Advertisements

Category: Retro Fix


Think fast, Six Degrees of Kevin Bacon players–where can you find the lead actors of Star Wars, Star Trek, and Battlestar Galactica all in one film?

He is one of the top ten filmmakers of all time–Academy Award-winning director Hayao Miyazaki, known for Spirited Away, Princess Mononoke, My Neighbor Totoro, and much more, but Nausicaä of the Valley of the Wind is considered by many to be his masterwork.  It is a grand work that the film medium could not yet hope to transform into live action—a devastated world destroyed by atmospheric poisons, and barraged by gigantic insect beasts, sweeping cinematography, and a post-apocalyptic world layers and layers deep.  And from this arises a young woman named Nausicaä, princess of the Valley of the Wind.  Innocent and driven, can she piece back together what divides man and nature?

It’s a story of dangers and sacrifices, of epic scope, feuds between warring clans, a dying planet, and the forging of a new heroine.  A sci-fi adventure fantasy first released in Japan in 1984, Nausicaä’s story of protecting nature is a timeless tale.  Miyazaki adapted his own 1982 manga story for the screen, celebrating its 35th anniversary this year with so many other great science fiction works internationally.  The film stars the voice talents of Sumi Shimamoto, Goro Naya, Yoji Matsuda, Yoshiko Sakakibara, and Iemasa Kayumi in this month’s subtitled screenings, with English voice actors including Alison Lohman, Uma Thurman, Patrick Stewart, Mark Hamill, Edward James Olmos, Shia LaBeouf, and Chris Sarandon in the dubbed screenings.

Frequently ranked as one of the greatest animated films of all time, Nausicaä of the Valley of the Wind is being presented by Fathom Events in the States as part of Studio Ghibli Fest 2017.  Tickets are available now here at the Fathom Events website.

Continue reading

Advertisements

e-t-clip

Review by C.J. Bunce

I can’t hazard a guess as to how many times I have watched E.T. the Extra-Terrestrial.  Probably a handful of times in 1982 and 1983, and at least once during a return to theaters in the past 35 years, plus a few times on VHS.  What stood out today, watching the film as part of the Fathom Events and Turner Classic Movies 35th anniversary re-release screenings, is how ageless the film is.  A teenager sitting behind me caught every single joke.  In a time when parents don’t think to take their kids to classic film opportunities like this, the kids are truly missing a great experience.  The film is a giant adventure story set in the backyard of a boy and his brother and sister.  It’s relatable.  Just check out Elliott’s room.  There’s a toy Star Destroyer on the table.  A TIE Fighter across the room.  He carefully explains who Greedo, Hammerhead, Walrus Man, Snaggletooth, Lando, and Boba Fett are to E.T.  And that advance LEGO builder set on the shelf.  How many kids’ homes today, after all these years, still look so similar?  And someone nearby is getting ready to dress up as Yoda, or a character from his neighborhood, in only a few weeks, much like the kid E.T. tries to run off with on Halloween.

It’s not only relatable, it’s about that subject that sci-fi does best when done right:  Communication.  Last year’s acclaimed sci-fi film Arrival was all about it, but does it reach into each of us like E.T. the Extra-Terrestrial has?  We celebrated one of the best episodes of television this year here at borg.com, discussing the 25th anniversary of one of the greatest of all Star Trek episodes, Darmok from The Next Generation, a story entirely about the practical, real-world difficulty of communication.  Elliott, played so well by Henry Thomas, and later Gertie, played equally well by the younger Drew Barrymore, each use what knowledge a little kid has to try to relate to an outsider.  And we immediately see the problems–the barriers–that get in the way.  Elliott tries to convey to the very curious new alien visitor so willing to learn that this giant object is a peanut.  “You eat them, only you can’t eat this one because it’s not real.”  He’s describing a bank that was made to look like a peanut.  He then puts money in it.  And the result: E.T. next tries to eat a toy car.  Just as Dathon and Picard found, communication isn’t all that easy.  Only when Gertie gets her only one-on-one opportunity, of the three kids she is the one who helps E.T. gain his vocabulary.  The innocent and the youngest and the most awestruck.  And she’s also the first to understand he is trying to phone home.  Communication is difficult sometimes, but if kids can figure this out, what can adults do?

