God Never Grew Tired of Brad & Angie

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120
new year luv. Says:
January 9th, 2007 at 12:59 am

http://pics.livejournal.com/pittimpression2/pic/000wh8q7/g67

is this an interview together?
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yes, it looks like it. I can’t wait to hear about what they talked about.

Look at the way the guy is looking at AJ.

Gosh I’m not even done with the last thread and here’s a new one - Jared YOU ARE AWESOME!!! Thanks!

I’m glad this movie will be shown here in San Francisco next Friday…Let’s hope they will show this movie in other places later on as well…

http://pics.livejournal.com/pittimpression2/pic/000wh8q7/g67

The guy is checking AJ out.

oops! lost my head there for a sec. angie jolie is a BAD mamajamma. in other words she is a bad mother and brad is a sap. they both look more waxy than nicole.

i guess that’s why angie doesn’t go near shiloh, because shiloh’s warmth will melt angie’s waxy, pimply face.

123 Gussie: That botox lady doesn´t even compare with our Angie…. I have nothing against NK but c´mon AJ and BP irradiets chemestry and charisma…(how can you spell the word “irradiets”?).

God I will never gonna get tired of them. I go from pic to pic and one is better than the other…

120
new year luv. Says:

January 9th, 2007 at 12:59 am
http://pics.livejournal.com/pittimpression2/pic/000wh8q7/g67

is this an interview together?

——————————————————————————

I don’t know, but looks like Brad doing the talking and the interveiwer is looking at Angie and saying, Brad Pitt you lucky, lucky dog.

124
ntt Says:
January 9th, 2007 at 1:01 am

that hatahs are already sooo angry. lmao too sad for them.

***God grew tired of us ***

THE PRODUCTION

Christopher Dillon Quinn, a New York City-based filmmaker, was stunned by the media coverage he saw about the Lost Boys in early 2001, particularly a New York Times Magazine piece by journalist Sara Corbett. Hooked by the dramatic elements of an unfolding story, Quinn knew instinctively that he wanted to make a film about the boys and was fortunate to find $50,000 in seed money to get the project underway.

“By July of that year, we were in Kenya,” says Quinn.
Working with Molly Bradford Pace, who managed much of the shoot’s production from New York, Quinn teamed up with co-director Tommy Walker and a small film crew and traveled to Kenya’s Kakuma refugee camp, which was operated by the United Nations High Commission for Refugees. They arrived to find a population of almost 90,000 people, of which 12,000 were considered to be “Lost Boys of Sudan.”

Housed in cinderblock huts at the UN compound, the filmmakers had few restrictions as they took their cameras into the crowds of refugees. Their particular focus was on the “Dinka” boys (the largest tribe in the southern Sudan) who would soon depart for the States under an International Rescue Committee program to resettle them in America. Quinn and Walker began honing in on those who had been selected to depart the following week.

“We immediately gravitated toward Daniel because he had started something called Parliament and what he was doing was amazing,” says Quinn.

Daniel Abol Pach, who, like most of the boys, had already been living in the Kenya camp for ten years, had emerged as a popular figure in the camp by gathering hundreds of fellow survivors under the shade of the trees and entertaining them.

There would be times when these boys and young men didn’t eat for 4 or 6 days – they would run out of food and when that happened, everything in the camp slowed down,” explains Quinn. “They would call those ‘the black days.’ But Daniel would gather hundreds of them under the trees and he would be entertaining people, keeping their spirits up.”

Since Daniel and his best friend Panther Bior had both been selected to go to the U.S., Quinn and Walker began to document their stories.
After shooting for a number of days, they found John Bul Dau. “Or rather he found us,” recalls Quinn. “John had found his name on the posted board for the U.S. move and he came to us because he had observed our cameras and thought we might be part of the American government.”

“He came to appeal on behalf of his friends that were not selected, he adds. “We were immediately taken with his selflessness.”

John, who fled the fighting in Sudan at the age of 13, was slightly older and much taller than the other boys, and had become a leader to more than 1200 other young boys who had escaped the slaughter.

To lend some historical context to the massive exodus of children, the Second Sudanese Civil War, which started in 1983, was one of the longest lasting and deadliest wars of the latter 20th century.

Approximately 1.9 million civilians were killed in southern Sudan, and more than 4 million were forced to flee their homes at one time or another since the war began. Although the war allegedly ended with the signing of a peace agreement in January 2005, the conflicts continue.

The young men selected for the trip in August of 2001 had never flown on an airplane, and they certainly had no idea about the people and events that awaited them.

“There were 90 guys who traveled on the plane but there was no one there to answer their questions besides the stewardesses,” recalls Quinn. “I think they felt that the film crew was part of the process so there was a myriad of questions and wonder, which often extended into telephone conversations later.”

From Kakuma to Nairobi and on to Brussels and finally New York, the boys traveled as a pack until they arrived at JFK International and broke up into small groups and headed for their respective cities.
Quinn stayed on the road with the subjects for the first three weeks, accompanying Daniel and Panther to Pittsburgh and John to Syracuse, witnessing the culture clash that greeted the boys in their new homes.

The learning curve was steep as volunteers from the community introduced John, Panther and Daniel to household items and American customs. From refrigerators, lamps and alarm clocks to shaving cream and donuts with sprinkles, the everyday objects that Americans take for granted were a baffling new discovery for young men who had lived with next-to-nothing in a refugee camp.

For Daniel and Panther, a trip to the local supermarket in Pittsburgh was a surreal experience. These two young men, who had survived on only minimal food in the camps, now encountered a bounty of produce that they could hardly comprehend.

