‘F*ck depression’: Linkin Park tribute concert celebrates Chester Bennington’s life


“I don’t have the words and I don’t think any of us do,” Linkin Park’s pianist and vocalist Mike Shinoda told the sold out crowd at the Hollywood Bowl on Friday night. 

He didn’t need them. The band, joined by a laundry list of famous friends, orchestrated a truly beautiful and cathartic tribute concert that was much more powerful than words. They celebrated the life of the band’s singer, Chester Bennington, who died by suicide in July.

Helping fill the stage were members of popular bands who had their heyday around the turn of the century like Blink182, Sum 41, Yellowcard, Bush, System of a Down, Avenged Sevenfold, No Doubt, and many, many more. Limited by no specific genre or style, it felt like the entire industry came together to support the band and honor the life of their friend. The musicians helped sing some of Bennington’s parts or filled in on guitar in Linkin Park’s songs, while others performed their own tributes.  Read more…

More about Music, Linkin Park, Chester Bennington, Culture, and Music

How Harley Quinn helped me overcome trauma in my life


For the last four years, Sept. 23 has been celebrated by DC Comics and its fans as Batman Day. 

But not this year, folks. It’s 2017 and they’re sending in the clown.

It was 25 years ago this month that Harley Quinn made her debut in Batman: The Animated Series, so she’s taken over the bat’s special day. DC Comics has released three free comics for the occasion (the covers for which are all featured here), along with in-store signings and other events to celebrate this zany fan-favorite.

It’s important to acknowledge how far Harley has come. She’s gone from a one-off henchwoman to bona fide pop-culture phenomenon and movie star in the past 25 years. But I’d also like to tell the story of how she affected one fan — me.  Read more…

More about Batman, Dc Comics, Harley Quinn, Entertainment, and Comic Culture

Writing and the Creative Life: Perspiration and Inspiration

Sometimes it’s all about the work. Sometimes it’s all about the un-work.

An excellent book: “Stoking the Creative Fires: 9 Ways to Rekindle Passion and Imagination” by Phil Cousineau. The very first paragraph of the first chapter has a great description of creative inspiration:

Inspiration is a flash of fire in the human soul. Consider the marvel: the inrush of spirit, the flash of an idea, the flame of insight, the spark of imagination. It’s the Aha, Eureka, and Hallelulah moment all rolled into one. Inspiration is a message-in-a-bottle from the distant shore, a window into the other world, a tap of the muse’s finger, the grace of the gods. It comes when you least expect it, when your defense are down and your vulnerability up. It arrives in a dream, a conversation, a brainstorm — and leaves with out warning.

No doubt, writing is work. A daily grind. The challenge of depositing derriere on chair often the biggest struggle of all. It is making something out of nothing, putting black words down on white space. Pounding out pages. Slaving over each word.

So much of that is about intention, persistence, practice and study. Just describing it this way engenders a sense of weariness.

Compare to Cousineau’s description. Fire, marvel, inrush, spirit, flash, flame, insight, spark. That speaks to the vibrancy and spontaneity of creativity.

How to balance the two: Perspiration and Inspiration?

Oftentimes inspiration emerges from the work. Punching our way through the process. Hammering away at a scene over and over and over again. Grinding away at a variety of plot options. Our perspiration can yield insights, either a sudden flash or slow rising sense of awareness.

But sometimes, we have to step away. We have to cede control to other forces of nature. We can’t solve everything by slamming up against the story. We have to open our imaginations, a quest for the fire of inspiration outside the tiny perimeters of our writing space.

Get up. Go. Get out. Depart our story world for a while. Change of scenery. Change of pace. Change of head space.

Because the maddening truth is… sometimes inspiration has nothing to do with our physical labor of fingers on keyboard. Rather it has to do with letting go.

So maybe the question isn’t so much about how to achieve balance. Perhaps it’s more about embracing both. The ability and willingness to throw ourselves fully into one, then the other.

Sometimes it’s all about the work.
Sometimes it’s all about the un-work.

As Cousineau writes:

So inspiration may be an unpredictable friend, as inscrutable as an oracle and fickle as a weathervane. But if you’re serious about your own creativity, you have no choice but to try to make it…well…scrutable, to salvage a wonderful old word. What you can do is improve the odds that your spirit will be moved by being alert to whatever form inspiration may take.