gertie-and-e-t

This week’s release was the original cut, as seen in theaters in 1982, not with any modifications.  This is the first time the film has screened in theaters since the death of writer Melissa Mathison in 2015 (you might not have seen the laserdisc version of E.T. the Extra-Terrestrial, the only version ever released to feature Mathison’s then kinda-sorta well-known boyfriend Harrison Ford in the shadows as Elliott’s principal, meeting Elliott’s mom Mary (Dee Wallace) after his frog rescue–a bad scene, justifiably deleted).  I did not recall how much we see E.T. in the film’s first scene as he and other botanists search out samples.  E.T. carefully digs up what appears to be a Redwood sapling.  But I now understand what Spielberg was thinking in his later re-cut version.  As a kid I thought the humans were the enemy and yet this time I found no evidence of the humans trying to do anything other than learn about E.T.–much like the humans in Close Encounters of the Third Kind were scientists attempting to communicate.  In Close Encounters, the presence of weapons are to scare the public from the faked quarantine area.  Maybe that was the purpose of the weapons in the original E.T. cut.  But somehow the rifles seemed out-of-place when the kids were escaping on bikes, after E.T. dies, after showing all the adults desperately try to help, to save E.T, some even in tears.  This was the differentiator of Spielberg’s alien films from those that came before–the same spirit that only a few years earlier guided scientists to launch a couple of records into space hoping to communicate with someone out there.  So swapping out car phones or walkie talkies for rifles actually is consistent with the actions of the adults in the rest of the film.  I also can understand why so many little kids look back on the film as scary.  There’s plenty to scare little kids–those same things that scare E.T. throughout the film, as well as what might be many kids’ first introduction to death.  But the scene is gracefully done, and three decades later it’s great to hear that the adults are clearly heard attempting all those real-world, life-saving techniques to save our new alien friend.  Mathison masterfully blended a science fiction, a fantasy adventure, and a coming-of-age story all in one package.

Continue reading

Fans of the beloved Steven Spielberg film E.T. the Extra-Terrestrial have only one more day to catch Steven Spielberg’s 1982 hit film in theaters.  As part of the TCM Big Screen Classics and Fathom Events celebration of the 35th anniversary of some of the greatest films of all time, E.T. the Extra-Terrestrial will be in theaters for only one more day via two screenings in hundreds of theaters nationwide.

You can still get tickets for one of two screenings showing locally Wednesday, September 20, 2017, at 2:00 p.m. and 7:00 p.m.  For more information, to check theater availability, and to order tickets, check out the Fathom Events website here.

After unprecedented commercial success with Jaws, Close Encounters of the Third Kind, and Raiders of the Lost Ark, Steven Spielberg did the unthinkable, directing a fourth blockbuster that would outperform them all, E.T. the Extra-Terrestrial.  E.T. the Extra-Terrestrial saw the big screen breakout roles of Drew Barrymore, Henry Thomas, and C. Thomas Howell.  Nominated for nine Academy Awards, it would take home four awards, for John Williams’ vibrant score, for sound, visual effects, and sound effects editing.  The film is the only movie from the 1980s that is among the top 50 all-time box office record-holders, currently holding its place at#15.

Continue reading

   

The season two premiere of Stranger Things is only six weeks away.  Since August Netflix has released several posters to get viewers back in prime throwback 1980s-mode.  Netflix’s marketing team was careful to suggest their source material without being exact duplicates of past posters, but some are closer than others.  It’s all about getting viewers prepped for another trip to the Upside Down, and a darker sophomore season.  We’ve already seen the kids sporting Ghostbusters costumes in previews.  And earlier posters carried images inspired by the work of motion picture poster artists that defined late 20th century film advertising, like John Alvin, Drew Struzan, and Bob Peak.  It all started with the season two general homage to Close Encounters of the Third Kind, and twelve character posters (all shown below).  If you’ve ever collected movie posters, you know how close the creators got these to the fading prints after all these years, plus posters in the 1980s were often shipped folded to theaters just like many of their creations for the series this summer.

The new round of posters focuses even more on the horror pop culture with a nod to the B-movie genre.  If these posters are any indication, adding to the Stephen King, John Carpenter, and Steven Spielberg callbacks throughout season one, expect even more horror in season two a la Sam Raimi, Wes Craven, and even Paul Michael Glaser (that’s right Starsky from Starsky and Hutch directed Arnold Schwarzenegger in The Running Man).  We’re not sure how The Running Man fits in other than a unique poster to emulate, but maybe the action will be kicked into higher gear this year.

