Petry System Family Wision USA

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[introductory notes to cast and crews][mechanics of screenwriting][project SesQuaTercet][roles]

I'm the Strategic-Director.

And, welcome, to project SesQuaTercet - this is just like family summer-camp for three weeks: You eat our food, sleep in our beds, participate in lots of activities, lead, follow, hike, perform skits for your fellow campers, take family videos ... except, these are high-resolution stereo-eyes-ed digital HDDVideos, the skits are high-technology graduate science and mathematics, the hikes are out-of-this-world, the beds are unidentified flying objects, and ... this is, Spring Break - the trilogy.

This story takes our audience on a fast Spring Break with four university researchers, wherein they discover the keys to a better modern science, and in the course of days, travel faster than the speed of light to the galaxy center by starship, the whole cosmos by cosmic elevator, and, what's outside our cosmos - well, that's what, universe-ity, means! Beginning in contemporary America, ca. 1999, our cosmic team thinks their way out through every familiar science-fiction theorem, examining, proving, and, improving - no slouches matriculate in our colleges - they resolve: where we are, what we are, why we are - they answer questions never before asked. We're following them because, they are really us: For production purposes we may not always be on location: the safety of the performers and crews, is a foremost security concern - the cost of cosmic travel is secondary.

I want to say right-up, that I have served our USA national security as a crypto-TEMPEST engineer in digital electronics and computing. I left that job decades ago when I felt that better developing security techniques and methodologies, not reorganizations, were requisite, and although we're not working in national security here in this feature movie, we are working in world-security - and we're not going to deviate one iota: I've seen to that. If you think you don't qualify, if you think you'll prefer a little sabotage of idealism here or there, in this place or that, leave now - this introduction is being video-taped for your replacement - and while that's not as good as being here, they'll know what you should and should-have.

Second, I want you to know right-up that, best, is not good enough. This production must be, good: I've seen to that. You shall have no opportunity to fail - if you willfully choose to fail, you have a ticket home. We may not always be welcomed on location, but we shall always have the authority and opportunity to do good - most of you are as expendable as cameos - a few of you have some role continuity, and are being reimbursed accordingly. The Uniform Code of Military Justice ranks every American (army) man and woman in a foreign country, an ambassador for America. Be ambassadors: Don't die the death.

Thirdly, a word on your acting opportunity: Act: Do not over-act! Acting is like thinking: an engineer is hired not to think - he always thinks: if he ever stopped thinking, he'd be unreliable for engineering - he is hired to think thoroughly, perfectly about a particular effort that is abundantly productive: broadcastly sellable at a small price and big profit. You are hired not to act - you always act: if you ever stopped acting, you'd be unreliable for movie-making - you are hired to act thoroughly, perfectly about this particular effort that is abundantly productive: broadcastly sellable at a small price and big profit. Act: Do not over-act! To put this in paraphrase of a reknown religious reformer: Act, truthfully: Do not over-act; Do not re-act; Do not in-act; Do not dis-eased-act; Do not die the death. Act-throughly: Follow-through your act like the gymnast in the middle of her flip-flop: keep going: Our editor needs something she can edit-out!

Fourthly: Two rules on the set - actors included:

1. Rule #1 - Never shout!
2. Rule #2 - actors have their appointed acting coach to help them with Rule #1
• Shouting the LETTERS ALL CAPITAL IS SHATTING: it shatters
• Actors names and emotes in CAP's are audio-visual cues for camera presence, attention, focus
• You may sometimes be directed to call-out, sometimes loudly - but never shout
• Unless you're doing some distant political angst tantrum (don't equate those) to your audience - in which case it shall be demarked, bracketed, s-h-o-u-t - we don't have shouting
• Sometimes acronyms, NASA, U.S.A., are in CAP's - pronounce, spell - don't shout them
• Exclamation concerns emphasis, enunciation, exaction, exuberance, ecstacy ... don't shout that

Sincerely.
Mr. Raymond Kenneth Petry, Strategic-Director for SesQuaTercet

Professors' Spring (trilogy) - BREAK - RETURNS - FLING

digital music [var] © [tbd]

Strategic Director: Mr. Raymond Kenneth Petry
Producer-Director: Wision--SesQuaTercet USA
Casting Director: Wision--SesQuaTercet USA
Tactical Director: [tbd]
Operations Director: [tbd]
Screenwriter: Mr. Raymond Kenneth Petry
Registrar: Wision--SesQuaTercet USA
Recipient: N E M O Nuclear Emergency Management
Registered Owner: Lanthus Surrogate Executive Accessions Management
Licenser: [tbd]

The theory of measurement propounded in this work is not to be cited (as) considering contraband or corpses; Nor are the intellectual appurtenances hereïn to be used for or in the commission of crimes against persons, peoples, properties, or powers (States).

COPYRIGHT: BASIC LIBRARY RULES: NONTRANSFERABLE: READ QUIETLY

CHARGES FOR OTHER USES:
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or systematic, paraphrase, depiction, evaluation, comparison;
• plus additional media costs, less efficiency discounts;
• unauthorized use, treble standard;
• final charges greater or lesser per U.S.A. Copyright Law,

regarding fair-use/citation and second-source/mirror-site.

© 1997-2001 Mr. Raymond Kenneth Petry