Saturday, October 27, 2012

The making of an Action Figure


There was this wonderful scene near the finale of the 1988 film "Working Girl". A Wall Street kingpin asked a question to the movie's heroine played by Melanie Griffith. The question was where did the idea for the merger come from? What was the initial creative spark that set the machinations of her mind in motion to create the deal.? Melanie's character had an instant and detailed answer to his question while Melanie's rival, played with sinister glee by Sigourney Weaver, stammered and the Wall Street kingpin knew that Melanie spoke the truth and the idea was hers and had been stolen by her insidious rival.

All creative projects be they paintings, novels, movies, songs or even Wall Street mergers have that initial gestation period ignited by a spark of an idea that sets off a train of thought in motion. Sometimes it is real life people and events, sometimes a just feeling or mood and sometimes it may be simply another creative work that inspires a homage. Often it is an uneven mix of all of the above.

Everything I create as a writer is personal. It has to be to keep me interested and passionate enough to do the work and unleash it on the world. Even a pure genre work must have the stamp of someone's personality to give it a soul and infuse it with life.

For me sometimes the initial creative spark is about a philosophy and a fascination with our evolutionary prehistoric past as in the Bull Mongoni books. Sometimes a deeply personal story woven into the format of a thriller as in "She". And sometimes it is like "Action Figure".

The initial spark of an idea that lead to "Action Figure" was the inciting incident that sets off the chain of events in the book. Here is how it is described on the back cover copy:

"It's all about who you know.
It's all about networking.
It's all about who is the best bold-faced liar.
It's all about listening to your instinct when it screams run." 
Meet Wes Jackson. A burned out shell of a man leading a life of quiet desperation. Then one day, he has a fateful encounter with two security guard goons. The confrontation escalates and turns deadly, and now Wes Jackson is a man on the run. He is a hunted man-a man who has been reborn and re-invented. And a man who is determined to succeed in his dark journey of escape, no matter who or what stands in his way.

The "fateful encounter with two security guard goons" is based on something that actually happened to me.

I had just received some bad news and was on my way to the airport to catch a flight home to be at someone's deathbed. It was early on a Sunday morning and I had few hours until boarding began so I decided to stop at a Border's bookstore on the way to get a some coffee and pick up a book.   There must have been an event of some kind going on because the Border's parking lot was packed. So I pulled into the end of the Galleria Mall parking lot (the mall had not opened yet) thinking I would walk across the street, get a coffee, pick up a book and head off to the airport.

The second I pulled into the Mall parking lot, I was descended upon by two fascist, moronic goons just as Wes Jackson is in "Action Figure".  It pretty much went down as described in the book. Well, up to point anyway. I did not end up a fugitive on the run and could not risk getting arrested. I had to get to the airport so I did have time to deal with those inbred bullies or hassle with the cop who soon arrived on the scene. I was forced to cower and stand down so that I could be on my way.

See, I have this character flaw, kind of like Marty McFly in "Back to the Future II". I can never back down. If someone challenges me, tries to humiliate or intimidate me, I will fight them to the death and god help anyone who dares to stand in my way.  In the cold, rational logic of reasonable thought that sounds like foolish machismo bordering on psychotic. And it is actually frightening to witness (so I am told). Thankfully, I am still alive (so far) to use such exploits for exploitation purposes in my story telling fervor.

 The barbaric rage inside me from that mall parking lot incident did not die and I thought about that encounter every day for many years afterward. I put it together with several other confrontations from my past. Then I thought about a day back in 1992 when I was stranded in  Fort Lauderdale, shirtless and shoe-less on the hottest day of the year and had to make my way on foot 15 miles across the city. 

Add in some inspiration from one of my favorite films "Falling Down", a homage John Jake's "Brak the Barbarian" novels, some personal backstory (yes there is a love interest) and an autobiographical pulp action thriller novel was born.

As far as the book itself...if what I wrote above and the back cover blurb piques your interest and if you are free of any heart conditions, "Action Figure" is the book for you.













