sábado, 23 de janeiro de 2010

David Threlfall: 'Celebrity? I hate the f@#$**! word!'







David Threlfall talks to James Rampton about life as a foul-mouthed national treasure



I have just pulled into Shameless Central. Sited on an industrial estate in Wythenshawe, Manchester, this newly constructed studio houses all the sets for the hit Channel 4 drama, which returns next week for its seventh season. Over there is the Jockey pub, complete with obscene graffiti daubed on the loo wall; and here is the back entrance to the home of the central family, the Gallaghers, adorned with all manner of fly-tipped rubbish. Outside is parked a pink stretch limo, the gleefully over-the-top ride which the Gallagher's neighbour, Micky Maguire, has pimped for his own nefarious purposes.

Even amid the encircling gloom of a December evening, the whole place reeks of the Chatsworth Estate's defining quality, its sheer joie de vivre. It lifts the spirits and reminds you of Frank Gallagher's joyous paean of praise to the "Chatsworth buccaneers" at the start of every episode: "First and foremost, the most vital necessity in this life is they know how to throw a party! Heh, heh... Scatter!"
It is this unabashed exuberance that makes Chatsworth residents such fun people to spend time with, and which has turned Shameless into one of the most iconic and original series of the last decade, with one national newspaper last week voting it among the greatest TV dramas of all time. And no one epitomises that unashamed lust for life better than Frank.

