what was Capote director Bennett Miller training to work as a director?
84669
Miller took a film course at NYU but dropped out after a couple years. And then: "For the next few years, Miller worked on other people’s films and took on various odd jobs. Eventually, he got it together to make his first movie, “The Cruise,” "  So he sorta went to school and mostly learned on the job.
536793
Try Prokofiev's "Montagues and Capulets" from Romeo and Juliet.\n\nListen to an extract on Amazon.com.
1008962
Gone With the Wind is truely my favorite. You have to stick with it though, because Margaret Mitchell moves the story at a sometimes-slow pace... It is a classic! My very favorite. Another great older book would be basically, anything by Mark Twain, John Steinbeck, or, another one of my favorites, Arthur Miller. (Arthur Miller is a playwright, but his plays are amazing.) \n\nEnjoy reading!!!
701050
Try New York Film Academy which offers 6 month to 1 year diploma programs in dramatic and performing arts. Check them out at www.nyfa.org. \n\nBetter yet, list down all performing arts colleges in www.collegescolleges.com. Click on the New York state category. Then, do your individual assessment of each school.
195570
The opening scene with Hartnett was filmed by director Robert Rodriguez as a sort of "audition" to show writer Frank Miller what he envisioned for the completed film.  Also, the final scene was especially written for the film by both Rodriguez and Miller together.  Furthermore, the two stories serve as bookends to the movie, giving it a sort of beginning and end.  Especially seeing as how the movie as a whole is really a collection of several short stories based on Miller's comics, and not so much as just one long story.
1044885
"The Secret Life of Walter Mitty" has that plotline.  But it was filmed in the forties.  It starred Danny Kaye, if that helps.
219386
I've seen better, but there he was amusic teacher something I have no talent in so I cant really critise.  For me the best teacher movie I've seen is "To sir with love". Although the priest gave Rudy good advice in the movie "Rudy" and that was at Notre Dame.
1127982
RALPH ELLISON\n\nIn 1936, a few weeks after my arrival in New York City, I was lucky enough to be invited by an old hero and newfound friend, Langston Hughes, to be his guest at what would be my introduction to Broadway theater. I was so delighted and grateful for the invitation that I failed to ask my host the title of the play, and it was not until we arrived at the theater that I learned that it would be Jack Kirkland's dramatization of Erskine Caldwell's famous novel Tobacco Road. No less successful than in its original form, the play was well on its way to a record-breaking seven-and-a-half-year run, and that alone was enough to increase my expectations. And so much so that I failed to note the irony of circumstance that would have as my introduction to New York theater a play with a southern setting and characters that were based upon a type and class of whites whom I had spent the last three years trying to avoid. Had I been more alert, it might have occurred to me that somehow a group of white Alabama farm folk had learned of my presence in New York, thrown together a theatrical troupe, and flown north to haunt me. But being dazzled by the lights, the theatrical atmosphere, the babble of the playgoing crowd, it didn't. And yet that irony arose precisely from the mixture of motives__ practical, educational, and romantic__ that had brought me to the North in the first place.\n\nAmong these was my desire to enjoy a summer free of the South and its problems while meeting the challenge of being on my own for the first time in a great northern city. Fresh out of Alabama, with my junior year at Tuskegee Institute behind me, I was also in New York seeking funds with which to complete my final year as a music major__ a goal at which I was having less success than I had hoped. However, there had been compensations. For between working in the Harlem YMCA cafeteria as a substitute for vacationing waiters and countermen and searching for a more profitable job, I had used my free time exploring the city, making new acquaintances, and enjoying the many forms of social freedom that were unavailable to me in Alabama. The very idea of being in New York was dreamlike, for like many young Negroes of the time, I thought of it as the freest of American cities and considered Harlem as the site and symbol of Afro-American progress and hope. Indeed, I was both young and bookish enough to think of Manhattan as my substitute for Paris and of Harlem as a place of Left Bank excitement.