Friday, October 19, 2012

Five greatest James Bond songs ever



Music by John Barry
Lyrics by Leslie Bricusse and Anthony Newley
Peak on the Billboard Hot 100 - number 8
Shirley Bassey’s husky vocals and John Barry’s screaming, sassy brass don not just get your attention, they reach out and grab you by the throat. This bold, melodic, irresistible classic tune created and defined the James Bond sound for the next five decades. In 2008, the single was inducted into the Grammy Hall of Fame.

There has always been a wonderful, wistful, mourning melancholy to the music of James Bond. After all, the legendary John Barry, the composer of “Born Free”, “Somewhere in Time” and “Out of Africa”, was the absolute master of creating such mood. “You Only Live Twice” captures the romantic side of Bond with soaring orchestrations and spot on vocals by Nancy Sinatra.Music by John Barry
Lyrics by Leslie Bricusse
Peak on the Billboard Easy Listening - number 3

Written by Paul McCartney and Linda McCartney
Peak on the Billboard Hot 100 - number 2
Arguably the best title song from a James Bond movie (along with “Goldfinger”). Arguably the best song from any movie period. “Live and Let Die” is that good. A classic in every sense of the word. As for the insipid bastardization remake warbled out by Guns N’ Roses, the less said the better.
“Live and Let Die” was a monster hit song in the summer of 1973 and airplay of the song on the just blossoming FM radio market helped make Roger Moore’s Bond debut a smashing success.

Written by David Arnold & Don Black
Peak on the UK Singles Chart - number 11
Peak on the Italy Singles Chart - number 5
Lead vocalist Shirley Manson is an electric performer with a simmering sexual charisma that is unmatched. Garbage truly was the most consistent, innovative, and prolific alternative pop band of the 90s and their new album “Not Your Kind of People” proves they are better than ever.
This song has an epic, sweeping retro euro-Bond feel to it and is the best song of the Arnold scored James Bond films.

Written by Bill Conti and Mike Leeson
Peak on Billboard Hot 100 - number 4
Peak on UK Singles Chart - number 8
It is a good thing that Blondie turned down the offer to perform this song. Sheena Easton’s soaring, catchy vocals are a perfect match for composer Bill Conti’s trendy post disco era soundtrack. This delicious piece of early 80s pop was nominated for an Acadamy Award for best original song, one of only three Bond songs to do so (along with “Live and Let Die” and “The Spy Who Loved Me”.

Wednesday, October 17, 2012

History of the hominid, legend of the Bull Mongoni


A sneak peek into the second book of the Bull Mongoni trilogy, Sword of the Bull Mongoni.



The above flow chart shows the evolutionary path of the hominid family starting with 14 million years ago when “Hominidea” walked the earth, the first known primate precursor of the hominid and the common ancestor of all the great apes.

The surviving great apes today include humans (genus Homo), chimpanzees and bonobos (genus Pan), gorillas (genus Gorilla), and orangutans (genus Pongo). Gibbons (genus Hylobates) are not considered great apes and split off into a separate family of primates earlier (about 18-20 million years ago)

Now, what is not included on the flow chart above is where the legendary Bull Mongoni fit it.

According to the Sacred Scrolls of Tarmok as told by Gunner Star to Tyrone Fulton in Rise of the Bull Mongoni and Joe Fenton in Gunner Star, the Bull Mongoni evolved from the Homininae subfamily.

As you can see above, this subfamily branched off into two distinct tribes approximately 8-10 million years ago. One tribe was the Hominini—humans, chimpanzees, and bonobos. The second tribe was Gorillini—gorillas.

The Scrolls of Tamrok speak of a third great ape that branched out from the Homininae subfamily, the tribe known as the Bull Mongoni.

The Scrolls, oral history, as well as the Sumerian writings, and the legends of the Neolithic North American natives, allude to a great race of man beast that lived with the wild beasts deep in the forests among the trees. These hominids were swift, strong, muscular and hirsutistic. Unlike the other hominids, the Bull Mongoni could be loners who would roam a vast territory, often with a big cat as a companion. Some theorize this is how the great cats learned to patrol a territory. By all accounts the Bull Mongoni were peaceful and showed great respect for their great ape brothers and sisters. In the ancient Sumerian texts they are referred to as “the protectors of the earth and all creatures.”

