding in a tumultuous post 9/11 America is Rizwan Khan and his essential goodness that tells you unwaveringly – his name is Khan and he is not a terrorist.
Director Karan Johar is in unfamiliar territory here. The super intelligent Rizwan, who has Asperger’s Syndrome, a form of autism, his halting voice with his inability to communicate, and his many relationships – with his mother, his brother, and yes, Mandira, and her son Sam.
Rizwan who finds love and loses it some years later when his Khan identity becomes all important in a tense, suspicious America. You sit through three hours waiting to get a glimpse of Shah Rukh through Rizwan Khan, but it doesn’t happen.  All credit to Karan Johar for that.
If Shah Rukh lives and breathes Rizwan in what is one of his finest roles, Kajol as Mandira, the vivacious single mother, is also good – as always. The chemistry between them if not always crackling, then heartwarming..
Like a piece of music that gradually rises to grand crescendo, ‘My Name Is Khan’ begins with Rizwan as a child with his mother – so good to see Zarina Wahab after such a long time – in a tenement in Mumbai and ends with cheers from the US’ first African American president in a crowded rally.
It’s from his mother that Rizwan learns his first lessons of humanity; as the 1983 Mumbai riots rage outside, she tells the young boy that the world is divided into good people and bad people.
It is this essential humanism that carries Rizwan through from Mumbai to San Francisco where his brother stays, then to the suburb of Banville where he moves in with Mandira and Sam, and even when he is taken to be a terror suspect.
Sam, his ‘only best friend’, is subjected to a vicious race attack because he takes on Rizwan’s surname. Mandira hits back, saying that the worst thing she could have done was marry a Khan and Rizwan is out on the roads – unable to articulate his feelings but backpacking his way across the US to meet ‘president sahib’ so he can tell him: ‘My name is Khan and I am not a terrorist.’
It is a road journey through a troubled post 9/11 America towards humanism and the essential goodness of the human spirit.
This is a US where chanting the name of Allah gets you into trouble, where the word terrorist and Khan in conjunction can put you behind bars. Rizwan moves from being a terror suspect to a nationwide hero who exposes a terror mastermind. And then, the man with the mission who travels to Wilhelmina that is literally drowning in a hurricane to supervise a heroic rescue mission.
There’s Afghanistan and Iraq, Bush and Obama too. The US’ first African American president is voted in and, in that final feel good moment Rizwan meets him in front of thousands of people and his goodness is validated.
Plenty of great one liners. When he is refused entry into a presidential fundraiser for the poor in Africa that is only for Christians, he leaves behind $500 saying: ‘This if for those who are not Christians in Africa.’
The music by Shankar Ehsaan Loy is superb. This is not a film without flaws, it is at least 20 minutes too long for one and flags in the pre-interval period, but here is one straight from the heart. It has a message, in these days of tensions over language and religion, one which needs to be heard.

Sri lankan hot bikini girl model actress-unseen still

Many famous women have made a name for themselves appearing on the pages of glossy mens magazine. The most famous of these being the cover of Sports Illustrated including Tyra Banks, Elle MacPherson and Petra Nemcova.

In recent times men's magazine favorites, such as Joanna Krupa & Emily Scott, have become household names as a result of this new type of media exposure.

Becoming a swimsuit model isn't quite the same as becoming a high fashion model you see on the catwalks of Milan or the pages of Vogue. Fashion models are required to be between 5'9 and 6' and typically have bust-waist-hip measurements close to 34-24-34. Whereas there appears to be a little more leniency in the realm of swimsuit modeling.

Of course, beauty is still a prerequisite, as is a slim physique. In general a generous bust size (C cup plus) is an advantage as is the hard to measure "sex appeal" of a model. While many top models have a quirky look that sets them apart from the crowd, bikini models typically have a girl next door quality that is easily relateable.

Following are 7 steps you can take to conquer the world of swimsuit modeling:

1. Enter Competitions - Many magazine hold swimsuit competitions through various nightclub & bar venues - this is a great way to get yourself noticed.
2. Approach Photographers - Reputable photographers only, preferably photographers who have previously been published in the magazine you would like to appear in.
3. Develop a hook - Are you a female mechanic? What about a mad football fan? These themes could look great in a photo shoot and magazines LOVE hooks.
4. Network - Use social networking sites such a Myspace and Facebook to find out everything you can about what is going on in the industry locally.
5. Approach Swimwear Companies - And other swimsuit related products. Maybe your friends uncle owns a surfboard company or a car company that uses bikini girls in their advertising, once you have some photos to add to your portfolio it makes everything easier.
6. Workout - Your body is going to have to be in top shape to even have a chance in this market.
7. Get Practise - Once again reputable photographer only! To do TFP work (time for prints). This will allow you to discover your best angles and put you in good stead when you start getting paid work and are expected to perform.

For more information on swimsuit modelling and hot bikini's check out: http://hotbikini-sakee.blogspot.com