You may learn more about Phil Cousineau on his website here.

Writing and the Creative Life is a weekly series in which we explore creativity from the practical to the psychological, the latest in brain science to a spiritual take on the subject. Hopefully the more we understand about our creative self, the better we will become as writers. If you have any good reading material in this vein, please post in comments. If you have a particular observation you think readers will benefit from and you would like to explore in a guest post, email me.

Writing and the Creative Life: Perspiration and Inspiration was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Venice 2017: Samuel Maoz’s ‘Foxtrot’ is a Brilliant Tale of Life in Israel


Oh my goodness, this film is brilliant. You won’t be ready for this when it hits you, no matter how prepared you think you may be. Foxtrot is the new film from Israeli director Samuel Maoz (of Lebanon previously) and clearly confirms that he’s a master filmmaker who has so much to show us. Foxtrot is both the story of a family, and the story of a soldier. It’s distinctly an Israeli film, criticizing not only the society and culture of the country, but especially their military and the idea that they’re supposedly doing good. I had heard great things before, but I was still completely floored by this film when I saw at the Venice Film Festival. It’s the kind of perfect film that leaves you speechless at the end, you don’t even know what to say other than “wow.” ›››

Continue reading Venice 2017: Samuel Maoz’s ‘Foxtrot’ is a Brilliant Tale of Life in Israel


25 Takumi Life Skills Filmmakers Need

The Takumi craftsmen in Japan are guardians of an ancient artisan philosophy. A Takumi craftsman applies a subtle human touch to every aspect of design and development of the objects they create. It takes at least 25 years of experience to be considered a Takumi.

I learned about Takumi from the Japanese car-maker Lexus. Of their 7,900 technicians and craftsmen working at the Lexus car plant, only 19 are Takumi. It’s considered the highest honour on the production side of the car manufacturing process. They exercise their amazing skill at detecting the tiniest imperfections. Glide your eyes and hands over the precision-machined aluminium audio controls or beautifully stitched leather work. Their cars’ gleaming paintwork is painstakingly wet sanded by hand to ensure a perfect finish.

So too, a filmmaker gains skills and knowledge over years of experience. I thought I’d research the Takumi philosophy and see what we as screenwriters, directors and filmmakers can learn from Takumi.

25 Takumi Life Skills Filmmakers Need

I first thought it strange that a filmmaker could learn anything from a Japanese car maker until I was shown that the philosophy they employ is very similar to what I have been preaching for the past quarter century. The ancient Japanese concept of ‘Takumi’ is essential to all that we do. Takumi means a highly skilled person. It symbolizes not only excellent skill but also devotion to object creation and thorough pursuit of perfection in its creation. With respect, we call such high-minded creators behind excellent Japanese products

25. Empathy

1. The ability to identify with or understand the perspective, experiences, or motivations, of another individual and to comprehend and share another individual’s emotional state.
2. The projection of one’s own feelings or thoughts onto something else, such as an object in a work of art or a character in a novel or film. The Free Dictionary

“Empathy” — the ability to feel what others feel — is what makes good filmmakers and great storytellers. This is one of the great traits of a Takumi: the ability to relate to what others feel.

24. Mastering your sleep

Sharp hands, a quick eye, and a smart mind demand a rested body. Are you sleeping wel enoughl?

If you are having trouble sleeping, there are literally dozens of ‘sleep well’ blog posts.

Or perhaps you’d like to reduce the amount of sleep you need to give you more spare time. Leonardo da Vinci would be considered a Takumi. His sleep patterns are studied today. His sleep patterns are called the ‘sleep of genius’ or polyphasic sleep.

23. Time management

I don’t care who you are or what you do. Your ability to manage your time effectively is what is going to predetermine a large part of your success. If you were a Takumi craftsman working on one of those high-quality consumer goods we associate with Japan you would know how to create an efficient workflow that would not only employ your creativity but be able to adjust to commercial challenges.

American filmmaker Ken Burns has amassed a fantastic career. In this short video he talks about his workflow and how he multitasks.

22. Asking for help

Way back when I applied for a job for the sculptor Henry Moore I was asked if I had any problems asking for help. It made me think how hard it was to admit I didn’t understand something. I later found out that the previous technician had been sacked because they never asked for help and continually screwed up.
I can only imagine that a Takumi master, like a filmmaker, earns their credentials by never being afraid to ask for help.

