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It seems I mostly mix-up book 1-3 with show 1-3 events. For instance, I was positive Jeor Mormont, while dying, spoke to Samwell of forgiving his son on the show. I could see the scene from the show, but that was only because while reading the books I already had the actors in my mind’s eye. From season 4 on I viewed the show from the perspective of adhering to the books or not so it’s easier to separate the two. And we still need screentime for individual interactions between the characters and for other stories as well. So, a separate “Northern Small Council” meeting looks kind of pointless. Moreover, in Ep610 Littlefinger explicitle said that he declared for the Starks. Therefore, although I concur that the status of the Vale is rather tricky, they are still some sort of the Northern coallition parthers and Jon should be interested to have them in his council. Being subjected to some power centre that has different priorities has never served well for any region throughout the history of mankind. At best you get an expression of a “deep concern”, but most often you are simply advised “not to miss the opportunity to keep your mouth shut”. If that’s right, would it make the record for longest second episode of a season. I won’t say no if the majority of the episodes are that long. However, as you and Wimsey pointed out, the current circumstances are somewhat different from what they were back then. Three centuries later, people are aware that the big flying lizards can be killed. Back during Aegon’s conquest, the Northerners had every reason to be afraid of and angry at the invaders but no incentive to hate them. Now, in the eyes of Northerners, Targaryens are not just “conquerors”; they are the family who no so long ago declared unprovoked war onto the Starks. Independence is a way for the Lords to take revenge on all those crimes (and to appease their guilty conscience in re. It fundamentally is, regardless of whether one is fighting one’s neighbours or mythical beings.

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Eleven Emmy Award nominations were conferred on Buffalo Girls, including for outstanding miniseries, the performances of Huston and Elliott, Lee Holdridge’s score, Richard Bracken’s film editing, art direction, and costumes. Huston also received a Screen Actors Guild nomination, and Griffith and Elliott received Golden Globe nominations. The oversight of any nomination or bauble for the man who coordinated and guided the project was, to put it mildly, conspicuous. Rio Diablo was another of those TV-movie westerns starring country-and-western stars, this time Kenny Rogers as a bounty hunter, Travis Tritt, and Naomi Judd with assorted character actors (Stacy Keach, Brion James, Bruce Greenwood) on the side. Hardy and his production designer, Cary White, art director Ed Vega, screenwriter Larry Brothers and the rest of the crew for Two for Texas attempted to recreate 1836 Texas and its battle against General Santa Ana’s Mexican forces. Kris Kristofferson and Scott Bairstow starred as escaped cons from a Louisiana prison who join up with Sam Houston (Tom Skerritt) and Jim Bowie (Peter Coyote). Grant co-starred. In the realm of remakes, why not take on Fred Zinnemann’s High Noon (1952). However, Hardy’s High Noon succeeds on its own modest terms. Apparently Sam Elliott was unavailable, so Tom Skerritt played Will Kane, who faces up against three arriving hombres after the rest of the town he was charged to protect deserted him. Michael Madsen played Frank Miller, and the cast included Susanna Thompson, Maria Conchita Alonso, August Schellenberg, Dennis Weaver, and Reed Diamond. Robert McLachlan’s camerawork was nominated for an American Society of Cinematographers Award. Eureka Stockade co-starred Bryan Brown, Amy Madigan, Bill Hunter, and Tom Burlinson. An Unfinished Affair gave Leigh Taylor-Young a chance to go bad as a cancer patient who unexpectedly goes into remission and takes revenge upon her straying husband (Tim Matheson) by seducing his son (Peter Facinelli). Hardy’s version of 20,000 Leagues Under the Sea was adapted from Jules Verne’s novel by Brian Nelson, and starred Michael Caine as Captain Nemo, Bryan Brown as Ned Land, Patrick Dempsey, Mia Sara, and Adewale Akinnuoye Agbaje. David Hasselhoff played the comic book hero Nick Fury. DAVID HARE b. June 5, 1947, Sussex, England Play for Today: Licking Hitler (1978), Dreams of Leaving (1980) Movies: Licking Hitler (1974), Heading Home (1991) Playwright Hare has been nominated for Tony Awards for best play for Plenty (1983), Racing Demon (1996), and Skylight (1997), which won the Laurence Olivier Theatre Award as best play.

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This is my philosophy. nalogue is the human voice, digital is the synthetic android voice. Only one of then sounds natural because only one of them is natural - that would be analogue - and is the same reason that real analogue synths sound better than digitally modeled simulations of analogue synths. If the gear you have allows you to do what you want, there's nothing laughable about it whether it be analogue or digital. Digital runs rings around analogue for convenience and affordability, but that's the problem you see, because when it comes to actual sound quality (the part that actually matters), digital cannot hold up to analogue. I don't have anything like the amount of analogue gear I would like, but I was careful to buy the best of the range at the time. The reason it can compete is simple, it's because the gear is actual analogue, not digital. I just pointed out why I mention analogue so that you get why I do it, I've been doing it for a long time, even before this thread started, it wasn't specifically directed at you. Just ignore my mentions of analogue, because I will continue to do it where warranted. Both types of folk music use microtones (an octave is twelve semitones, a semintone is the fundamental step in Western music, a microtone is a quartertone (half a semitone) or sometimes even less), but they use different scales. Thanks for the compliment although I'm not sure what tracks gave you the impression I can do whatever it is you said I could do. I even forget them, I have a notebook when I work on plugins, something I refer to. Reason 2: The Sony Walkman is the original personal audio device, not the iPod. Some claim international success, but I have yet to verify it for any artist that is not T. . . . ope, none other than TATU, but then again, Russia ought to be proud of such a powerhouse of hits.

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