   

So check out these posters (below and above) and their inspirations from Wes Craven’s A Nightmare on Elm Street, Ridley Scott’s Alien, Sam Raimi’s The Evil Dead, Glaser’s The Running Man, Steven Spielberg’s Jaws, Stephen King’s Firestarter, and the Stand By Me adaptation of King’s original story, The BodyThe Elm Street match-up may be the best because of the common show’s Nancy reference.  But the picture they all form is pretty clear.  Michael Jackson’s Thriller backed the summer’s best preview from San Diego Comic-Con 2017 seen here.  Darkness and nostalgia are coming.

Continue reading

When a movie director can re-create the right look and feel of a time and place, the film can take audiences in a darkened theater into the past as well as any time machine.   This year the re-creation is July 1973 and the place is Rome.  The subject is a celebrity family kidnapping that has faded in the memories of most and unknown to the rest, the kidnapping of oil baron and “The Richest Man in the World” J. Paul Getty’s grandson, and the efforts taken to get him back.  All the Money in the World is based on the book Painfully Rich by John Pearson, with a script by David Scarpa (The Day the Earth Stood Still (2008)).  The real-life account of the kidnapping is the stuff of great drama, full of strange decisions and bizarre actions by all involved.  The kidnapping is best known for the ear that was put in the mail–and delayed by a postal strike in Italy–sent by the kidnappers to press the Getty family to pay the ransom.  The story has plenty of room to illustrate the bumbling and the Reversal of Fortune-esque actions of the uber-wealthy that occurred along the way.

The film is directed by Ridley Scott, and stars young actor Charlie Plummer (no relation to Christopher Plummer) as J. Paul Getty III.  Michelle Williams portrays Gail Harris, mother of the kidnapped Getty.  Kevin Spacey looks believable as the aged and eccentric billionaire Getty and Timothy Hutton plays his lawyer.  And Mark Wahlberg, the highest paid actor in Hollywood, portrays the preposterously–but actual–named Fletcher Chase, a “tall, craggy-faced American” who was an ex-CIA operative from San Diego sent by the billionaire to assist in the release of his grandson.

The 1970s era (although the early part of the decade instead of the later) and a key role by a single hardened CIA-trained operative echoes Ben Affleck’s 2012 Best Picture Academy Award winner Argo.  The 1970s look and feel in All the Money in the World is provided by Oscar-nominated production designer Arthur Max (Gladiator, Blackhawk Down, The Martian, Kingdom of Heaven, Prometheus) and set decorators on several productions featuring Italy of the past, Letizia Santucci, Cristina Onori, and Gianpaulo Rifino.  The film also features acclaimed genre cinematographer Dariusz Wolski (Pirates of the Caribbean series, The Martian, War Machine, Dark City, Alice in Wonderland, Alien: Covenant, and the 1980s best rock videos from Aerosmith and Van Halen to The Bangles and Suzanne Vega).

Check out this first trailer for All the Money in the World:

Continue reading

Gelfling.  Skeksis.  Mystic.  Podling.

As we continue our celebration of the films of the summer of 1982, who could forget the fantasy that maintained its status as the most beloved of fantasy film creations for decades to come: Frank Oz and Jim Henson’s The Dark Crystal.  Thirty-five years later fans can return again to the world of Thra as an all-new adventure is coming your way: The Dark Crystal: Age of Resistance.  The 10-episode fantasy adventure series, available exclusively on Netflix, is a prequel that takes place many years before the events of the original film.  The series is being filmed in the U.K. and will star an ensemble of fantastical, state-of-the-art creatures created by Jim Henson’s Creature Shop, conceptual designer for The Dark Crystal Brian Froud, and possibly by you.

When three young Gelfling discover the horrifying secret behind the Skeksis’ power, they set out on an epic journey to ignite the fires of rebellion and save their world.  This brief description and an introductory video (below), is all that has been released so far for the new series–until this month’s contest.