Above the Chatsworth police station – whose reception is decorated with crime-prevention posters warning "When you're out on the lash, don't flash the cash" – are the production offices for Shameless. They are decorated with no fewer than three fetching glass mosaics of the dipsomaniac Frank in his trademark pose: hair lank, eyes bleary, fag alight, flicking Vs at the viewer. It is the definitive Shameless image.
David Threlfall, the actor who has brought Frank so memorably to life over the past six years, and who has also directed several episodes of the programme, comes down the corridor to greet me. Gesturing to the mosaics, I ask if he has one hanging in pride of place over his mantelpiece at home. Threlfall looks horrified at the very idea. "It's like Bill Hicks used to say: 'When Jesus Christ comes back, he doesn't want to see figures of himself around people's necks.' I don't want to see Frank when I get home. Shit, you have to leave him at the door. You do not want him coming home with you!"
This is Threlfall all over – sharp and self-deprecating. He is, simply, everything that Frank is not. But for all that, the actor is very grateful to his dishevelled alter ego, as you might imagine. On the surface, Frank is not a character we should warm to at all; indeed, he is an egotistical workshy yob, who is addicted to benefits and booze and who would sell his grandchild for the price of a pint. And yet, in Threlfall's portrayal, Frank has become one of the most popular characters in modern television.
It is a bravura piece of acting to make someone so loathsome, so loveable. Fans can quote verbatim from his rambling pontifications, and there is a roaring trade in T-shirts quoting his most celebrated homily: "Make poverty history! Cheaper drugs now!" Regular viewers revel in the rough poetry of Frank's bar-room philosophising and the keenness of his warped wit. At one point, Frank sighs to his earnest daughter, "Debbie, love, you're as miserable as Morrissey eating Kentucky Fried Chicken at an animal-rights festival." On another occasion, when his son Lip tells him, "You're covered in sick," Frank replies quick as a flash: "Son, you are ugly. Tomorrow, I will be clean". Even his drunken meanderings are engaging. He once railed at a fish: "Now you know what I feel like. Stop whingeing! Drink more!"
As Threlfall and I sit down in a meeting room upstairs at Shameless HQ, the mosaic of Frank is still giving us the V-sign from the wall, but we carry on regardless. The 56-year-old actor gives very few interviews and is averse to blowing his own trumpet. "There have been some approaches for me to write my autobiography," he says, glumly, before adding: "Don't be silly! I'm quite shy in public".
But today Threlfall seems very much at ease. He has sloughed off Frank and is dressed in his "civvies" – a grey collarless shirt and black combat trousers. Sitting with his feet up on the sofa, the actor seems as relaxed and poised as Frank is restive and plastered.
So what has the character of Frank given him, then? "Gallstones," Threlfall deadpans. "No. Frank has made me more recognisable. People really do seem to love him. He's a licensed fool. People tune into him and say, 'I didn't think anyone else thought that.' They come up to me all the time and say, 'My cousin's just like Frank!' And I reply, 'You're proud of that, are you?'"
The resounding success of his screen creation has also endowed Threlfall with a greater sense of artistic liberty. "Paul Abbott [the creator of Shameless] has described me as 'someone who will take the ball and run with it'. Tony Garnett [the veteran TV producer] recently criticised scriptwriters for writing to order because the people above them are living in a perpetual state of fear. So it's harder all over to get things made. But the type of show that Shameless is does give you a certain freedom. It encourages you to go with your instincts as an actor and a director".
The truth is that Threlfall has long been well-regarded within the industry – he was Emmy- and Tony- nominated as long ago as 1979 for his performance as Smike in a memorable RSC production of Nicholas Nickleby – it's just that Frank made him a star. And in 2006 – 27 years after playing Smike – he finally won the Best Actor gong at the Royal Television Society Awards. Crucially, though, the acclaim has not gone to his head.
These days, Threlfall lives a tranquil life in the south-east of England with his wife, fellow actor Brana Bajic, and their two young sons. He pretty much shuns the limelight. And, suffice to say, he will not be appearing any time soon alongside the cage-fighters and ex-boyfriends of Katie Price on Celebrity Big Brother. "Celebrity? I hate the word!" snorts the actor.
"We never go out on the social scene," he continues. "I do get invited to a few movie premieres, but I never fancy them. If you go to those parties where you have to stand for hours with a plate in one hand and a glass in the other, you just come away thinking, 'God, my calves ache!' I suppose I'm a social misfit, but if it's a choice between that or a night in with the family, I'd always go for the night in with the family".
Threlfall – who grew up Manchester, where his father worked as a plumber – is mightily relieved that fame did not alight on him when he was younger. "I'm glad it's happened to me later on," he says. "If it had happened to me earlier, I'm sure I'd have done some stupid stuff – don't even ask me what but I'd probably have screwed up! Now I have spent enough time with myself to understand how I – and the business – operate".
When he's not acting, Threlfall spends much of his time editing or preparing to direct his next episode. So, does he ever relax, I wonder? "It's hard being away from the kids," he replies, "I think they actually like me as well as love me. So when I'm back home, I just see the family. I do normal things like walk the kids to school in the morning and pick them up in the afternoon. I'm pretty dull!"
Threlfall trained at Manchester Polytechnic School of Drama before making his professional debut – opposite Ray Winstone – in Alan Clarke's 1977 film Scum. He takes his work very seriously indeed. The director Trevor Nunn once called him "a handful" and Threlfall confesses that, "I frighten directors a bit because I have to try everything out before settling on how I'm going to do it. So, in rehearsal, I might be Rasputin one day and Mother Teresa the next!"
He thinks, though, that his outlook has mellowed somewhat with the passing years. "I'm still as intense as I was as a younger man. But with time comes a certain relaxed approach. Some people [on Shameless] have gone through various difficult things. I say to them, 'This is only a play – go and sort it out.' You have to have balance about what goes on in the world".
Which is one reason why Threlfall has signed up to help with the campaign to free Tibet and to be an ambassador for Save the Children. "Save the Children's work is focused on children and health – pretty fundamental stuff. Children are our future, as the song says. When you have children yourself, it arouses this primal thing within you. And now, because this show has made me recognisable, I can do something about it. I'm really pleased to be involved in a low-key way... he said, as he went into print about it!"
Threlfall is the first to acknowledge that the path of his career has not always run so smoothly, however. "I went through a bad patch a few years ago. For a couple of years, I couldn't give it away. I was within a day of becoming a motorbike dispatch rider when Jude Kelly rang with the offer of Odysseus Thump at West Yorkshire Playhouse".
Today, though, he is viewed as a small-screen titan. His Shameless co-star Pauline McLynn – who plays Frank's new love interest, Libby, in the latest series – describes him as "brilliant, perhaps the top actor in the country".
He certainly boasts a certain chameleon quality, equally able to play characters from opposite ends of the social spectrum – from the Duke of Drunks (Frank Gallagher in Shameless) to the Duke of Edinburgh (Prince Philip in The Queen's Sister).
But despite this versatility – and popularity – Threlfall says he's not taking anything for granted. "When Shameless stops, I hope the people who give out jobs won't just focus on Frank," he says. "There's a 20-odd-year back catalogue before that. I'm always striving to do different things. You always want the other thing, the thing that you're not doing at that moment. The grass is not necessarily greener on the other side – it's just different. It's more of a concrete patio!
"I'm well aware that fashions come and go," he continues. "What's popular can change just like that. Longevity is the thing to aim for. The secret is to keep your head down, wear a tin hat and avoid the bullets".
The new series of 'Shameless' starts at 9pm next Tuesday on Channel 4


