More films about Mohammad in the works.

Good for them: More films about Mohammad in the works.

Not surprisingly, both filmmakers fear violence from the religion of peace.

Both filmmakers are closely guarding details of their productions due to security concerns. They decry “Innocence of Muslims” as historically inaccurate, offensive and of poor quality. In the wake of its release, Yousef has been scrambling to meet with his investors — whom he describes as a mix of Egyptians and Americans — and ensure that they’re still on board.

Sina, for his part, said he had been exploring ways to hide the identities of the producers and actors in his movie and said he would not reveal the planned location for the movie shoot. He described his investors as a handful of Persian atheists who live in Los Angeles. “I’ve become more secretive,” said Sina, who insists that his goal is not to incite Muslims but to persuade them.

Julie Andrews – Feed the Birds

An evening pause: Once, a long time ago, the concept of charity was something that you gave voluntarily, not forced upon you by the will of others.

A technical aside: If you listen closely to the soundtrack to Mary Poppins (1964), you will discover hints of the melody from this song sprinkled throughout. The composers clearly considered it a central theme on which they wished to link to the rest of the score.

Richard Rogers – Edelweiss

An evening pause: From The Sound of Music (1965). The context: The Nazis have taken over Austria, and plan to arrest Captain Georg Ludwig von Trapp and his family at the end of this concert. This lovely song, Edelweiss, is initially sung by von Trapp as a farewell to his nation. As the song unfolds, however, it becomes instead a song of defiance against the Nazis, by the von Trapps and the audience.

Always, always, we must stand for freedom.

The Black Stallion

An evening pause: The central sequence from the 1979 movie, The Black Stallion, when the shipwrecked boy Alec succeeds in taming the shipwrecked Arabian horse. The combination of Carmine Coppola’s music and Caleb Deschanel’s photography in this sequence is unmatched.

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