21. Positive self-talk

Did you know that scientific studies have shown that positive self-talk can enhance performance?

Little Buddha.com has a great article on how to develop P.M.A. – Postive Mental Attitude.

Atheletes like Mo Farah manefest success by positive thought. Be you Takumi or filmmaker don’t be afraid to give yourself this subtle edge.

20. Consistency

By consistency I mean two things:
Firstly, in your daily routine, and secondly in your work ethic and your approach to daily challenges. Remember both Takumi master craftsmen and filmmakers share a common approach to creativity. Basically, creativity is how you solve a problem; be it a story glitch, an edit point, or how to smooth paintwork till it glistens.

19. Role models

There is no better way to improve your skills than to watch the work of past masters.
If you want to direct, here are ten cult directors to watch.
If you want to make short films – possibly to enter the Lexus Short Film Competition – here are 28 shorts you can watch in your lunchtime.

Watch. Listen. Learn.


18. Minding your business

There will be many times when your fellow workers and collaborators will be getting the stick from someone higher up the food chain. Learning when to keep to yourself, and when to leap to your colleagues’ defense is a fine art.

17. Listening

One of the easiest ways to earn Takumi cred as a filmmaker is to listen to people talking to you. It makes them feel like you care (creates empathy) and makes you fun to be around.

16. Knowing when to shut up — and actually doing it

Enough said.


The Takumi masters forge car parts by hand.

15. Resisting gossip

There’s no quicker way to reduce team spirit than to engage in gossip. Don’t fall into this trap. If you do you will seriously damage your reputation and your personal branding. If you hear gossip ask the instigator why they are saying it – it might make them think.

14. Staying present in the moment

Happiness researcher Matt Killingsworth has found most people are thinking about something else when they are trying to get something done. Nearly half of people studied fall into this category. This hurts your happiness and affects your success and productivity. The trick is to stay on topic. To stay on the tasks at hand. Without distractions. Watch his terrific TED Talk.

13. Mastering your thoughts

To do what you want to do and accomplish what you want to accomplish, you need to consciously direct your thinking, Mark Givert writes:

The challenge is that we are the product of our past experience and all of our thinking is the result of this. However, the past does not equal the future.
Mark Givert

What great advice for us, be it Takumi, or filmmaker, or master filmmaker and visual storyteller! We are what we think. Focus.

12. Learning a new language

What a random thought, and how strange to think of our Japanese Takumi craftsmen learning another language. Balázs Csigi found that learning English opened up a new mindset, a new set of emotions, and a new way of thinking. He adds that the key to learning another language is to master every single aspect of the culture. Imagine that!

11. Speaking up

Speaking up and letting everyone know your opinion, in a tactful way, is an important life skill.

10. Honesty with others

Staring the truth straight in the face and being totally upfront and transparent will make you stronger. And transparency is such a great asset.

9. Honesty with yourself

WOW! Admitting you are wrong is painful indeed. When you do it, it clears the air and somehow things start to go a bit better. Here are the six painful mistakes I’ve made.

8. Methods and work flow

A master craftsman understands the process. A Takumi is a master at managing his time as well as understanding the impact of his work within the production chain. Just like a filmmaker who is part of a collaborative process

7. Discipline

The old adage is ‘The seat of the pants to the seat of the chair’. No one can agree who first started using this saying. But it’s true.

Remember this too: A daily routine of a few minutes or few hours per day is better than a Bank Holiday blowout. The trick is to decide if you want to be an amateur or professional filmmaker. And to set yourself a realistic daily commitment of time.

6. Persistence and stamina

One thing successful people have is persistence. If you really want something you will keep going after it again and again.

I grew up with my cousin, a pianist. I listened to him playing the same scale, or the same Chopin interlude over and over again until it was note perfect.

So too, the Takumi master craftsman is seen rehearsing, repeating, reforming, over and over again until the craft is mastered.

5. Truth to materials

Another thing I learned from Henry Moore was the value of truth to materials. Until he came along, sculptors in Europe tried to make bronze look like stone or wood. Henry Moore carved wood so it looked like wood, marble so it looked like stone and his monumental bronze sculptures used the material for what it is.