The Independent

Abbas shrugs off US pressure

Associated Press



RAMALLAH: Palestinian President Mahmoud Abbas told US envoy George Mitchell on Friday that he would not resume peace talks without an Israeli settlement freeze. Abbas has been under growing US pressure to soften his stance, but he has been adamant and reiterated his position at a meeting with the US envoy on Friday.


The meeting came after President Barack Obama said in an interview published in Time Magazine on Thursday that he may have overestimated his ability to restart the talks. Abbas’ aide Saeb Erekat says the responsibility is on Israel, not the Palestinians.


Israel has refused to commit to an internationally mandated settlement freeze. It says it’s ready to resume negotiations but that the Palestinians are placing unreasonable preconditions.


Mitchell’s talks in Ramallah, the political capital of the occupied West Bank, came a day after meetings with the Israeli government and talks in Syria and Lebanon, two countries the envoy said should play a key role in achieving a comprehensive Middle East peace deal.


But there were no expectations of a breakthrough as Israel and the Palestinians sparred anew and the US president acknowledged the scale of the difficulties.


“This is as intractable a problem as you get,” Obama said in the interview.


Both the Israelis and the Palestinians have found that “the political environment, the nature of their coalitions or the divisions within their societies, were such that it was very hard for them to start engaging in a meaningful conversation,” Obama said.


“I think it is absolutely true that we... didn’t produce the kind of breakthrough that we wanted,” he said, adding that if his administration had anticipated the political problems on both sides, “we might not have raised expectations as high”.


Washington had pressed hard for Israel to freeze settlement construction, which Abbas says is a precondition for negotiations to resume after a hiatus of more than a year.


Israeli Prime Minister Benjamin Netanyahu announced in November a 10-month moratorium on issuing construction permits for Israeli homes in the West Bank outside annexed Arab East Jerusalem, but the Palestinians said this fell far short of their demands.


On Thursday, UN chief Ban Ki-moon noted with concern that, despite Israel’s decision to restrain some settlement construction in the West Bank, “activity and financial support for expansion are continuing there and in East Jerusalem”.


“Settlement construction violates international law and contravenes the road map, under which Israel is obliged to freeze all settlement activity,” he said.


He also stressed the need for both sides to resume negotiations.


“If we do not move forward on the political process soon, we risk sliding backward”.


The Israeli premier further complicated the task facing Mitchell on Wednesday by laying down a new precondition for any peace deal.


Netanyahu insisted that Israel would keep a permanent presence in the Jordan Valley on the eastern border of the Palestinians’ promised state.


The Palestinians categorically rejected the suggestion.


Israel’s Haaretz newspaper on Friday quoted a senior minister it did not name as saying the chances for a resumption of peace talks were “slim”.


The mass-circulation Yediot Aharonot for its part said that Israeli officials believe the US administration will now put the Israeli-Palestinian issue at the bottom of its list of priorities.


“The administration will continue to try to renew negotiations, but will not go out of its way,” it quoted an official it did not name as saying.


Arab News
 

The origin of Darwin



The evolutionist's great-great-grandson Randal Keynes discusses the film 'Creation,' based on his book about Darwin's struggle over faith and family

By Lori Kozlowski

Randal Keynes, 62, is the great-great-grandson of Charles Darwin. He is also the author of the book "Darwin, His Daughter, and Human Evolution," inspiration for the new film "Creation," starring Paul Bettany and Jennifer Connelly. 

The film, which opened Friday and gets a wider release Jan. 29, is a heartbreaking biopic that explores Darwin's life and loves and portrays him as more than a bit tortured by an irony in his family: Darwin (Bettany) was poised to go public on the origins of all life, including that of human beings, and his wife, Emma (Connelly), was a devout Christian who believed the only way to heaven was to trust in God. 

Darwin struggled over whether to reveal his theories and how it would affect his family. His oldest daughter, Annie, who died at age 10, becomes his conscience in the film -- an apparition that helps and haunts him.

Keynes talked about the book, the film and his family's stories about Darwin.

