Fun Threesomes, Foursomes and Moresomes |
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Hugh Manatee
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Posted: February 20 2023 at 15:58 |
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It doesn't help that "Holy Blood and Holy Grail" was based largely on a made-up document. "The Da Vinci Code" is a mish mash of history borrowed from all over the place, much of which is unrelated and twisted to form a rather standard murder mystery, all be it on a rather controversial subject for some, mostly because it introduced concepts that aren't normally considered by mainstream readers. The history of the Bible is indeed twisted to the point that it totally lacks any sort of credibility for me and that in itself is a subject that can long be discussed. Suffice it to say that one of my favorite scenes from "The Last Temptation..." is the meeting between Jesus and Paul that demonstrates how little the historical Jesus actually matters to the whole story. Edited by Hugh Manatee - February 20 2023 at 15:58 |
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Psychedelic Paul
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Don Siegel (1912-1991)
1964: The Killers 1968: Coogan's Bluff 1970: Two Mules for Sister Sara 1971: The Beguiled 1971: Dirty Harry Edited by Psychedelic Paul - February 20 2023 at 04:07 |
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moshkito
Forum Senior Member Joined: January 04 2007 Location: Grok City Status: Offline Points: 17484 |
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Hi, Francois Truffaut, makes a bit more sense, specially in the early days, when one gets to know "improvisation" in both theater, film and music. Truffaut's style was/is, what is considered a "guided improvisation", in that you have a setting and the characters and you tell them to discuss their marriage on the way to the supermarket. The dialogue and the timing it takes to get there are "open" and the actor can do a lot of things within this time span. To me, this is really "visible" in "Jules et Jim" a lot ... you never get the feel that these words were actually scripted or thought about. An improvisation that is not "guided" is the source/soul of the work that Peter Brook did at the RSC and went on to do in Paris, even with actors that could not speak to each other, and yet ... were able to put on work together. Communication is the key, not the words or the setting. It's all you "got", so to speak. And these are much wilder, in the sense that there are no limits and where it goes ... it goes ... and may become a different story. We did this in Advanced Acting Class at UCSB ( I was there as a Director Student not an Actor), and it was on our "lab" time, with someone that was English that had been through the time of the RSC's and NT's. We turned down the lights and for 3 hours we were 6 or 7 year old kids for 3 hours ... and there are a lot of lessons in that time. Ex: What you start with is nothing compared to what you end up with. Your communication with various folks changes many times. Your "character" becomes non-existent in the sense that the amount of time, prevents a "definition" ... something that most acting schools try hard to teach all new actors about (including the concept's and ideas!!!! WOW!!!) ... and in the end ... these are huge wastes of time when you can teach the character creation from "nothing" much better than you can from the script itself. The "words" in the script are also an "idea", which you can easily transpose to someone on a wheelchair, or an athlete, or Didi/Estragon. AND, still make a character with those words. Seeing, "improvisation" in theater is difficult, since a lot of times it is very well hidden. You will never know when Keith Michell is off in wonderland ... and it works, almost to the point of it being ridiculous. Peter Brook tells a story about him that is about that repeating line in King Lear, that they did over 300 performances of it, and he had a hard time find 2 of them that were the same. That is "improvisation" at its best ... ASSOCIATED with that moment specific time and space! You, almost, can not teach that! Godard's style of improvisation is ... I don't care, and it shows. Mike Leigh's style is one I am not sure I like ... but it works. I call it start it ... and then let the actor suffer through it to get even more out of it! It's hard, and few actors can do this, but there are times when you can see on his screen that ... man ... you are pushing it! I can not, at this moment, discuss this properly in French, Italian film. In German film it's a different story ... open up the Herzog film about "his friend" and watch the beginning with Klaus. This is the same type of improvisation that gave us a lot of theater, film in Germany. Fassbinder let his actors do their own thing. And Klaus is famous for his improvisation to the max. And this was the same time that "krautrock" came alive, and is why I state that the scene is an artistic one, not one about rock music! Amon Duul started as a "drum circle" (more or less with more instruments), but in my book when it got "meaningless", AD2 came alive ... and immediately made fun of it with their first album, which was of course, a massive attack on the "drum circle" which was nothing but the start of today's orgy! ... (... and it gets weird ... once the drugs take hold!) ... CAN was all pure improvisation, and TAGO MAGO shows it in two sides, even if they were cut up pieces, as Holger suggested came from 20 hours of tapes. GURU GURU had a lot