There is debate amongst filmmakers about using celluloid or digital. Digital equipment manufacturers market “digital as film” technology. Filmmakers make narratives as “fake-documentaries” and brag how their micro-budget films look like millions. Perhaps we should use the ‘truth to materials’ and use whatever it is we have to make films that don’t try to disguise their materials.

4. Understanding story

Story is everything. I don’t care if you are making a car or a poster. It matters not if you are writing a TV advert or a novel. There has to be a story. When you have the story the rest is easy.

3. Visual store

The look of your finished film is very important. Just as the Takumi craftsmen pay enormous attention to the detail of their work, so too we as filmmakers must make sure the details are burnished if not polished! And don’t forget another tenant of the Takumi craftsman: respect from brilliant design.

2. Mastering craft

A Takumi craftsman studies and works for years – twenty-five of them – until they are considered masterful enough to wear the Takumi label.

As filmmakers, we need to learn the basics: reading books and taking classes. Takumi is the founding philosophy of the Raindance Further Education programme where you can earn an MA in Independent Film in a year. Not that anyone can become Takumi status in the creative industries in a year – but you can form a great strategy to become one. Over time of course.

1. Intuition

There are certain things you can’t learn. There are times when a Takumi craftsman has to trust their intuition along with their coordination in order to be able to bring a result. This intuition can’t be measured either. This special life skill comes from years of experience.

So too we as filmmakers need to trust our intuitive storytelling and filmmaking skills. To doubt oneself causes one to lose confidence. Of course, disappointments abound in the creative industry. And as Tukumi craftsmen know:

Quitters never win
Winners never quit.

Aspire to be a Takumi in youyr screenwriting and filmmaking

The post 25 Takumi Life Skills Filmmakers Need appeared first on Raindance.


Jacqueline Bisset Joins Sarah Jessica Parker in Best Day of My Life

Sarah Jessica Parker's Best Day of My Life has just cast Jacqueline Bisset as Parker's mother

Sarah Jessica Parker’s Best Day of My Life has just cast Jacqueline Bisset as Parker’s mother

Emmy-nominated actress Jacqueline Bisset (Joan of ArcDancing On the Edge) has been cast in Sarah Jessica Parker‘s (Sex and the CityI Don’t Know How She Does It) upcoming romantic drama Best Day of My Life, according to Variety. Bisset will reportedly play the role of Parker’s mother. Best Day of My Life also stars Renee Zellweger (Bridget Jones’s DiaryJerry Maguire), Common (Smokin’ AcesNow You See Me), Isabella Rossellini (Blue VelvetDeath Becomes Her), Simon Baker (The MentalistThe Devil Wears Prada), Taylor Kinney (The Other WomanZero Dark Thirty), and Gus Birney (The MistChicago Med).

Best Day of My Life is the story of a jazz vocalist (Parker) in New York City who gets a terrible diagnosis as she is about to begin a world tour. Her mother (Bisset) comes to visit her daughter for the weekend in New York, and mostly speaks French.

The film will be directed by Fabien Constant and the screenplay comes to us from Laura Eason. Parker will serve as a producer along with Ambi Group’s Andrea Ievolino and Monica Bacardi, as well as Alison Benson. Executive producers include Phil Hunt and Compton Ross of Head Gear Films.

Jacqueline Bisset is known for her work in the miniseries Joan of Arc, for which she was nominated for an Emmy Award, as well as Dancing on the Edge, for which she won a Golden Globe Award for Best Supporting Actress. She’s also known for her roles in Day for Night and Murder on the Orient Express.

What do you guys think of the casting of Jacqueline Bisset in Best Day of My Life? Are you interested in the film? Let us know in the comments below or tweet us @ComingSoonnet.

The post Jacqueline Bisset Joins Sarah Jessica Parker in Best Day of My Life appeared first on ComingSoon.net.


Writing and the Creative Life: Lessons from a book “everyone in Silicon Valley is talking about”

Let’s glean some writing lessons from a business book, shall we?

There’s this book “everyone in Silicon Valley is talking about” or at least that’s the way it’s pitched at the book’s website. Its title: “Hooked: How to Build Habit-Forming Products”.

If you consider movies and TV series to be products, then it stands to reason so, too, are the screenplays we write.