Peaceful perhaps, but if crossed, a Bull Mongoni could unleash a frightening fury.

Ancient Latin texts refer to a story of a Roman platoon sent to Africa to apprehend a group of escaped slaves. One of the slaves, a female, was befriended by a “talking man beast with super human strength and the speed of a leopard”.

A squadron of Roman soldiers from the platoon marched into the jungle and attempted to abduct the slave girl from the lair of the great man beast. They found her alone gathering water by the river and captured her.

The soldiers were cruel and destructive, torturing and slaughtering innocent creatures on their march back out of the jungle. One night, the mean-spirited butchers were drunk on grain alcohol and decided to try and have their way with the slave girl.

That is when the great man beast struck.

A barbaric animal roar exploded across the night followed by the sounds of snapping bones, crushed skulls, and severed arteries. Never in all their years of blood lust and battles had these Romans witnessed such uncorked rage and savagery.

Only one soldier made it back to the platoon in North Africa. The great man beast wanted a living witness to tell the tale. Saddled on his horse was a treasure chest. The surviving Roman soldier was in shock and trembling when he arrived. The shaken soldier said only that the treasure chest contained a “message for the Roman leader from Tarmok the Bull Mongoni”.

The Captain of the platoon opened the chest to find the twelve bloody severed heads of the squadron. There was also a parch of tree bark inside with an inked message written in Latin.

“The man beast said the note was for you,” the surviving soldier said.

“Read it to me,” the Captain ordered.

...to be continued in the next and final book of the Bull Mongoni trilogy, Revolution of the Bull Mongoni. Coming soon to a bookstore near you.

Find out more about the Bull Mongoni and experience the irreverent thrills in the controversial action adventures - the prequel novel Gunner Star and the screenplay books Rise of the Bull Mongoni  and Sword of the Bull Mongoni.



Monday, October 15, 2012

It is a mythology, it is an attitude, it is a philosophy to live and die by

It was first introduced by the charismatic anti-hero Gunner Star in the novel Gunner Star. Then it became a movement in Rise of the Bull Mongoni and the embodiment of a legend of the from the past in Sword of the Bull Mongoni. Soon it will lead to the ultimate showdown in the final installment of the Bull Mongoni revolution.


The Gunner Star novel and the Bull Mongoni trilogy that follows are much more than rousing testosterone-drenched action adventures. 




It is a mythology. It is an attitude. It is a philosophy to live and die by.




The Bull Mongoni philosophy as written in the Sacred Scrolls of Tarmok

1) Protect those who cannot protect themselves.

2) Destroy all bullies.

3) There is no forgiveness! There is no invisible man in the sky to get you off the hook.

4)You are the sum of all your actions past and present. Your sins are yours and yours alone. Have the courage to own them.

5) My body, my business.

6) Technology improves but man does not. The Homo sapiens are the same greedy, selfish, destructive, cruel, murdering, species that migrated out of Africa and exploded like a virus across Eurasia 50,000 years ago destroying everything in their path.

7) Kindness will be rewarded with fierce loyalty.

8) Let go of your fear. And use your enemy's against him.

9) You want to hunt for sport? Then try hunting a man who is equally armed. Then we will see what a tough guy you really are. What's the matter? Afraid of a fair fight?

10) When you sculpt and harden the flesh, you sharpen and focus the mind.

11) All disputes should be settled with a broadsword and a fight to the death.

12) You want to see me dead? Then you will have to come here and kill me yourself with your bare hands. Come on. I dare you. I double dare you.

13) Good god it's great to be a Bull Mongoni.

Experience the Bull Mongoni philosophy in action in the cult novel Gunner Star and the irreverent anti-establishment adventure Rise of the Bull Mongoni and the riveting sequel Sword of the Bull Mongoni.