of improvisation allowing Ax Genrich a chance to do his own "space junk", which we know is something Jimi Hendrix did, but was not to incorporate into his music ... at the time it was show ... all of a sudden, it's a part of the music. FAUST was also wide open, and it didn't matter what they did. There is a "point" in improvisation, that the whole thing ... comes alive ... but the hardest part is what most folks are afraid of ... you have to stay on it ... and in the rock tradition the whole thing ends when a riff is in place ... which is stupid ... there is a lot more life after that one riff ... more like 30 more riffs! It's really hard to discuss improvisation with musicians that only know the notes ... you have to LET GO EVERYTHING and (essentially) go back to being a kid and re-learn it all ... your "feel" and "touch" will be different, and it will add to your abilities. Most musicians are afraid of this area because it is not "documented" ...for them to copy and learn! The thought with musicians is like this ... they will quit the improvisation right after their 5 tricks ... because now they don't know what to do ... and they are more "in tune" with the notes they are playing, than they are with the people they are with. This improv will take longer, until the musicians can find themselves, which we know they won't do, and quit as quickly as they "find" something cool, not realizing that continuing teaches you more than just finding one riff! Tells you all about the learning, doesn't it?
Edited by moshkito - February 20 2023 at 00:49 |
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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moshkito
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Hi, As do I, btw. (favorite film by Scorcese) I like the Kazantzakis book, and in general it tells a story that has been around a lot more than it is accepted, or discussed. The "church" could not touch him, in Greece, which helped his status and ability to write it. The media onslaught would not get picked up in Greece like it would be in Rome, where so much of the media is owned by you know who! And, of course, loved spending its time going after American films, and the film makers after WW2 in Italy and Europe to try and make themselves more valuable in terms of "moral law" ... "Holy Blood, Holy Grail" is a very well documented historical work, and although its long discussion and follow up of the hidden group of things, is a bit on the tiring side, but so much of that history has been destroyed by the Catholic Church in the last 1000 years plus. It's easier so see how Kazantzakis wrote his book ... but it also tells you that the story has been around a long time, likely (STILL) in an oral tradition so it's "safer" than folks being persecuted for their "beliefs". Either way, it's a hard discussion, because so much history and facts have been erased out, and the main church in the whole story, continues to place more importance on a fake story, so they could maintain a sense of control and favor for their catechism. The whole story is not on par with "human perception" ... at all ... it's all invented ideology for people that thought they "knew" God, and since they were the "leaders" of it all, they could determine what was decided. Hardly a good story, for one that creates a religion ... The hardest part, though, is that the translations from the original texts that have survived, are off the wall, and so different, which only confuses matters all the more. BTW, I have never read the "Da Vinci" thing, or enjoyed seeing in the film or two about it. I thought it was more misinformation, to confuse folks even more. In the end, "movie stories" helps hide all the stuff in the Vatican that keeps history erased.
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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Hugh Manatee
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[Edit for space] I'm not at all sure why you corelated this film with that particular book. I have read the book by Nikos Kazantzakis from which "The Last Temptation..." was adapted and although Paul Schrader made some interesting choices in what to include in his screenplay, on the whole it is a very good adaption, and I count it amongst my favorite Scorcese directed movies. Perhaps you are getting "The Last Temptation..." confused with "The DaVinci Code" which some do believe purloined its ideas from "Holy Blood, Holy Grail".
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I should have been a pair of ragged claws
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moshkito
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Hi, AND music, by Ryuichi Sakamoto, and in The Last Emperor with David Byrne, which won an OSCAR. The classical music in "The Last Buddha" is outstanding. And a couple of pieces from "The Sheltering Sky" are still requested on his live piano shows. "Last Tango in Paris" , is not something I specially liked. It had a bad feeling for me. "1900" is something that is very close to me, in terms of politics and bullcrap. We certainly faced enough of it in Portugal, and I think that my dad wanted to leave to escape that and become a "full time" writer and scholar, in order to be able to forget and ignore the politics. My mom's family had a hard time with it and lost a couple of members to it. The whole thing, after WW2, and then the fall of Salazar later, was worse than the film. I don't like films of that kind as much as I do not wish to have the memories of some things that just weren't right during my life.