“You can imagine their shock when they observed an entire aisle full of dog and cat food,” says Quinn somberly. “It was quite an experience.”
Quinn also recalls an evening in which a local family took Daniel and Panther out to dinner.

Quinn stayed on the road with the subjects for the first three weeks, accompanying Daniel and Panther to Pittsburgh and John to Syracuse, witnessing the culture clash that greeted the boys in their new homes.

One year into America, John was working full shift at a factory, and working a second job at McDonalds at night. Daniel was processing checks for Mellon Bank on a night shift and Panther was a bus boy at a large downtown hotel. However, the boys faced an increasing sense of loneliness and isolation, observing that Americans work such long hours that they often have limited time for family and friends.

At a reunion for Lost Boys in Grand Rapids, Michigan, the cameras are there to record the joy of rediscovered friendships, but they also observe the juxtaposition of the old Dinka traditions and the modern American culture that now dominates their lives. Dancing and talking with each other, the meetings prove invaluable for maintaining cultural ties and planning financial support for the community of friends and family back in Africa.

Working through channels of the International Red Cross and other relief agencies, many of the young men began to make inquiries about family members whom they had not seen for more than a decade. To his amazement, John Bul received a letter informing him that his father, mother, three brothers and three sisters were alive and living in Uganda.

“When I got the news, I jumped up!” says John. ‘I don’t believe my ears or my eyes.”
As the months pass, the filming continued and the stakes got higher for Quinn and his colleagues.

“I was one of those filmmakers who put everything on his credit cards,” admits Quinn candidly. “I put cameras and film stock on it and I dumped my entire life into it. At one point, I had to face the fact that I was $50-60,000 in debt. But none of it really ever mattered to me, in a way, because I was also so fixed on the guys and their story that I evolved quite a bit through the process. They had a profound effect on how I looked at the world.”

Producer Molly Bradford Pace, who helped keep the production afloat by tag-teaming and sharing duties with her colleagues, explains, “I got involved because I wanted to work on a project that was fulfilling to me and that was about something I thought was important. I learned from the three boys that the essence of every human being is the same, no matter his or her background

After four years of shooting, Quinn felt he had found an ending for the documentary when John Bul was not only able to find his family living in a Ugandan refugee camp, but he was able to bring both his mother and sister to live with him in the United States, completing a circle that had been broken by the terror of the Sudanese war.

But financially, the documentary team had run low on resources and it looked as if they would need to shut down the edit.

At that point, a stroke of good fortune propelled the project forward. Quinn asked his friends, actors Catherine Keener and Dermot Mulroney to look at a rough cut of the film. Touched emotionally by the film that had been assembled, she suggested that Nicole Kidman, who was also starring in “The Interpreter,” take a look at the film, as she would be an ideal narrator. Keener and Mulroney suggested that Quinn send it to their friend Brad Pitt to take to take a look at an early cut in Los Angeles.

After viewing a rough cut, then nearly a year later, the final cut, Kidman was on board to voice the narration that Quinn would write, and Pitt not only volunteered financial support, but also lent his name to the project, which resulted in the team being able to secure the private financing needed to complete the film.

There’s no question that their support gave us a huge jolt,” explains the director.

Back in the cutting room in New York City, Quinn worked diligently with editor Geoff Richman for the better part of a year to find the dramatic narrative in hundreds of hours of footage.

Once Nicole Kidman completed her narration, the four and a half year project had come to a satisfying end.

“What I find remarkable about this film is that it communicates the incredible optimism and resilience that the Lost Boys share, despite the suffering and sadness they knew for so many years,” says Kidman. “When John, Daniel and Panther are given the opportunity for a fresh start in America, they have the option to put the past behind them, but instead, they work two or three jobs in order to send money back to Africa. Their friendships are sacred.”

In January of 2006, five and half years after the filmmakers were introduced to the Lost Boys in Kenya, GOD GREW TIRED OF US was accepted into Competition at the Sundance Film Festival.
“We went to Sundance as free agents and the experience became both exciting and daunting,” recalls Quinn.

Winning both the Grand Jury Prize as well as the Audience Award, Quinn and the production crew were elated with their success, which they were able to share with John, Daniel and Panther, who joined them in Utah at the festival.

John Bul, who had begun a non-profit organization to raise funds for those left behind in Sudan, had the opportunity to speak to audience members at a Q&A following the film in Park City. He told them of his plans to raise funds for a medical clinic in his home county of Duk, Sudan, which would be the first hospital in that county “since God created the earth.” Following a screening, a woman approached with her checkbook and asked how she might make a contribution. John thanked her gratefully when she handed him a personal check for $25.00 but a moment later, he looked again and realized that she had donated $25,000. He searched the crowd, but she had disappeared. Soon, another women contributed $5,000. He returned to Syracuse, proud of the attention that the film had received, but thrilled with the $30,000 that had been contributed to his building fund for the Duk Lost Boy Clinic.

Nothing, nothing, nothing is more important than to help the African people… nothing will make me happier than to put smiles on their faces,” says Bul.

Speaking warmly of his association with Quinn and his colleagues over the years, he adds, “ They’re not only filmmakers, but I see them as part of our Sudanese people. They understand our culture

This is why I always think action speaks louder than words. The don’t have to refute any rumor. The can just kill 2 birds with one stone. Get the press to be there for a small film that nobody pays attention to, and at the same time thumbing their nose at the naysayers. Yeah right, we are not happy together.
Chinnocchio, you are still here? very masoch*stic of you.

the title s/b

*********God Never Grew Tired of Us********

sorry for the misprint

http://pics.livejournal.com/pittimpression2/pic/000wfgxc/s640×480

So cute!

http://pics.livejournal.com/pittimpression2/pic/000xfh5t/g67

So unhappy…