So I checked it out. Here’s a summary of the four points the book makes:

1. Trigger: How does the loop initiate? In the beginning this may be through external triggers (such as an email, notification, icon badge, etc) but through successive loops the user eventually creates internal triggers where a particular thought or emotion will send them back to your product.

2. Action: Once the user is aware they need to use your product (through the trigger), what it the simplest action they can perform to get some kind of reward. For example a Facebook “Like”.

3. Variable reward: How are they rewarded for this behavior? This could be social validation (e.g. “my friends approve!”), collection of material resources (e.g. add a photo to a collection) or personal gratification (e.g. inbox zero). The “variable” part is important — rewards should not always be predictable, encouraging users to repeat the cycle.

4. Investment: Finally, the user needs to put something back in to increase the chance of repeating the loop. This could be content (e.g. a book in your Kindle), user entered data (e.g. profile information or linked accounts), reputation (e.g. something to gain a 5 star seller review), or a learned skill (e.g. I’m now really good at this software program). The investment also sets up the trigger to for the next cycle of the loop.

Okay, let’s work with a scenario applicable to screenwriters. We create the product: Our script. And the buyer? In the script acquisition process, it all starts with the supposed lowly script reader who actually has the first pass at creating an impression of our ‘product’ that follows all the way up the food chain, so in fact they are quite important to us.

In this scenario, it’s a Sunday night. Late. Our script reader — let’s call her Lilah — has been shut in at her cramped North Hollywood apartment all weekend, providing coverage on six screenplays, the proverbial ‘weekend read’. Now she taps out the last words on her final script coverage, checks her watch. Just enough time to catch a drink with some friends before she has to get to sleep for another harried 80 hour work week.

And just as Lilah begins to shut down her laptop… ping. An email. She winces. From her boss. Cover this script for tomorrow morning’s meeting.

That script? Yep, our script. So Lilah hates our script even while knowing NOTHING about it.

[I’m going to fudge this scenario a little bit in this respect: Our script has a logline. That’s normally not the case, but let’s run with that.]

Now back to the book “Hooked”, let’s focus on the four points cited above:

Trigger: How do I “initiate a loop” with poor Lilah? My logline. I’m hoping the central concept, the Protagonist’s situation, and the story’s entertainment potential will ‘trigger’ a response. That response? Open our script with an open mind.

Action: Lilah does, indeed, open our script. Now we’re concerned with this: provide the “simplest action [she] can perform to get some kind of reward”. That’s easy. We want to write an opening set of pages, in fact, a compelling first page to get Lilah to take ‘action’: Turn the page. Well, there’s Lilah who has scrolled to P.2… then P.3. How to keep her turning pages?

Variable Reward: “How are they rewarded for this behavior… The ‘variable’ part is important — rewards should not always be predictable, encouraging users to repeat the cycle.” Fortunately when we wrote our script, we varied multiple narrative elements: scene types, pace, subplots, plot twists and turns, and so forth. Ooh, look at Lilah now. She’s zooming through the script.

Investment: That’s easy. We want her to write coverage that is favorable to our script. And what’s that? OMG! She actually clicked on Recommend which is virtually unheard of.

Good job, folks! We got Lilah hooked on our script!

For more on “Hooked”, here’s a video by the book’s author Nir Eyal:

Writing and the Creative Life: Lessons from a book “everyone in Silicon Valley is talking about” was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Writing and the Creative Life: What are you afraid of?

The single greatest inhibitor to creativity is fear. Do you recognize any of these voices?

I am afraid of typing FADE IN.

I am afraid I won’t be able to finish this script.

I am afraid I don’t have enough talent.

I am afraid the words won’t come.

I am afraid my characters won’t feel real.

I am afraid people won’t like my writing.

I am afraid people won’t like my story.

I am afraid I won’t get an agent.

I am afraid I am wasting my time.

I am afraid I don’t know enough about the craft.

I am afraid people will laugh at me.

I am afraid I won’t make any money writing.

I am afraid of not succeeding.

I’m not a psychologist, but I know enough about the writing process to understand that if you allow these and other like-minded voices to dominate your thoughts, you will have a hard time nurturing your creative self.

So the question on the table is, How to deal with fear? I don’t think there’s any right or wrong approach — a writer will do what they need to do to vanquish or, at least, manage their apprehensions. Some times you may be able to ignore the voice, the doubts, the insecurities — a good way to do that is to go so deeply into your story, your experience in that ‘world’ shuts out your negative thoughts.