Really hard and difficult to choose something of his, but the 2 early pieces are less "films" than they were "shorts" and is the reason why I tend to leave them behind. However, it does not diminish their impression and effect on the visual arts. But then, we forget that in Spain, the Civil War had many issues and Picasso put all the pieces into one painting ... I always hoped that we got the idea ... but obviously some places in this earth don't! ... And thank you for such a nice response and addition. At the very least, for anyone wanting to check some director's work, we have given them quite a taste.
Edited by moshkito - February 18 2023 at 08:09 |
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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moshkito
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Hi, The Iranian list of directors is a scary list, specially with all the current politics going on, and I think that film ... A NOTORIOUS anti-establishment art ... is one thing that probably scares a lot of folks, expecting some guards and "inspectors" to make sure that ...................................... endless listing! I even remember at least one "Divorce, Iranian Style" which was amazing, and insane, and to think that those "in charge" allow such things to go on and continue ... is crazy ... I also read somewhere, a special maybe somewhere else, about the many "clerics" pretty much selling young girls out ... which hurts them later as they try to marry, although you and I would think that things might have proved a bit different now, but in the end, with a regime that appears to have more respect for its "law" than it does "its people" ... one wonders how long it will last. There is music, but other than the generic pop music, there are some interesting combinations, and they are not as well known to the "general" Iranian folks I know ... but they like the music. Music might have a better way out, since it can be done without "lyrics", thus your ideas can be effectively masked and you can still put it together with the music. But the other arts? ... scary thought!
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
www.pedrosena.com |
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suitkees
Forum Senior Member Joined: July 19 2020 Location: France Status: Offline Points: 9050 |
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As said, a nice list of directors who were responsible for major film works in film history... I would personally not mention Tornatore in such a list: although I really do enjoy the films you mention, they are, in my eyes, rather conventional (both formally and narratively). For Peter Weir I would, also, add The Truman Show - a film that I use a lot in my film classes... Regarding Bertolucci, I prefer some of his earlier work: Prima della rivoluzione, Last Tango in Paris, Il conformista, Novecento (1900). I'm much less convinced by his siruppy hollywoody endeavors like Little Buddha, The Sheltering Sky, The Last Emperor... despite, indeed, the exceptional cinematography by Storaro! Agree with you on Buñuel, I would just explicitly mention one of his earlier exceptional works, with Dali: L'âge d'or. With Fellini, another exceptional director of fim history, I prefer mostly his 50s and 60s films: of course the big ones, La Strada and La dolce vita, but also - and especially - I Vitelloni, Il bidone, Le notti di Cabiria, Giulietta degli spiriti (sorry, I'm too lazy to look up the English distribution titles...). However, my preferred one might be Otto e mezzo. I'm not that much fan of Francois Truffaut, except some of his earlier films: Les 400 coups, Jules et Jim, Fahrenheit 451, La peau douce... After that he is going into very cliché man/woman storytelling; yes always with his personal twist, but still... Same gripe I have against Woody Allen. From Jean-Luc Godard - your comments are very to the point - I would add Pierrot le fou, A bout de souffle, and maybe Week-end as probably one of the best examples of his over the top aesthetics and narration (e.g. La Chinoise, Le petit soldat...). Although I do not always like the results of his experimentations, I admire he did it and tried. His Histoire(s) du cinéma is another exceptional and extra-ordinary - in the litteral sense of "out of the ordinary" work of reference. In the beginning I wasn't much fan Pedro Almodovar's films; they were too neurotic to me. I regocgnized their interest, but wasn't really into them. This changed especially with Todo sobre mi madre (Everything about my mother) and his subsequent films, including the hilarious Los amantes pasajeros Peter Greenaway is one of the maestros to me. Exceptional body of film works, where the visual aspects are as important as the story, and he doesn't hesitate to play with the spectator (e.g. Drowning By Numbers). I like most of his films and had the pleasure of organizing a retrospective of his work in his presence. Very pleasant man to spend time with and he was of an exceptional availabitity to our public. The Cook... is probably the film that I prefer the most: everytime I see it again it gains in strenght. An exceptionally original contemporary filmaker! Regarding Werner Herzog I'm actually not that fond of his most know works. I prefer his documentaries or some of his more experimental works. You mentioned Where the Green Ants Dream, I would add Fatamorgana and, as said, much of his docentary work. From the Japanese, yes of course, I like Kurosawa's work. There