Copyright James J. Caterino
2004, 2010, 2012 All Rights Reserved


Tuesday, October 9, 2012

My top ten soundtracks and why



Hans Zimmer’s “King Arthur” score exudes excitement and emotion, breathing life into nearly every scene it touches. There is a ton of exciting Zimmer-style action material, but what makes this score standout from standard Zimmer fare is its heart. Highlights of this crisply produced soundtrack include “Tell Me Now (What You See)” performed by Moya Brennan (sister of Enya). This beautiful melody serves as the love theme in “King Arthur” and is one of Hans Zimmer’s best overall love themes.


John Williams had another one of his creative peaks (in a career of endless creative peaks) from 1997 - 2000. He returned to the “Star Wars” universe with “The Phantom Menace” (1999) and had five Oscar nominated scores “Amistad” (1997), “Seven Years in Tibet” (1997), “Saving Private Ryan” (1998), “Angela’s Ashes” (1999) and "The Patriot" (2000). Lost among all of those critically praised scores was his skillfully composed soundtrack for Chris Columbus’s tear- jerker “Stepmom”.
One of the wonderful aspects of a John Williams soundtrack is that the music is designed not only to enhance the film it is attached to, but to exist as an emotionally fulfilling stand alone listening experience as well. Whenever he decides to bring in a solo musician, Williams always chooses the ideal artist with the perfect instrument for the score, in this case guitarist Christopher Parkening. Even in a small scale, intimate score such as this, the composer carefully builds his musical tapestry until fully indulging the listener in a deeply affecting emotional crescendo.
This underrated John Williams “lite” score is a beautifully composed subtle symphony of color and deep emotion. You would have to be made of granite not to be moved by it.


Given its Giallo style sexuality and excesses, Pino Donaggio was the perfect choice to score “Body Double”. The movie came along at a time when both De Palma and Donaggio were at the peak of their creative powers and had a string of successful collaborations together including the popular scores for “Dressed to Kill” (1980) and “Blow Out” (1981). The love theme from “Blow Out” was licensed by Quentin Tarantino and used in “Death Proof”.

The soundtrack for “Body Double” is a blast. It is melodically rich and varied and like the film itself, a wickedly excessive piece of iconic pop culture. A must own soundtrack for De Palma fans, lovers of '80s cinema and anyone who likes exciting suspense music drenched in pop eroticism.


After “Aliens” (1986) became an action horror classic and “Titanic” (1997) became one of the best selling albums of all time, the prospect of a third collaboration between James Cameron and Horner brought with it an enormous set of expectations. “Avatar” may not have sold a boatload of albums like “Titanic” or became a music for trailers staple like “Aliens”, but from musical and artistic perspective it is a smashing success.
The soundtrack for Avatar is a grand epic of orchestral wonder and choral delight that meets those expectations with music that is a far more ambitious and varied than either of Horner’s other two Cameron scores.
Track 13, “War”, brings the Na’ve of the film and the listener surging back to live with adrenaline and action music. “War” is 11:22 of exciting, epic music that ranks as one of the best cues of Horner’s prolific musical career. The end credits pop ballad, “I See You” performed by Leona Lewis,is  a criminally underrated song that deserved to be successful.

The only full length theatrical film directed by Steven Spielberg not to be scored by John Williams. Remember, “Duel” (1971), scored by Billy Goldenberg, was a network made for TV film that was released theatrically overseas only. Spielberg’s Jerry Goldsmith scored “Kick the Can” segment to “Twilight Zone: The Movie” (1983) was essentially a short.
The Oscar nominated score to "The Color Purple" is majestic, epic and yet has a deep emotional intimacy about it. The instrumentation choice is spot on. Quincy Jones and his team of composers created a musical tapestry that shrewdly brings out every ounce of sentiment in Spielberg’s first “serious” film. There is a grand sweep to the soundtrack very much in the mode of what John Williams might have done. But the score is also unmistakably Quincy Jones and has the same touch he and Gerald Fried brought to the landmark television mini-series “Roots” in 1977.
The “Reunion and Finale”music that plays during the film’s moving final scene is unforgettable. You would have had to have had an emotional bypass at birth not to be touched by it.