\n\nAnd yet I soon discovered, much to my chagrin, that while I was physically out of the South, I was restrained__ sometimes consciously, sometimes not__ by certain internalized thou-shalt-nots that had structured my public conduct in Alabama. It was as though I had come to the Eden of American culture and found myself indecisive as to which of its fruits were free for my picking. Beyond the borders of Harlem's briar patch__ which seemed familiar because of my racial and cultural identification with the majority of its people and the lingering spell that had been cast nationwide by the music, dance, and literature of the so-called Harlem Renaissance__ I viewed New Yorkers through the overlay of my Alabama experience. Contrasting the whites I encountered with those I had observed in the South, I weighed class against class and compared southern styles with their northern counterparts. I listened to diction and noted dress, and searched for attitudes in inflections, carriage, and manners. And in pursuing this aspect of my extracurricular education, I explored the landscape.\n\nI crossed Manhattan back and forth from river to river and up, down, and around again, from Spuyten Duyvil Creek to the Battery, looking and listening and gadding about; rode streetcar and el, subway and bus; took a hint from Edna Millay and spent an evening riding back and forth on the Staten Island Ferry. From the elevated trains I saw my first penthouses with green trees growi
293511
Jean E. Sammet (born 1928) is an American computer scientist who developed the FORMAC programming language.\n\nShe received her B.A. in Math from Mount Holyoke College in 1948 and her M.A. in Math from University of Illinois in 1949. She spent 27 years at IBM where she developed FORMAC, the first widely used computer language. She was also a member of the subcommitte which created COBOL.\n\nhttp://en.wikipedia.org/wiki/Jean_E._Sammet
255408
Jonny Lee Miller. See the link below for more info on the movie.
954346
Being an English major, the courses I enjoy are those that focus on literature from the 1600 through early 1900's.  It takes you to the times socially and focuses on events and attitudes of the time the novel was written.  You also learn historical information at the same time.  So in your "A" group I would suggest, Art, Society, and Literature.  You are taken to various parts of the world in this course of study in English and it really opens your eyes to different people, cultures, religious and social beliefs.  AP English Literature would be the other course in your "A" list I personally would suggest.\n\nIn your "B" list I would suggest taking a course directed towards your future goals.  It appears English For the Business World or Advanced Writing are two courses that will prepare you for college.  \n\nThese are my suggestions and I wish you the best in whichever courses you choose to take.  Looks pretty interesting!
1080432
I have a friend that studied at Howard and he loved it.  He is now a fashion model.  He also spent a semester in France and Italy.  He was involved in theatre and dancing while he attended too.
693440
Columbia University has one of the best MA in teaching programs in the US. Also look at New York University.
749831
Try this website for information on teaching the classics VS Pop Fiction:\n\nhttp://www.nea.org/classmanagement/ifc031209.html
53248
The Arts Institute in San Fran is excellent. But for a good theatre program, check out this list: http://www.usnews.com/usnews/edu/college/majors/brief/major_50-0508_brief.php\n\nGood luck.
1118232
Dramatiska Institutet - University College of Film, Radio, Television and Theatre in Stockholm \nhttp://www.draminst.se/\n\nFrom the website:\n\n""""" University Diploma in Performing Arts and Media. The professional training aims at enabling the students to start a professional career directly after their graduation. \n\nThe Diploma programmes consist of two to four years full time studies, consisting of practical production and team-exercises linked to theoretical specific and interdisciplinary courses. The programmes concentrate mainly on practical work, but also include theory. Continual contact with professionals and professional work is maintained by means of guest lecturers, study visits, and co-productions with other institutions, film companies, radio teams, and theatres. Dramatiska institutet also offers postgraduate courses, as well as numerous shorter courses as further education for professionals within the field of theatre and media.  """""\n\nmore info needed? email info@dramainst.se
846382
I googled courses "lighting technician" and got about a thousand hits, including colleges.  There would be a lot of info there.