Other times, you can use fear as a motivator: If, for example, you make a commitment, to friends and family, whereby you guarantee you will finish this script, your fear of public humiliation can spur you all the way to FADE OUT.

The simple fact is that whatever you do, you must do something, or else fear can devour your creativity.

Two of the greatest American novelists, William Faulkner and F. Scott Fitzgerald, wound their way to Hollywood, and worked as screenwriters. Read these quotes below, and see if you can grasp the palpable sense of fear in their words:

“I think I have had about all of Hollywood I can stand, I feel bad, depressed, dreadful sense of wasting time. I imagine most of the symptoms of blow-up or collapse. I may be able to come back later, but I think I will finish this present job and return home. Feeling as I do, I am actually afraid to stay here much longer.”

— William Faulkner

“My only hope is that you will have a moment of clear thinking. That you’ll ask some intelligent and disinterested person to look at the two scripts. Some honest thinking would be much more valuable to the enterprise right now than an effort to convince people you’ve improved it. I am utterly miserable at seeing months of work and thought negated in one hasty week. I hope you’re big enough to take this letter as it’s meant — a desperate plea to restore the dialogue to its former quality…all those touches that were both natural and new. Oh, Joe, can’t producers ever be wrong? I’m a good writer — honest. I thought you were going to play fair.”

— F. Scott Fitzgerald in a letter to producer Joseph Mankiewicz

Faulkner? Fitzgerald? Reduced to “I’m actually afraid to stay here much longer,” and “I’m a good writer — -honest?”


This is what fear can do. Strangle creativity. Squash talent. And in Hollywood, a city built on dreams, but run by fear, it can eat you alive.

My advice? Don’t avoid your fear. Don’t run from it. Rather, acknowledge it.

Feel it. Let it be. Let it breathe. Let it take you deeper into the core of your emotional self. You will discover things there you can learn in no other place. Emotions, memories, experiences have collected in that inner place for years, untouched because most people never go there. If you can get curious about why you are afraid, what are the particular animating elements behind your fears, you will discover a deep reservoir of personal insight and, almost assuredly, great story “stuff” as well.

Once you know that you can go there, acknowledge and experience your fears, and survive that process — which you will because fear is nothing more than an emotion state — what you will unveil over time in going there and coming back is… courage.

The courage to give yourself…
To your creativity…
To your stories…
Each one a great unknown…
Waiting for what you will find in your creative journey.

Comment Archive

Writing and the Creative Life: What are you afraid of? was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

This Video Uses Thousands of NASA Photos to Bring the Apollo Moon Landing to Life

530 million people watched the the first humans walk on the surface of the moon, but no one has seen the moon landing quite like this before.

NASA’s 1969 moon landing was an epic event all on its own, but it’s made all the more monumental and awe-inspiring in the incredible short film Lunar. Motion designer Christian Stangl and his brother, composer Wolfgang Stangl gathered thousands of photos from NASA’s Project Apollo Archive and decided to stitch them together and use stop motion to bring the moon landing to life, allowing people to watch the historic mission unfold in a way they never have before.

Stangl decided to embark on the project after being impressed by the quality of the images in the Project Apollo Archive. The high-resolution images, as you might recall, were captured using the famous Hasselblad-Moon cameras, which were build using a Hasselblad 500EL body and a whole lot of rocket science to make the process of exposing and image capture easy for astronauts operating in 1.) space suits, and 2.) 83.3% less gravity than on Earth.

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No Film School

Remembering Leonard Nimoy looks at the full life and private struggle of a beloved actor


The love for Leonard Nimoy lives long and prospers, but does the world really need two Nimoy documentaries, one from each of his biological children?

Logically speaking, yes it does.

“Our films are very different,” said Julie Nimoy, referring to her new documentary, Remembering Leonard Nimoy, and For the Love of Spock, the 2016 crowd-funded documentary by her brother Adam. 

The latter film focused on the sometimes-fraught relationship between Adam Nimoy and his father, Leonard, who played the iconic Star Trek vulcan Mr. Spock on TV and films for almost 50 years. It was also an examination of how Nimoy built the character of this seemingly emotionless and exasperatingly logical starship science officer. Read more…

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