are too many to mention, but other than Ozu, I would especially mention the work of Kenji Mizoguchi, probably my preferred one of these three great directors. Other than those, I would mention Béla Tarr as another exceptionnal contemporary filmmaker. When someone asks me, learning that I'm working in the film world, what is my preferred film, and to cut short to every discussion because these are questions impossible to answer, I tend to mention Tarr's Sátántangó. To me it is indeed one of the best films ever, but hardly anybody has seen it (the 7:30h duration might be responsible for that, somehow...). If you're more in a hurry, check out his Werckmeister Harmonies or - and maybe especially - The Turin Horse... Closer to home, for me, I would mention Paul Verhoeven. Although his style does not please everyone (apart from his provocotive stances he is also often exaggerating stereotypes and clichés - so it is not of all "finesse"), once you adhere to it or accept it, his films are often a very accurate analysis of the dysfunctionality of our societies and the hypocrisy of our moral standards, especially when it comes to sexe, violence and/or religion... From Turkish Delight, via Spetters, Robocop, Starship Troopers up to Benedetta, there is a real constant in his work. Maybe obsessive, but very to the point, imho, if one can scratch the surface... During my film studies I discovered and was most impressed by the work of Antonioni (L'Aventura, La notte, L'eclisse, Cronaca di un amore...) and Wim Wenders (especially Im Lauf der Zeit/Kinsgs of the Road) and his other 70s work. He had a lesser period, but his later Don't Come Knocking, for example, is quite exceptional again. And then there are so many others in film history that making a list becomes impossible... Pedro, why make lists? Edited by suitkees - February 18 2023 at 07:25 |
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The razamataz is a pain in the bum |
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JD
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This thread title is VERY misleading and not at all what I expected.
Edited by JD - February 17 2023 at 14:52 |
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Thank you for supporting independently produced music
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moshkito
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Hi, Leave it to Guy to make sure we did not miss much ... all three of the suggestions are excellent, and yeah ... I totally missed Orson Welles ... beautiful work in general. Richard Lester was fun, even if Spike Milligan said that he was merely putting on screen what the GOONS had already done (a few of the early films I imagine!) ... and Jacques Tati ... a nice touch all around! The three new folks I have to check some more ... not sure I can even list much by them!
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
www.pedrosena.com |
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Jared
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You're talking my language now... you can add Fireworks Wednesday to that list too... then we can also add Jafar Panahi, Abbas Kiarostami, Samira Makhmalbaf and at least another 10 criminally underrated Iranian directors...
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Guy Guden
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... and I would add Jacques Tati, Richard Lester & Orson Welles. among newer directors, I admire Paolo Sorrentino, Gustavo Taretto, & Ryusuke Hamaguchi.
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https://twitch.tv/guygudenspacepirateradio
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moshkito
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Hi, It probably will give you a better idea why rock music, for me, is not as important at times. There were some great things done all over the world, but we tend to only like 2 of those countries material (so to speak!!!), and that is something that bothers me some. My appreciation for so much different music, is almost the same as that for so much different film. There's too much beauty out there in this world for it all to be wasted, and for my tastes this commercial this and that is not allowing more folks to see/find more stuff they can enjoy and appreciate. However, when you are "conditioned" to think that this or that is the standard of "good", with "top ten" everything ... the ability to hear something different goes out the window some ... This was the saddest sight at the Portland International Film Festival that I ever saw ... all the American and English films were sold out, the majority of French and Italian were well represented, but the rest? When I saw "The Island on Bird Street", it had maybe 100 people for a totally far out and excellent film, that a mouse was the biggest thing. It had been advertised as a child's film, and that is one thing that film is NOT. Likewise, there was a film from Mozambique on a different year that had 30 people in the audience. Well, the Almodovar love affair here (he had at least one premiere here) was always well attended by the society of the long flute drink, and be seen dressed to the max! On the reviews for many of the films from PIFF, which their own folks would not support or even appreciate (I wrote many notes for many films for them!) I was always telling people to see the odd stuff ... BECAUSE ALL THE AMERICAN AND ENGLISH FILMS WILL BE ON VIDEO! (N ow DVD) The rest? Never seen again!