Contestants are asked to draw, by hand or digitally, an original creature concept for the world of The Dark Crystal and submit their designs online.  The winner will be awarded $500 and the winning concept design will be crafted and built by Jim Henson’s Creature Shop to make a possible cameo appearance in the upcoming series.  This small, woodland creature must be a brand new concept – it cannot be a variation of an existing species from the original film.  All ideas are welcome, as long as they feel true to the world of The Dark Crystal, without being a variation of an existing Brian Froud drawing.  Contestants should also provide a paragraph of 50–100 words about the creature, including its name and back story. Continue reading

For more than six years we at borg.com have been covering entertainment memorabilia auctions–sales of not merely replicas or mass-produced collectibles, but the real objects seen on film–rare or even one-of-a-kind costumes created by award-winning Hollywood costume designers, detailed props created by production crew, model vehicles created by special effects departments like Industrial Light and Magic, prosthetics created by famous makeup artists, set decoration, concept art, and much more.  Amassing a wide variety of artifacts from classic and more recent film and television history, London and Los Angeles-based Prop Store is hosting its annual auction later this month.  Known for its consignment of some of the most well-known and iconic screen-used props and costumes, Prop Store’s ultimate museum collectibles auction will be open for bidding from anyone, and items will be available at estimates for both beginning collectors and those with deeper pockets.

The Prop Store Live Auction: Treasures from Film and Television will be auctioning off approximately 600 items.  You’ll find the following movies and TV shows represented and more:  3:10 to Yuma (2007), 300, Aliens, Back to the Future films, Blade Runner, Chitty Chitty Bang Bang, The Chronicles of Narnia films, Elysium, Enemy Mine, Excalibur, The Fifth Element, Gladiator, The Goonies, Gremlins 2: The New Batch, Jason and the Argonauts, Hellboy II: The Golden Army, the Indiana Jones films, Iron Man, the James Bond films, Judge Dredd (1995), the Jurassic Park films, Kick-Ass 2, Kingsman: the Secret Service, Lifeforce, Looper, The Lost Boys, The Martian, The Matrix, Men in Black III, Mission: Impossible (1996), The Mummy (1999), Patton, Pirates of the Caribbean series, Predators, the Rocky films, Saving Private Ryan, Scarface, Serenity, Shaun of the Dead, Shawshank Redemption, Sherlock Holmes (2009), Star Trek franchise, Star Wars franchise, Starship Troopers, Superman films, Terminator films, The Three Musketeers (1993), Tropic Thunder, Troy, True Grit, Underworld: Evolution, Who Framed Roger Rabbit, Willow, The Wolfman (2010), World War Z, and the X-Men films.

You can flip through the auction house’s hefty 360-page catalog, or start with a look at what we selected as the best 50 of the lots–what we predict as the most sought-after by collectors and those that represent some of fandom’s favorite sci-fi and fantasy classics and modern favorites.

  • Industrial Light and Magic 17 3/4-inch Rebel Y-Wing filming model from Return of the Jedi
  • Sark (David Warner) Grid costume from the original Tron (1982)
  • Julie Newmar’s Catwoman costume and Burgess Meredith Penguin hat from the classic Batman TV series
  • Buttercup (Robin Wright) Fire Swamp red dress from The Princess Bride
  • Chekov (Walter Koenig) “nuclear wessels” costume, Dr. McCoy (DeForest Kelley) costume, and Sulu (George Takei) double shirt from Star Trek IV: The Voyage Home
  • Full crew set of costumes (Malcolm, Zoe, Wash, Jayne, Inara, Kaylee, River, Book, and Simon) from Serenity (sold as individual costume lots)
  • Jack Nicholson purple Joker costume, plus separate coat and hat, from Batman (1989)
  • Enterprise-D 48-inch “pyro” model from Star Trek: The Next Generation
  • Will Munny (Clint Eastwood) stunt shotgun from Unforgiven
  • Star-lord helmet from Guardians of the Galaxy
  • Thor (Chris Hemsworth) Mjolnir hammer from Thor

  • Ghostbusters and Ghostbusters II jumpsuits made for Bill Murray as Dr. Peter Venkman
  • Witch-king of Angmar crown from The Lord of the Rings: Fellowship of the Ring
  • Val Kilmer Batman suit and cowl from Batman Forever
  • Maverick (Tom Cruise) flight suit from Top Gun
  • Geoffrey Rush Captain Barbossa costume from the first Pirates of the Caribbean film, Curse of the Black Pearl