“The Mask of Zorro” is an immensely entertaining old school adventure and features one of James Horner's most exciting and original scores. It is brimming with color, melody, and fluid action music. Everything about the music from instrumentation choices to the sweeping love theme works beautifully. This is a top five Horner soundtrack and a must own for film music fans.
What makes this score standout is the clean focus and the energy level. The music has the bold themes and strong melodic lines of Horner’s early pre-1990 work. The action music is the most exciting and agile of Horner’s career and the love theme “I Want to Spend My Lifetime Loving You ” is one of his absolute best.It  gets a moving treatment in the dramatic cue “Elena and Esperanza”.
James Horner’s best post ‘80s genre soundtrack and one of the best adventure scores of all time.

For years the music from “The Temple of Doom” was unavailable on any legitimate CD release except for an awful sounding Japanese import. The Japanese import CD was a reworking of the old Polydor vinyl album, a bare bones record which was missing all the best music anyway.
Finally Lucasfilm released a remastered and expanded CD through Concord in 2009. It is a crisp, vibrant sounding soundtrack album with beautiful packaging and a terrific presentation of John Williams’ action adventure masterpiece.
Spielberg has a long and storied history of casting naturally gifted child actors and getting seamless performances out of them. One of the cool touches in “The Temple of Doom” is the Short Round character played by Jonathan Ke Quan. “Short Round’s Theme” is one of the best themes in any Williams' score and this terrific, fluid piece of symphonic wonder gets a full fledged strong statement in both track 7 “Short Round’s Theme” and track 22 “End Credits”.
Two of the most sought after pieces of music missing from the old Polydor album and Japanese CD are “To Pankot Palace” and “Approaching the Stones”. “To Pankot Palace” is a thunderous villain march and “Approaching the Stones” is the chill inducing quasi-religious mystical music playing as Indy reaches for the magical stones. Both are knockout cues.


An entire book can be written about just the Jerry Goldsmith horror and suspense soundtracks alone. There have been countless classics by the master over the last fifty years including Magic (1978) and the Oscar winning The Omen (1976) and its two sequels. But Poltergeist” stands out as one of the most complete, varied, complex, muscular and entertaining works composed by Goldsmith at the peak of his great orchestral might.
The most famous piece of music is the beautiful lullaby-like Carol Anne’s Theme”. It is the heart of the score and heard over the opening and closing credits. The rest of the score contains some of the most aggressive horror music ever composed.
The Clown takes a creepy hold, drawing the listener in as Goldsmith expertly builds into riveting suspense with cues like "Twisted Abduction" and "Contacting the Other Side" before unleashing an orgasmic orchestral explosion of quasi-spiritual beauty in the haunting "The Light".


Steven Spielberg’s criminally underrated dystopian science fiction fairy tale is the most complex, polarizing, haunting, deeply affecting, and achingly beautiful film of his storied career. The same exact wording can be used to describe John William’s minimalistic musical masterpiece, a score so charged with deep emotion, it will stay with you forever.
The vast array and focused intensity of the emotional intimacy of the soundtrack is impossible to verbalize. One simply has to listen to it. No, not listen to it, experience it. Even the hauntingly beautiful song “For Always” performed by Lara Fabian and Josh Groban is a profound achievement in soundtrack music.


This soundtrack has been mentioned several times in this column over the past two years, but never given a proper review. That is because it would be utterly impossible to do justice to this avante-guarde masterwork in less than 800 words.
Intricately layered and carefully structured with a precision for detail that borders on maddening genius. Every note has a distinct purpose and every motif, theme, melody and movement aggressively moves this propulsive score forward with an addictive combination musical athleticism and sheer brute force that it defies belief.
Full or wonder, brimming with non-stop excitement and always a fresh listen even after thousands of spins, “Total Recall” is the greatest action score of all time.