Edited by moshkito - February 16 2023 at 19:18 |
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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moshkito
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Hi, I've seen at least these films, but in terms of reviewing them, it is difficult for me as most of them are a "lesson" in Hollywood directing, that is taught at USC and UCLA and considered the status and ideal for American film. The sad side of that is that it takes away the folks that DO experiment and come up with far out, weird, strange, and very good stuff. I was never a Robert Altman fan, and then I saw his improvisations with everything including lighting and cameras, to throw actors off, and I ended up appreciating his stuff a lot more now, than I did way back when. "The Last Temptation of Christ" ... read the book, "Holy Blood, Holy Grail" ... and while I liked this film, it is a subject matter that I do not enjoy as too much of it is based on horrible translations of news that was already at least 300 years old! However, in general, the leads in all Scorcese films are very well scripted and filmed. He does have a very good sense for camera, however, he can't get away from the old Hollywood thing ... like shot/crosshot kind of thing, that destroys "literature" altogether. For me, the point of view switch, often eats up the story big time. Martin Scorcese, is also listed as one of the Editors for the film WOODSTOCK, and guess which shot is the one that he probably worked on? That is something he did again and again in various films of his ...
Edited by moshkito - February 16 2023 at 19:03 |
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
www.pedrosena.com |
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moshkito
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Hi, It was an awesome listing and I remembered it, but couldn't find it, however, I wanted to see which ones came up quickly in my mind, films that I could imagine right away. From that list, and the only bad thing is that I didn't want to put everything in the list ... Woody Allen Robert Altman Michelangelo Antonioni Denys Arcand Ingmar Bergman Atom Egoyan Agnieszka Holland Alexandro Jodorowski Krzysztof Kieslowski George Miller Gaspar Noe Satyajit Ray Ridley Scott Andrei Tarkovsky Lars von Trier Luchino Visconti Wim Wenders I just saw Holland's "Copying Beethoven" and it was a very nice film. She is so good at making sure she has full characters and so many of them do so well. Gaspar Noe, I decided not to list, because ... because ... well, I didn't want to turn people off some of his stuff, which while insane, it is also very challenging. I missed Kieslowski altogether, and I have always thought "The Double Life of Veronique" one of the prettiest things I have ever seen! Alexandro Jodorowski is a favorite, though mostly because of my theater background, and how he does some things. Love his "staging" of anything. Lars von Trier I would love to have seen more, but I can not afford the extra cost on Amazon, and I can not find sites that might have some more of these films. In general, the last 10 years, with the Internet, it has been very tough for me to pick up more international films, and I'm not sure I enjoy too many of the "specials" and the "series" of stuff they do to counter real film.
Edited by moshkito - February 16 2023 at 18:40 |
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
www.pedrosena.com |
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Lewian
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Ashgar Farhadi: About Elly A Separation The Past The Salesman Andrei Tarkovsky: Andrei Rublev Solaris Stalker Ulrich Seidl: Dog Days Import/Export Paradise: Love Paradise: Faith Paradise: Hope |
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suitkees
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Nice list, Pedro, and interesting comments, although I'm not always on the same line. Will take some time this weekend to get into it...
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The razamataz is a pain in the bum |
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Logan
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Excellent list per my tastes, Pedro. Other than Tornatore, I could see all being on my list. You might remember this, but some years ago I did a ridiculously overstuffed directors poll (there is humour in excess) with many of my favourite directors including a list of some of my favourite films (tried to limit it to three). It's not very nicely formatted, think it would be aesthetically unpleasing to duplicate it here, and because I tried to limit the number of films I felt like it less appropriate but here is a link: A Drove of Directors: Various Film Directors CLICK
Since von Trier was mentioned earlier, he is one of my very favourites and I chose The Element of Crime, Europa, Melancholia for three, but Dancer in the Dark (which I saw in the cinema) and Riget are faves as easily. Dancer in the Dark is actually the one that I still think about the most, and not just because I like Bjork. |
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Psychedelic Paul
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Michael Winner - One of the great auteurs and restaurant critic!
1969: Hannibal Brooks - http://www.youtube.com/watch?v=F4BB_kXLDv4&pbjreload=102 1972: Chato's Land 1972: The Mechanic 1973: Scorpio 1973: The Stone Killer - http://www.youtube.com/watch?v=YYESGHbfaV0 1974: Death Wish
Edited by Psychedelic Paul - February 16 2023 at 13:35 |
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Steve Wyzard
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Peter Weir:
Green Card (1990) The Truman Show (1998)
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