How did you come to write the book that inspired this film?

Darwin was always in the background, but after early childhood, I didn't really pay much attention to him. . . until I was asked to help in the restoration of the home. I was asked if I could find out about Darwin's life with his family, and I went to this chest of drawers. And in the back of one of the drawers I found this little writing case, which was Annie's. . . . I found the box and saw there was a story there. I saw Darwin in a different way -- as a father who loved his daughter.

Did Paul Bettany portray Darwin the way you had imagined him?

Paul Bettany entered the character and brought him to life in a way I find compelling. Jennifer Connelly, in the same way, caught Emma's spirit. And each of them used their familiarity with the other to give us a wonderful idea of how Darwin and Emma were so close to each other.

Darwin was obviously very conflicted over his science and the religious beliefs of his wife. Did this struggle show up anywhere else in your family?

Some of their children were Christian. Some of their children were agnostic. None were atheists. My great-grandfather was agnostic.

There was a time when this was an issue. Francis [Darwin's third son] published a biography five years after Darwin died. It was written from Darwin's letters he left behind that were meant to be private and for the family only; in them, [Darwin] writes that he was sure he couldn't join Emma in her beliefs about the Christian religion and her commitment to Christian faith. So, there was an issue in the family that was between descendants who were agnostic and descendants who were Christian. 

Is anyone else in your family a scientist?

Yes, my father is a biologist. And my brother is a biologist. Both are scientists at Cambridge University in England. My great-grandfather was an astronomer. 

Your grandmother often shared her memories with you. Is there a particular story she told that sticks out?

My grandmother didn't know Darwin because she was born eight years after he died. But she spent holidays with her grandmother Emma. And I spent holidays with my grandmother, who told me about going to Down House [Darwin's home in Kent, England].

Down House was a very special place, because Darwin and Emma were very uncharacteristic of 19th century parents, giving the children freedom to enjoy themselves. . . . 

One thing in particular was the staircase slide. It was a board of wood that was put on the staircase. Each of us had a cushion, and we would put the cushion on the slide and slide down the stairs at great speeds. We knew this had been a tradition, because in a letter from Emma [to one of the children], she wrote: "Your father has just had a slide made for the staircase".

What else did you discover in your research at Down House?

In that chest of drawers, I also found all of Emma's little pocket notebooks. . . . You can see in her little pocket notes about how Darwin is doing, if he is sick or doing better. You see in these notes how distressed he was.

The main things we know about Darwin and Emma are from their letters to each other. In each take, it is clear how deeply Emma cared about the issue we see in the movie. By Darwin's inability to be part of the Christian faith, she feared their inability to be together for eternity, and not being with him in the afterlife.

Why do you think it is important for the public to know more about his personal life?

He was a very remarkable man in the way he did his science and the way he thought about the implications of it, before he gave it to the world. It is admirable, especially with an idea that he knew would be hard for most to accept. . . . 

I hope when people see the film, they can see that this theory came from a humane, conscientious person whose ideas, which he thought through so carefully before publishing, should be taken very seriously. 

I hope people take away a Darwin they didn't know.

Los Angeles Times

Canada's man in Tehran was a CIA spy


The diplomat praised for sheltering Americans during the Iranian Revolution tells The Globe he was made 'de facto CIA station chief' in a secret deal between a U.S. president and prime minister Joe Clark