A few runners up that just missed the cut.



Suggested by the author:






Wednesday, October 3, 2012

The Photon and the Flesh


A chapter excerpt from the YA contemporary science fiction thriller Video Noir.


Chapter 15 - The Photon and the Flesh

It was three o’clock in the morning, and Caitlin couldn’t stop thinking about her junior year literature class.

The class had been taught by a just-out-of-grad-school mega-hunk with a flash and dash personality, a man by the name of Coach Jimmy O’Brien. The “coach” part of his name came into play because was actually recruited by the school district to serve as the football team’s strength-and-conditioning coach. Teaching literature was more or less his requisite side job. It was necessary that he teach class in order for the district to utilize him as a coach.

But to Coach Jimmy O’Brien it was much more than a side job. His passion and unbridled enthusiasm for great fiction and knockout storytelling was so well conveyed and contagious that he managed to convert many of the students into big-time readers. That included Caitlin.

It was Coach Jimmy O’Brien who first introduced Caitlin to the bizarre world of Philip K. Dick.

Caitlin had already been familiar with the author via the many film adaptations of his work including Blade Runner, Total Recall, and one of her favorite films of all time, Minority Report. But once Caitlin began to read the author’s books, that is when her mind began to truly open.


Philip K. Dick novels were full of eccentric, haunted, paranoid, loopy characters who often found themselves trapped in alternate universes, simulacra, and virtual realities. Reality itself was usually presented as a concept that was elusive. Reality was perception, and that perception was often controlled my sinister, monolithic corporations and subversive government agencies.

At this moment, Caitlin felt like she was living inside one of those novels. Or better yet, she felt like she was living in an Oliver Stone adaptation of a Philip K. Dick novel, transforming into some kind of obsessive, paranoia-drenched female heroine who was about to become unhinged.


Caitlin wanted answers. She needed to be near someone who understood what was happening. She needed to be near someone who knew what she was going through.

She needed Rick Blazer.

He was the only person who could help her, and he was the only person who would understand what had happened to her earlier tonight at Tron.

Upon returning home, Caitlin had checked her e-mail. There were several video logs waiting for her in her inbox. The videos were marked “private” and were posted at both LiveVideo and YouTube. They were personal videos made by Rick for Caitlin. He must have made them just before embarking on his great adventure to Boca Raton.


Caitlin spent nearly an hour watching—and re-watching the videos.

She was captivated by Rick, his physical presence, and his delivery. Watching him on her monitor was a complete and shameless guilty pleasure. Besides finding joy in watching the videos over and over, she needed to watch them over and over. As Rick put it, the information he was giving her was “essential to her very survival.”

The videos were a thorough update about everything Rick had learned about VideoNoir, the sinister men behind it, and the surreal, hallucinatory powers of the technology known as Light Wave.

As Caitlin watched the videos, her eyes transfixed upon the monitor, she basked in Rick Blazer’s confident, comforting presence. Just knowing she had someone like him on her side made her feel better.


And she listened to him very carefully. She hung on his every word. She absorbed the new information he’d given her, sat back, and reflected on everything she had learned so far.


Caitlin had learned firsthand about the great power of Light Wave, a new video technology that incorporated the radical theories of an eccentric, renegade physicist named Troy Matheson. Matheson proposed his Light Wave theory; then he mysteriously vanished after publishing two books about his controversial discovery—Light Wave, and The Slipstream of Light… and of Life.


Matheson’s theories were first put to practical use by an independent filmmaker named JC Pezzini and his scientist friend, Harlan Beta.

The two men worked together on an experiment and created a special media room they called the anti-reality chamber. It was a room designed to employ Troy Matheson’s fantastic principles.

With Harlan’s help, JC attempted to travel back in time to solve a dark mystery in his own past. He wanted to go back, to interact with the past, and to learn the identity of a mysterious girl who had saved his life in 1983—a girl he only knew as “she.”

At this point, the details of the story (as told by Angela to Rick to Caitlin via Rick’s video) become fuzzy … dream-like … almost incoherent.


The anti-reality chamber was at least partially successful for JC and Harlan. They had successfully accessed the past. This is where JC met Angela and learned her true identity.

But as result of the experience, JC Pezzini was killed. He was murdered by someone who was trying to keep the dark past a secret.

Harlan went on to perfect the Light Wave technology in a desperate effort to try to undo the damage. According to Angela, both she and Harlan had hoped to use the Light Wave technology and the anti-reality chamber in an attempt to go back and save their fallen friend, but fate stepped in and altered their plans.

Somehow the sinister men in black had noticed what they were up to and had made plans of their own for this reality-altering technology.

But before they could implement their plans, they needed Harlan. They needed access to his mind, his talents, his knowledge, and his work. So they sent someone to recruit his services.

That someone was media mogul Jonathan Q. Bentworth.

His sales pitch was perfect. He claimed that he wanted to utilize Harlan and the Light Wave technology in a brand new video-sharing site he planned to launch—a site called VideoNoir. A site that seemed to be controlled by a subversive group of government men-in-black types. These were mysterious men who operated in the shadows and seemed to have a secret agenda for the Light Wave technology. They seemed more interested in memory creation and deletion.

When Harlan resisted the pitch, the group simply abducted him under the guise of inviting him to a weekend seminar.

One thing was for sure. Light Wave was for real, and the people at VideoNoir had found a way to use it.

Caitlin had experienced that firsthand tonight when she’d suddenly felt a new memory of Zeke’s party blaze to life in her brain. But she could also remember her original memory—the real reality.

But now, after her reality altering experience earlier in the evening, Caitlin felt the need to go further. She needed to take the next bold step into this fantastic and frightening new world she had entered.


Yes, Rick Blazer was on her mind all right. She wanted to tell him what had happened to her at the graduation party, and she wanted to tell him about her hallucinatory episode at Tron. But she also wanted to do more than that. She felt a sudden urge to be near him.


She wanted to be with him. She wanted to touch him.

She thought about what Troy Matheson had said in Light Wave. Matheson said that in order to access a recorded image, in order merge the photons and the flesh and to enter into the world of the past, energy was required to ignite the process. This had to be energy that was very focused, very raw, and very primal; energy that was comprised of primitive, basal emotions; energy that was borne of deep passion; energy that came from pure, raw, unfiltered lust.


It appeared that this guy, Harlan, and the people behind Video-Noir had somehow figured out how to bottle that energy, prepackage it, and incorporate it into their video-sharing software and servers.


But according to Matheson, accessing the Light Wave principles had very little to do with the technology and everything to do with the intensity of the emotion.


According to Matheson, there was another way to do this, a way that did not involve computers, software, servers, or VideoNoir.


She remembered back to something Rick had said in one of his video logs, something about the original Light Wave experiments that Rick’s client Angela had embarked on five years ago.

Harlan, JC Pezzini, and Angela had created an anti-reality chamber to harness the elusive powers of Light Wave, and they did it without the use of computer chips, software, or servers. They had only high resolution imagery, and sheer erotic energy to fuel their journey, and despite the tragic results, they had been successful. They were able to access the past. They had proven it could be done sans VideoNoir. And if they could do it, that meant Caitlin could do it too.

Caitlin quickly went to the family room, hooked up her Internet access to her fifty-inch plasma screen, drew the drapes closed, and cranked up the Dolby Digital Surround. Caitlin was about to create her own anti-reality chamber.

She was about to embark on a bold and daring experiment—a journey into the dark unknown.

Read more follow Caitlin's adventures to experience the mind-blowing terror and exhilaration of Video Noir.

James Caterino (2007-10-23). Video Noir (Kindle Locations 1272-1275). iUniverse. Kindle Edition. 

Copyright 2007, 2012 James J. Caterino All Rights Reserved

Video Noir at Amazon

Video Noir at Barnes & Noble





















Tuesday, October 2, 2012

Kate Beckinsale a triple threat talent




She is a serious, dramatic actress who has carried epic blockbusters, shined in quirky, independent films and has a track record of delivering consistent, high level, Oscar caliber performances.

She is a formidable action hero with an electric presence who can lead a franchise. She is capable of performing wicked stunt sequences and fight scenes with a savage, visceral intensity that deifies her diminutive physical size. There is a simmering eroticism to her action sequences that is seductively unique.

Oh, and yes, she is also one of the most photographed women in the world, a Maxim Magazine superstar, and a yearly top contender for just about any “sexiest woman” contest or list that exists.
It almost seems to defy reality that one woman can possess each of these attributes, but Kate Beckinsale embodies all of the above and more. The London born actress is one of the most versatile talents ever to arrive in Hollywood. The only other actress working today with even a comparable range would be the equally formidable Milla Jovovich.
After garnering praise for a variety roles in her native Britain, including a starring role in an adaptation of Jane Austen's “Emma”, Beckinsale came to Hollywood.. The British beauty showed her impressive acting chops right away by taking on an unsympathetic character and delivering a nuanced and complex a performance in Whit Stillman’s 1998 independent film “The Last Days of Disco”.

A year later she co-starred with recent Emmy winner Claire Danes in “Brokedown Palace”, a harrowing drama about two teenage Americans forced to deal with the Thai justice system on a post-graduation trip over seas. But it was two years later in “Pearl Harbor” (2001) where Beckinsale’s rising star went supernova.

“Pearl Harbor” was one of the most aggressively promoted films of all time. The knockout trailer set to Hans Zimmer’s music from “The Thin Red Line” (1998) was immensely popular and seemed to play endlessly starting more than a year out from the release date. With its premise of a passionate love triangle set against the backdrop of the WWII Pearl Harbor invasion, Touchstone Pictures and producer Jerry Bruckheimer were hoping for another “Titantic” (1998).
Although the Michael Bay directed “Pearl Harbor” did not break box office records or garner the critical praise of James Cameron’s classic, it was a huge box office hit. Kate Beckinsale gave a terrific performance and showed a knack for making even the most melodramatic and mushy love scenes ring true. Her luminous presence helped carry the film and the actress won over a legion of new fans and she became an A-list superstar.

In 2002 Beckinsale returned to the world of independent film and starred alongside Frances McDormand and Christian Bale in “Laurel Canyon”, a sexually charged drama set against the backdrop of the music business. “Laurel Canyon” is a superb piece of cinematic art with fully realized characters. The arc of Beckinsale’s character from timid and uptight to bold and experimental is flawlessly executed by the actress.

In 2003 Beckensale showed us a completely new side of her as she took on the role of a vampire action hero in the “Underworld”. The actress demonstrated a fierce physical presence. She seemed to relish in the physicality of the role as created an iconic character and became the anchor of a new franchise.
In 2004, Beckinsale returned to epic drama and portrayed Ava Gardner in Martin Scorsese's Howard Hughes biopic “The Aviator”. Then after a sequel to “Underworld”, “Underworld: Evolution” in 2006, it was back to intimate character focused drama with “Snow Angels” (2007) and “Winged Creatures” (2008). Then it was on to another action oriented lead in the underrated genre thriller “Whiteout” (2009).
2012 has been another banner another year for the actress. She co-starred in “Contraband” with Mark Wahlberg, returned to her role as Selene in “Underworld: Awakening”, has been a cover girl on countless magazines and was named on numerous sexy and most desired lists.

Also in 2012 the talented actress showed off yet another aspect of her versatility by playing the villain and stealing the show in her husband Len Wiseman’s re-imagining of “Total Recall”. As she did in the “Underworld” movies, Beckinsale amps up the sexual charisma and shows a knack at performing killer fight scenes and riveting stunt work.

An independent film actress playing quirky and complex characters, a romantic lead in a blockbuster, a sought after glamorous cover girl and sexual siren, a fierce action hero with deadly moves, Kate Beckinsale is a versatile talent who can all of these things and so much more. Her fans cannot wait to see she what she has in store for them next.
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