And there are so many more.  Like…

Continue reading

The best production of 50 years of Star Trek, Star Trek II: The Wrath of Khan, returned to theaters Sunday for two screenings nationwide, and audiences packed theaters from coast to coast.  The 35th anniversary of the biggest summer of movies continues Wednesday with your last chance to see 1982’s The Wrath of Khan back on the big screen as Paramount Pictures partners with the Fathom Events series once more.  We couldn’t wait to see it again and saw the first screening Sunday and were quickly reminded why the film was such a success.  What were my takeaway thoughts this time through the film?  Leonard Nimoy’s voice echoed throughout the theater with every line (was this his finest work as Spock?).  Kirstie Alley’s Lieutenant Saavik fits right in as the new crewmember.  The lengths director and screenplay writer Nicholas Meyer took to make the Enterprise look like a functioning military vessel:  from the boatswain’s whistle, to the formality of the uniforms and ship inspection by Admiral Kirk, the pulsating real-world sound effects of the two competing vessels, and the military tactics and trickery as Khan and Kirk try to one-up the other that always connects this film for me to another favorite, The Hunt for Red October.  William Shatner was so cocky and confident.  Tightly edited action sequences, camera angles placing the audience inside the bridge and into every nook and cranny inside the Enterprise (Turbolift doesn’t work? Let’s take the ladder), and James Horner’s unforgettable and unique musical score.  And it was fun for me to think back of all the people who made this film that I have had the good fortune to meet, like Shatner, James Doohan, Nichelle Nichols, George Takei, and Walter Koenig.  Each of these actors seem to have done their best work in this film.

What surprised me?  After watching Sunday’s screenings I heard remarks from viewers about how many new scenes they did not remember, and this was echoed across the Internet, including comments from long-time Star Trek fans and insiders.  But it makes perfect sense–unless you are a rabid Star Trek fan, you probably didn’t track all the variations in the film that have been released over the past 35 years.  If you have a photographic memory at all, you may hear lines in this week’s presentation that don’t quite match up.  But if you only saw the film in theaters or via early DVD and Blu-ray releases, you will have seen different versions of the film (for one example, the original cut didn’t include the current title, instead it was Star Trek: The Wrath of Khan, without the II).  If you watched the expanded ABC TV movie re-broadcast on television in 1985–as many did before the prevalence of home video options–you saw a version different from the 1982 release, full of entirely different takes of several scenes.  In 2002 a Director’s Edition was released, and if you saw the film recently at all, but before 2016’s official Director’s Cut, then you probably last saw the Director’s Edition.  The differences from what was scripted and filmed and what made the original theatrical version alone literally fills ten pages of Allan Asherman’s 1982 book The Making of Star Trek II: The Wrath of Khan, but even that book of course couldn’t include the differences found in the much later ABC TV version and subsequent editions.  The version in theaters this week is the official 2016 Director’s Cut, itself absorbing so many modifications from the original 1982 release from prior incarnations.  But this is the final, the version Nicholas Meyer (the reputed “Man Who Saved Star Trek”) discussed with me in my interview with him here at borg.com last month.

Wait–What’s going on here?  I don’t remember this scene in Star Trek II: The Wrath of Khan! (Keep reading!)

So if you recall a more suggestive relationship between Kirk and Kirstie Alley’s Lieutenant Saavik, or sensed a romantic relationship brewing between Saavik and Kirk’s son David (played by the late Merritt Butrick), you won’t notice that so much in the Fathom Events presentation (below you’ll see the ABC TV version offered more “steamy” close-ups and additional dialogue amplifying the more womanizing Kirk of the original series).  If you don’t recall that Scotty has a young relative aboard the Enterprise, be prepared for a pleasant surprise, including some great additions featuring Kirk and Scotty.  The midshipman’s (played by Ike Eisenmann) death is more poignant in the latest cut, and an entire sequence between McCoy and Kirk gets us further into Kirk’s thoughts in the aftermath of Khan’s attack.  A conversation about ego between Spock and Alley adds further justification for Kirk’s actions as he taunts Khan into the nebula.

Newspaper advertisement for the 1985 ABC television presentation of Star Trek II: The Wrath of Khan.