Michael Valpy



Ken Taylor, the Canadian diplomat celebrated 30 years ago for hiding U.S. embassy personnel during the Iranian revolution, actively spied for the Americans and helped them plan an armed incursion into the country.
Mr. Taylor, ambassador in Iran from 1977 to 1980, became “the de facto CIA station chief” in Tehran after the U.S. embassy was seized by students on Nov. 4, 1979, and 63 Americans, including the four-member Central Intelligence Agency contingent, were taken hostage.
Had his espionage been discovered, Mr. Taylor told The Globe and Mail in an interview this week, “the Iranians wouldn't have tolerated it. And the consequences may have been severe”.
His intelligence-gathering activities were kept secret by agreement between the Canadian and the U.S. governments, although his role in sheltering six Americans and helping to spirit them out of Iran was later made public, winning him and the Canadian government widespread U.S. gratitude.
Trent University historian Robert Wright, author of Our Man in Tehran , a new account of the incident released today, strongly implies that then-prime-minister Joe Clark insisted Mr. Taylor's spying be kept quiet, fearing a negative political fallout if the Canadian public learned that one of its envoys was a U.S. spook.
Mr. Taylor himself said he never expected the story to come out. “It had been under wraps for 30 years, and my assumption was that it would be for another 30 years. I didn't expect to be here to talk about it”.
The phrase “de facto CIA station chief” appears in Prof. Wright's book, the manuscript of which Mr. Taylor saw and approved in advance of publication.
The request that he provide “aggressive intelligence” for the Americans was made personally by U.S. president Jimmy Carter to Mr. Clark, likely in a telephone conversation on Nov. 30, 1979, according to Prof. Wright.
Mr. Clark gave his approval, and informed his foreign minister, Flora MacDonald, who passed the request on to Mr. Taylor. He instantly agreed.
“I saw this [the hostage-taking] as something that wasn't right,” Mr. Taylor said. “Anything in a modest way that I could contribute … looking for some sort of solution to this, I was quite prepared to do. I felt strongly about it. And I felt we could get away with it. They weren't going to catch us”.
From that point on, what amounted to the U.S. intelligence operation in Iran was run by Mr. Taylor from the Canadian embassy. The daily information he sent out was seen by only two officials at what was then the Department of External Affairs in Ottawa – Louis Delvoie, director of the intelligence analysis division, and Pat Black, assistant undersecretary for security and intelligence.
They showed the cables to Mr. Clark and Ms. MacDonald before passing them on to the U.S. ambassador in Ottawa, Kenneth Curtis, who in turned forwarded them to Washington.
What precisely Mr. Taylor was doing needs careful definition. In reality, he was managing a Canadian, not a U.S., intelligence station, which the Americans – because they had no network of their own after their embassy was seized – wanted to join.


The first CIA agent sent into Iran after the hostage-taking was rejected by Mr. Taylor as unsuitable. He left the country. The second agent sent in, code-named “Bob,” won Mr. Taylor's approval and thereafter operated out of the Canadian embassy.
Mr. Delvoie had the job of insulating Mr. Taylor from interference from CIA headquarters in Langley, Va. Thus, Mr. Taylor on his own managed Bob, and all of Bob's reports were sent to his Langley spymasters through Mr. Taylor. He was in charge.
The ambassador's chief accomplice was Jim Edward, head of security at the Canadian embassy. He, like Mr. Taylor, was given the choice of whether to spy for the Americans and, like Mr. Taylor, readily accepted.
He became a clandestine operative assigned by the ambassador to snoop for military intelligence while mingling inconspicuously with crowds of Iranians outside the U.S. embassy – an unlikely mission for the fair-haired, blue-eyed, broad-shouldered, six-foot-tall Canadian Forces sergeant.
The two men – at times in collaboration with Bob – assessed potential helicopter landing sites, arranged for trucks to be garaged at a secret location in Tehran and analyzed other logistics in preparation for a commando raid, dubbed Operation Eagle Claw, to free the hostages held at the embassy.
Sgt. Edward's specific job was to report on the number of guards at the embassy, how they were armed and when they changed shifts, ascertain where specifically the hostages were being held and track the daily movement of people and goods in and out of the compound – particularly the inward passage of foodstuffs and outward movement of waste, which allowed Mr. Taylor to calculate the hostages' daily caloric intake and assess their general health.
In conversation with The Globe this week, Mr. Taylor said he felt confident taking on the U.S. intelligence enterprise because Iran at the time was in chaos and the risk was minimal (although Sgt. Edward and his Iranian girlfriend Layla at one point were detained and questioned for five hours by Revolutionary Guards).
Mr. Taylor also said he was sure he could have got the “houseguests” – the six Americans sheltered in his and embassy immigration counsellor John Sheardown's residences – out of Iran without U.S. help, but the Americans didn't want the Canadians to move alone.
What frustrated Mr. Taylor and Ottawa was that the Americans wouldn't stay focused on the houseguests, although there was evidence that The New York Times and Jean Pelletier, Washington correspondent for Montreal's La Presse, had got wind of their presence in Canadian hideouts.
Ms. MacDonald decided to press her U.S. counterpart, secretary of state Cyrus Vance, to do something, providing a fascinating footnote to Canadian political history: the details of why she wasn't in Parliament on Dec. 13, 1979, for the vote that felled Mr. Clark's minority government.
She was in Brussels for a NATO ministers meeting. The meeting ended but Ms. MacDonald took advantage of being in the same city as Mr. Vance to seek a meeting with him. Face to face, she told him the Canadians would put the houseguests “on donkeys and send them across the border” if the Americans didn't move.
She then missed her flight across the Atlantic, and missed the vote.
The CIA working with Mr. Taylor arranged for the houseguests, using Canadian passports, to “exfiltrate” Tehran on a flight to Zurich on Jan. 27, 1980. Mr. Taylor then closed the embassy and left with his staff.
The last of the U.S. embassy hostages were not released until Mr. Carter's successor, Ronald Reagan, was inaugurated on Jan. 20, 1981 – 444 days after the embassy had been overrun.
Prof. Wright started working on a book about the hostage incident at the suggestion of his editor at HarperCollins Canada who noted that the 30th anniversary was approaching.
To his surprise, Mr. Taylor said he was telephoned by a senior spokesman at the Department of Foreign Affairs and Trade, Rodney Moore, and asked whether he wanted to participate in the project.
The Globe and Mail

Andy Dick Arrested for Sexual Abuse


Andy Dick was arrested in West Virginia this morning on two counts felony counts of sexual abuse.

He is currently in custody at the Western Regional Jail. He is due to be arraigned sometime today. 

Dick was in town performing at the Funny Bone in Huntington, WV.

Dick is currently on probation over an incident at a pizza joint, where he was arrested for sexual assault. He copped a plea to battery in 2008.


TMZ

Simulators Prepare Soldiers for Explosions of War





FORT EUSTIS, Va. — A Humvee bumps along a dirt road fringed by mountains, their snowy peaks glinting in the sun. Rifle shots crackle from a rocky bluff, signaling a Taliban ambush. Suddenly an explosion rocks the vehicle, tossing it from side to side before it bounces to an uneasy stop, smoke billowing into the cab.



This is a roadside bombing, Hollywood style. But this is no film set. The Humvee is part of an elaborate simulator that prepares soldiers for one of the most hazardous jobs in Afghanistan today — driving.


Training to defend against the Taliban’s most lethal weapon, the improvised explosive device, or I.E.D., can feel a bit like taking a ride at Disney World these days. Or watching a 3-D movie. Or playing an interactive computer game.


The simulator is just one example of how the Pentagon is trying to harness the high-tech wizardry of the entertainment industry to counter the low-tech bombs, which have killed more American troops in Afghanistan over the last two years than gunfire.


Known as I.E.D. Battle Drill, the system uses amusement-ride hydraulics that can make passengers feel as if they are hitting potholes or buried mines. Screens surrounding the vehicle on three sides display Afghan-like terrain in high-definition video sharp enough to discern rocks on the roadside and leaves on the scrubby bushes.


“This is better than anything I can recreate in the field,” said Maj. Michael Dolge, a Fort Eustis trainer who experienced several bombs attacks in Iraq and Afghanistan. “I think my gunner would have had some unpleasant memories if he rode in it”.


The simulator is just one of several game playing or virtual-reality devices the Defense Department has hustled into operation as I.E.D. casualties have risen.


At Fort Bragg, N.C., and Camp Pendleton, Calif., soldiers and Marines have begun training on a program created by the Institute for Creative Technologies at the University of Southern California that uses fictional video narratives and a multiplayer computer game.


In one video, an insurgent played by an actor demonstrates how I.E.D.’s are built, planted and detonated; in another, an American soldier describes how his team responded to a bomb attack. The session finishes with a 15-minute interactive computer game in which one team tries to avoid getting blown up by the other.


In another application of gaming technology, Defense Department programmers working in a strip mall near Fort Monroe, Va., have taken daily intelligence reports, surveillance data and satellite images from Iraq and Afghanistan to produce computer-generated simulations of the latest I.E.D. tactics and technology.


The high-quality graphics, which can depict Blackhawk helicopters or sandal-shod insurgents, are generated by a commercially available war-gaming software called Virtual Battle Space 2. Completed simulations are then e-mailed to commanders and intelligence officers around the world.


Mark Covey, who oversees the simulations unit, said many officers were initially skeptical about his simulations until someone compared an insurgent video posted on the Internet to one of his productions depicting the same attack. They were virtually identical.


The counter-I.E.D. systems are just one part of a broader trend by the military to use virtual reality, 3-D technology and computer game software to train deploying troops and treat combat-scarred veterans.


The firm that helped convert an actor into the creature Gollum in the “Lord of the Rings” trilogy, Motion Reality, has created a 3-D virtual reality training program that simulates small-unit combat missions.


Therapists at several military and veterans hospitals are also using a system known as Virtual Iraq to treat post-traumatic stress disorder. The system, based on a computer game called Full Spectrum Warrior, helps patients to re-imagine, with the help of virtual reality goggles and headphones, the sights and sounds of combat experiences as a way of grappling with trauma.


The effectiveness of the new technology is still being studied. But some critics warn that computer games and virtual reality systems used for training are only as effective as their software, meaning that programs that underestimate the creativity of the enemy may leave even the best-trained troops with a false sense of mastery.


But advocates say the new training systems can be easily updated to reflect changing realities on the ground. And they point to other advantages, including that most systems can be transported to the war front.


Trainers say that the I.E.D. Battle Drill’s greatest benefit may be in teaching soldiers to stay alert for unusual details in the landscape that might signal buried bombs or impending ambushes. Those clues could be as obvious as a speeding truck or as subtle as a pile of rocks. Crews that spot those clues and respond are rewarded by moving onto more complex scenarios. Those who do not get blown up.


“The best way to defeat an I.E.D is to find it,” said Master Sgt. David Richardson, a veteran of Afghanistan and Iraq who now trains soldiers at Fort Eustis.


Getting blown up is also instructive, trainers say, because it gives soldiers a taste of disorientation that might help them recover faster from a real attack.


“The first reaction is to freeze,” said Gary Carlberg, training chief for the Joint IED Defeat Organization, or Jieddo, a Pentagon agency. “But if I can build up your threshold through one or two explosions, you won’t freeze and become a target”.


The simulator grew out of the kind of alliance between the military and the entertainment industry that has become more common since 9/11.


At the behest of Jieddo, Richard Lindheim, a former film studio executive and past director of the Institute for Creative Technologies, recruited a team of experts. Cinematographers invented a high-definition camera capable of seamless 360-degree shots. A veteran sitcom writer plotted the training scenarios. Gaming programmers built those scenarios into videos. And a company that has created rides for Universal Studios and Disney manufactured the equipment.


Mr. Carlberg said: “We’re not going to armor ourselves out of this problem. But if we can, we take the most valuable, flexible resource we have, the human being, and maximize it, that will make a significant difference”.


Andrew W. Lehren contributed reporting from New York


The New York Times

3-D Gaming Is Waiting for Its Avatar


By Chris Kohler



With manufacturers rolling out 3-D television sets, the promise of videogames that transport players into deeply immersive 3-D worlds is inching closer to reality.
Emphasis on the inching. The burden of 3-D glasses, the cost of a brand-new 3-D TV, the paucity of programming — all the reasons that adoption of 3-D television will be slow as molasses also apply to games. But there’s one more treacly trap: Creating compelling games that drive players to buy expensive new 3-D setups.
Designers say it’s easy to drop 3-D into an existing game, but that’s where the work begins. As a result, it could be quite a while before consoles get their Avatar — a blockbuster title that fundamentally changes gamers’ experience and expectations in the same way James Cameron’s sci-fi smash has for movies.
“Since so many games are built on 3-D engines, run on ever-more-powerful machines and are displayed in HD, it’s becoming easy to make them stereoscopic,” said game designer Heather Kelley in an e-mail interview with Wired.com. Still, “stereoscopy is almost always just an enhancement to the image and the sense of ‘immersion,’ rather than a true game-changer,” she said.
To create a killer game that makes 3-D a must, designers need to start from the bottom up.
“I think you have to design for stereoscopy, even if it’s just for a superficial spectacle that in no way affects the gameplay,” said Fez designer Phil Fish in an e-mail. “Even just getting the ‘wow’ factor right is going to mean changing the way we do a lot of things”.
At this year’s Consumer Electronics Show in Las Vegas, 3-D television sets were the hottest topic. Most every major manufacturer, from Sony to Samsung, showed new 3-D televisions that work with special glasses to bring a high-quality stereoscopic image right into your living room.
Sony made PlayStation 3 a big part of its pitch, promising lots of 3-D game content. But despite all the hype, some say that mass market 3-D gaming remains a long way off.
“It will take a few years to get broad penetration of 3-D displays, and the burden of wearing glasses will limit penetration,” said Wedbush Morgan Securities analyst Michael Pachter in an e-mail interview. “Games will probably have 3-D built in, but it won’t be a huge selling feature for at least five years, if not longer”.
Console makers have varying takes on the viability of 3-D gaming. John Koller, director of PlayStation hardware marketing for Sony, said his company is committed to publishing many 3-D titles in late 2010 and in 2011. “We’ll be providing enough of a game lineup to make it mass-market,” he said.
Microsoft is less enthusiastic about the near-term potential of 3-D. Aaron Greenberg, director of project management for Xbox, said that while the Xbox 360 supports 3-D display, it is “up to developers” whether they want to produce 3-D games.
“There’s a tiny, tiny, microscopic number of consumers that are invested in buying 3-D TVs and that I think will do so any time in the near future,” said Greenberg. “If people want to make one of those games, they’re obviously welcome to … but that market is relatively small because of the investment needed”.

To drive consumer demand, gamemakers will need to cook up killer apps that make gamers want the tech, much like James Cameron’s Avatar movie did for 3-D televisions. According to a recent study by the electronics retailer Retrevo, consumer awareness of 3-D televisions increased from 39 percent to 60 percent after the release of the acclaimed film.
The “3-D enabled” videogame version of Avatar hasn’t been so lucky: Critics were lukewarm (it currently scores an average rating of 60 percent on Metacritic) and publisher Ubisoft said sales were lower than it expected.
Coming up with compelling 3-D games could prove harder than it looks, according to designers Kelley and Fish. Their “experimental game” collective Kokoromi put on a 2008 event called Gamma 3D in Montreal, soliciting and exhibiting works from indie game designers who were using low-tech, red-blue anaglyph 3-D.
Of the games submitted, Kelley called out The Depths to Which I Sink as the only one completely dependent on 3-D vision to play. “It actually uses the color information, and removes other natural cues,” she said. “What it proved to me was that using only anaglyphic stereoscopy in your gameplay is extremely challenging”.
Because games can include multiple display options, publishers don’t need to wait for the technology to become standardized, Kelley added. But simply layering on 3-D technology can also highlight a game’s visual flaws, according to Fez designer Fish.
“Things like matte-painted backgrounds become obviously flat” when viewed through stereoscopic glasses, he said. “You can tell these mountains are just on a plane behind that farm or whatever. Everything that’s an alpha plane, like a blade of grass, also becomes painfully flat”.
Much as with Avatar, Cameron’s 3-D sci-fi steamroller that is close to becoming the all-time worldwide box office champ a month after its release, full immersion into virtual worlds could be the key to 3-D games’ success.
“Our objective for the launch (of 3-D on PlayStation 3) is to continue to place players in a position to become part of the game,” said Sony’s Koller. “It’s always been kind of that Holy Grail…. Immersing the player into the game even further is the goal of most developers and publishers at this point”.
There’s one final problem facing gamemakers hoping for a 3-D high. For gamers to want 3-D games, they have to try them first. Gamemakers trying to sell 3-D content will run into a marketing challenge much like the one Nintendo faced with its 1995 introduction of Virtual Boy, a portable stereoscopic game machine.
Players stuck their heads into the Virtual Boy visor, which sent separate signals to each eye. As a result, only the person playing it could see what was going on. Virtual Boy screenshots in magazines didn’t convey any real information about what games actually looked like. And nobody could watch their friends play over their shoulders or sitting on the couch.
Needing to use 3-D glasses to get the experience of stereoscopic gaming will likely cause a similar problem, especially as prices remain high. (A representative for Sony Electronics said the company was not yet ready to share details about how expensive its new televisions would be in 2010 or how many it expected to sell).
It’s likely that relatively few consumers will invest the thousands of dollars it will take to get 3-D up and running in their homes this year or in 2011. Once the price of televisions and glasses drops, that will probably change, especially since every TV maker is pushing the technology hard. Once 3-D TVs get a foothold, the 3-D games will follow.
“Yeah, its gonna get big,” said Fish. “What else do they have to get you to buy a new TV?”
Top photo: Sony demos 3-D gaming at its PlayStation 3 booth at the 2009 Consumer Electronics Show in Las Vegas



Photo: nixiepixel / Flickr / Creative Commons


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