Sharon Prince of Lauds the Sterling Ideals of Celebrated Artist, Carrie Mae


It was a momentous event. An epic performance by one of the world’s and America’s great artists, Carrie Mae. From the outset, it was evident that Carrie Mae was well aware of her place in space. Yes, hers is a graceful story aimed at occupying space in history. As expected, Carrie Mae did not disappoint.

The name of the play was significant: ‘Past Tense.’ Intriguing. Captivating. Tantalizing. The venue of performance was equally significant: the Grace Farm Foundation. The two great causes have plenty in common; Service to humanity and humanism. The fight against violence, human rights abuses, injustice, inequalities, inhuman systems. Present to welcome the renowned theatre queen was Sharon Prince herself, the Founding President of the Grace Foundation.

It promised to be a great event. It came to pass as one. The storyline was disarmingly simple; a protest against racism, division, injustice; all mirrored in the unflattering American tradition. Much of this, evidently, was visited on the innocent young Americans of the Black race. As usual, throughout the performance, was Carrie Mae’s voice; powerful, elegant, compelling, and unapologetic. Around her was a talented cast, a star-studded constellation of actors who were in no mood to disappoint. They beautifully complemented Carrie Mae’s talent, resulting in an unforgettable, epic experience.

The tools of the trade for actors were simple: words, texts, and images. Carrie Mae played the role of the famed Greek hero Antigone. In the end, the thrilling classical had the power to transport the audience back to humanity’s bloody violent past and fast-forward to the present, a precipice of virtual human extinction. At the end of the riveting play, Carrie Mae, in typical fashion, dares to leave space for hope, amidst the blood, pain, and callousness that are the hallmarks of human history.

Sharon Prince, the veteran President and Founder of the Grace Farm Foundation, received Carrie Mae and spoke glowingly of her role, goals, and performance. She reiterated that both entities shared similar ideals. The foundation, established in 2009, seeks to enhance lives by impacting on nature, justice, faith, and community. Through this Foundation, Ms. Prince has fought child exploitation, violence against women, and human trafficking.

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Lawrence Benders Gives a Greenlight to Reservoir Dogs’ Opening Diner Scene


Reservoir Dogs broke a great many rules in regards to conventional screenplay approaches. The opening scene, however, almost mocks the rules of screenwriting. While writer/director Quentin Tarantino chose to embrace such a unique creative approach, it becomes difficult to see the average producer reading the scene and liking the drawn-out dialogue. Most producers probably would resist allowing such a scene to be shot. Lawrence Bender clearly isn’t the average producer. His list of accomplishments includes winning an Oscar for Best Documentary for An Inconvenient Truth. When making Lawrence Bender Reservoir Dogs wisely didn’t pressure Tarantino to cut such a “meandering” opening scene.

Why is the opening scene so controversial? The sequence doesn’t even remotely try to get the plot moving forward. The scene makes no attempt to establish the proceedings. In Syd Field’s classic work on the art of screenwriting, the first ten minutes of a movie should set up the “Who, what, and where” of the plot. With Reservoir Dogs, the opening diner scene explains who the movie is about and where it takes place, but does nothing to establish a clear narrative.

The scene mimics an indulgent section from a potboiler novel. Novels wallow in meandering because, honestly, meandering doesn’t hurt the reading experience. An author can write 400 pages or more without a problem. A motion picture usually has 90 to 120 minutes to tell its tale. The plot must move forward quickly without any tangents.

Reservoir Dogs starts out with a ten-minute dialogue riff featuring a bunch of men finishing up their breakfast. They argue with one another, tell strange tales, and discuss the merits of tipping. None of this has anything to do with the plot. The prologue does nothing but other than providing humorous-but-unessential dialogue. The film does make the characters memorable, which makes the film compelling when the actual plot starts.

Producers commonly come off as business-centric. Lawrence Bender certainly doesn’t ignore the business side of producing, but his background as a dancer early in life shows his creative and artistic side. Lawrence Bender likely followed his creative side when supporting Tarantino’s decision to film such a scene.