But do you recall seeing a child in Khan’s crew on Ceti Alpha V?  McCoy mentioning he served with Paul Winfield’s Captain Terrell?  How about McCoy operating on Chekov after he returns from the Genesis planet and Chekov struggling to return to help on the bridge?  Sulu’s promotion to the Excelsior, or Kirk’s final line, quoting Peter Pan’s “first star on the right, and on ’til morning”?  That Saavik is half-Romulan?  David besting Kirk and holding a knife to his throat?  How about these lines from Khan:

Continue reading

Robby the Robot.  He’s probably the only robot who has his own “Actor” page in the Internet Movie Database.  In the history of robots he is probably the most significant and the most game-changing robot of all time.  In the world of science fiction, few came before who achieved such fame, but many would follow.  Most who created the robots that came after–call them droids, androids and variants like fembots or even cyborgs, like the Terminator T-800, Cylons, and Cybermen, R2-D2 and C-3PO, and K-2So and BB-8–all can point back to Robby as inspiration and a critical step in the evolution of robots in cinema.  Robby would become a household name as a co-star and the focus of publicity for Forbidden Planet in 1956 (the classic sci-fi take on William Shakespeare’s The Tempest), and would go on to have guest appearances along with B-9 in Lost in Space, two episodes of The Twilight Zone, and all sorts of classic TV appearances (The Man from U.N.C.L.E., Hazel, Dobie Gillis, The Addams Family, Columbo, Wonder Woman, The Love Boat, Mork & Mindy), and later he can even be spotted in the movies Gremlins and Clueless. 

As pop culture is concerned, there is likely no single, intact, tangible piece of entertainment memorabilia in science fiction that compares to the robot prop itself, which doubled as a costume worn by Frankie Darrow and voiced by Marvin Miller.  The word “iconic” was created for the likes of Robby the Robot.  So no wonder our heads began to spin when it became public this month that the actual robot from the groundbreaking science fiction film Forbidden Planet was going to hit the auction block this year.  And unlike most auctions of original, screen-used, Hollywood memorabilia, Robby the Robot is being sold with a host of original materials used with the Robot throughout his incredible run, and from the auction photos it appears his light-up electronics are still functional.

Bonhams is the lucky auction house that will sell off Robby later this year, presented by Turner Classic Movies.  The auction house posted preview images from its catalog (expected to be available sometime in October) and it’s clear each accompanying production item in the photos could have been auctioned off separately in its own right.  All we know so far is the listing itself and photos, with no idea of the auction estimate or any other details that may be released, including its provenance:   “Robby the Robot from Forbidden Planet, together with Robby’s car, his alternative head, his control panel, and original MGM packing cases.  Also 2 rings for his head, 2 additional arms with pinschers, a stand, a harness, another part for the stand.”

Continue reading

This one looks like it could be the next holiday classic.

Although he’s had theatrical roles in 2013’s The Fifth Estate, 2014’s A Walk Among the Tombstones, 2016’s Colossal, and this year’s Beauty and the Beast remake, Dan Stevens is better known for his British TV roles like Matthew Crawley throughout the run of Downton Abbey.  But the genre world really took notice of Stevens this year when he headlined a new X-Men TV series, playing David Haller, a crazed wielder of superpowers on FX’s new series Legion.  His next role takes him back to jolly old England and a character that can’t possibly be more classic and British: Charles Dickens himself.

Although the last time we saw someone play the part of Charles Dickens in a major film it was Gonzo in The Muppet Christmas Carol, Stevens’ off-kilter, frenetic kinetic sense, and quizzical expressions make for an intriguing take on Dickens in the first preview for The Man Who Invented Christmas.  Stevens looks like he’s channeling Gene Wilder from Young Frankenstein in one scene from the movie’s first trailer.

And we get to see Academy Award-winning actor and Shakespearean great Christopher Plummer (Twelve Monkeys, Up, Wolf, Dragnet, Star Trek VI: The Undiscovered Country, Somewhere in Time, Return of the Pink Panther, The Sound of Music) join the likes of Alastair Sim, Albert Finney, Michael Caine, Patrick Stewart, and Bill Murray as Ebenezer Scrooge.  This take on Scrooge focuses on Dickens writing the novel A Christmas Carol and getting a spell of writer’s block.  And speaking of Finney, the view of the film in the preview looks like a mash-up of style from the comedies Tom Jones and Shakespeare in Love

Here’s a fun preview for The Man Who Invented Christmas:

Continue reading

%d bloggers like this: