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back-and-totheleft · 11 months

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Stone Raids Wall Street

Once upon a time Oliver Stone was best known for his scabrous screenplays for films such as Scarface and Year of the Dragon. Then his 1986 films, Platoon and Salvador, racked up a slew of Academy Award nominations, and Platoon collected Oscars for direction, editing, sound, and Best Picture. Stone was honored not for safe, Masterpiece Theatre-type films that make Academy members feel good about themselves, but for violent, unpleasant films on subjects considered until recently to be box-office poison—Central America and Vietnam. In one short year, he has emerged as the most interesting and important director in Hollywood. Nevertheless, as no one knows better than Stone, the winds of celebrity are fickle, and when we spoke with him in August, he was anticipating a more qualified reaction to his forthcoming film, Wall Street.

Q: How did you get the idea for Wall Street? A: The story first came to me while I was writing Scarface. Its get-rich-quick Miami mentality had certain parallels in New York, where an acquaintance of mine was making a fortune in the market. He was like some crazed coke dealer, nervously on the phone nights trading with Hong Kong and Lon- don, checking the telex, talking about enor- mous sums of money to be won or lost on a daily basis. His lifestyle was Scarface North. He had two huge Gatsby-like houses on the beach in Long Island (he couldn’t decide which one to live in), several dune buggies, cars, Jeeps, a private seaplane company, an art collection, and a townhouse in Manhattan. Then he took a giant fall; his empire came crashing down around him. He was suspended from trading; he lost millions and spent millions more in legal fees clearing his name, which he finally did. It made him a different, stronger person as a result, and it was partly this tale of seduction, corruption, loss, and redemption (as well as other stories we heard on the street, among them that of David Brown, a broker convicted for insider trading who served as an adviser on the film) that was the basis of Charlie Sheen’s character in our script.

Q: Wasn’t your father a broker? A: Yes, he was on Wall Street for 50 years or so. My father’s world was very intimidating to me; I viewed it from an Orson Welles perspective out of The Magnificent Ambersons. | remember the staircases and mirrors. I remember looking down through banisters at Mom’s parties, at the rich people, the sophisticated people, women from Europe with accents, Belafonte or Sinatra on the phonograph singing ‘50s songs. Then they’d go out in packs like in La Dolce Vita to faraway places like El Morocco.

Dad would take me to the movies (how rare to be alone with him)—Dr. Strangelove, Paths of Glory, Seven Days in May—the ones with the ideas, and inevitably he’d come out of the movie and say, "Well, we could've done it better, Huckleberry,” and he’d tell me all the reasons why this plot was silly or illogical. It would make me think, which is one of the things a father is supposed to do. And he’d always say they never did intelligent pictures about businessmen; businessmen were always satirized or were stereotypical bad guys.

Dad believed very strongly in capitalism. Yet the irony of it all was that he never really benefited from it. All his life money was an overriding con- cern. But he never owned a single thing; every- thing was rented, right down to the cars, the apart- ments, and if it had been possible, the furniture. There was an insecurity at the heart of our family existence. I began to resent money as the criterion by which to judge all things, and there grew to be a raging battle between my father and me about it. I found ways to throw away everything I had, which pissed my father off. | went to Yale but dropped out, and he lost the tuition. We reconciled before he died [in 1985], but by then I had moved away from it all. I didn’t want to go to an office every day from nine to five. I didn’t understand Wall Street. “Going into movies is crazy,” he would say. “You aren’t going to make a dime.”

When I was working on Wall Street, I felt my dad was sort of around in a ghostlike form, watching over me and laughing, because here is the idiot son who doesn’t know anything about the stock market, who can barely add and subtract, doing a film with the grandiose title Wall Street.

I always hated New York, which is what made it so special returning some 25 years later with a crew of professionals, a self-contained artillery unit. (I even got to cast Hal Holbrook, who is everybody’s dream of a father, as my father.) And suddenly | got a glimpse of a mysterious world I'd only scratched the surface of as a child—the adult world, New York in its power, glory, and greed.

Q: You're not dealing with war and revolution in Wall Street, as you were in Platoon and Salvador. It’s a less weighty film.

A: It appealed to me precisely because it is a lesser statement. There is only so much you can say about yuppies. I knew if I sat around for two or three years doing a Hamlet number - should I give the world another film? - I would really drive myself crazy. I would rather turn something out fast, get it over with, give the gold crown to somebody else so I can get on with doing things that I really care about, which are ideas. I’m ready to take a fall. I'm not expecting the same critical praise or the same box office that I got for Platoon.

I think I have always been identified with “‘lowercase”’ films that take people by surprise. It is strange suddenly to be in a front-runner position with Wall Street. I like being a dark horse. Celebrity can hurt the creative process if you let it go to your head. You start weighing your image of yourself instead of somehow keeping your head low down to the ground like a bulldog, telling a good story, and not letting your ego stand in your way.

Q: How did you get a producer for Wall Street? A: Initially, I brought the script to John Daly at Hemdale. But he didn’t think the audience would go for a movie about people who were making millions of dollars. On the other hand, Ed Pressman and Twentieth Century Fox loved the idea, which was fine with me, because Wall Street was going to have to be shot in New York, and consequently it was going to be expensive. Hemdale is not really into $15 million movies; it would have been a big risk for them and more pressure for me, whereas for Fox it is a medium-budget movie.

Q: Did you get any cooperation from Wall Street? A: Initially, no. They felt Stanley Weiser (the co- writer) and I were going to trash the Street. Then after the success of Platoon, people started coming out of the woodwork. We hired Ken Lipper, who was formerly the deputy mayor of New York City and was managing director of Salomon Brothers, and we consulted with people such as John Gutfreund of Salomon, and Carl Icahn.

Q: How did the consultants help you? A: Ken Lipper put Charlie Sheen and Michael Douglas inside Salomon Brothers. He also got us into places like The 21 Club, Le Cirque, and, most important, the New York Stock Exchange, which was a first. No film had ever been done there. We actually shot on the floor while they were trading. A lot of the older traders were upset because they were trying to make money and we were creating a disturbance, but there were many more Vietnam veterans on the floor than I had imagined, and they had seen Platoon.

Ken was also on the set. He helped us with details: how brokers deal with sales, how they write up orders, their body language—how they hold a telephone, what is the pace of the conversation. I had no clue how these things are really done.

Q: What was it like to shoot in New York? A: Sixty-ninth Street and Madison was a fucking mess. Michael Douglas was shaking hands all day. Bill Murray came by, actors, businessmen, kings, diplomats—it was a constant stream of Hi Daryl [Hannah], Hi Michael, Hi Charlie. We'd try to shoot a scene and there would literally be a thousand people coming to look. It was impossible to work under those conditions. So | hired about 200 extras and filled the sidewalk with them so we could control the streets. If anybody walked onto that sidewalk they would see all these people standing stock still waiting for the cue for action. It was so bizarre, they would skirt the sidewalk and walk away.

And here’s an example of how unions can fuck up reality. | wanted real derelicts, but there’s a law in New York that the first 125 extras in major feature films have to be union. We made up the extras, but they never looked real. So if I need a real bum in a scene it has to be the 126th man. I just threw up my hands in disgust. My derelicts will have to go in my next picture

Q: Why did you cast Charlie Sheen in the lead role? A: | thought that he could do a good job of playing a bad boy, showing the negative side of Wall Street. There is a devilish side to Charlie that didn’t come out in Platoon, where he was more of an idealized figure. I think he’s been in trouble, and that shows in his personality, a strong streak of rebelliousness combined with an inner grace passed on from his father, Martin Sheen, who plays his father in the film. Charlie is only 22, which made him much younger than the brokers being busted on Wall Street, but we aged him with good suits, a haircut, and he gained a little weight from the good life in New York; his face is a little jowlier than normal. He invested his own money in the market, hung out with the young brokers at Bear Stearns and Salomon Brothers, drank with them at the South Street Seaport, kids just out of college who have to pull $100,000 in the first or second year just to occupy a space on the floor. Gone are the days of my father, when people were brought along slowly; there seems to be less mercy in the system, and as always the corruption is subtle, almost undetectable in a black and white sense. The corruption of all flesh—needing more and more, until like fat bugs we pop and bleed all over the page.

Q: I understand Charlie’s character was Jewish in the first draft of the script. Why did you change it? A: His name was Freddie Goldsmith, but that would have necessitated a different kind of actor. I would never have believed Charlie as Jewish; he doesn’t have that kind of quickness, the mannerisms, the nerviness. He is more of a laid-back type; at best he could play a Catholic, Protestant out of Queens. I also wanted to drop the Jewish angle because I think that too many people think that Wall Street is run by Jews and that they are all corrupt, a bunch of gangsters. I just didn’t want to give them any more fuel. My father— who was Jewish, I’m half Jewish— always warned me that I would probably see a pogrom in the United States in my lifetime. I didn’t believe him when I was a kid. I believe it now.

Q: Did you have Daryl Hannah in mind from the beginning? A: I've loved Daryl from way back. She’s an admirable person with a real passion for left-wing causes. And she looks beautiful on film. She’s the kind of girl a guy like Charlie would go after. She would be the type of girl who is pretty enough to be around the big money guys. Daryl had problems with her character because it wasn’t a character she particularly liked. She was scared by it. She is a natural, simple girl, and here was a character who was totally artificial. She had a major problem trying to learn that language. She went to a voice coach in New York and tried to change her flat Southern California/Chicago accent into something more nasal, more New York, upper class, and affected. I was tough with her. I beat her up, in a metaphoric sense, and in the early stages I am sure she wanted to quit. I think I made her cry a few times, but I wasn't really pleased with her wanness and passiveness, which were difficult to get through. She needs a very, very strong director. I am not sure I succeeded.

Q: Weren't you taking a chance using someone like Michael Douglas, who’s never played a bad guy? A: I was sort of worried about him because | had been warned by a highly placed studio executive that he would be in his trailer all day reading scripts and on the phone to Los Angeles. But he was always on time, never one minute late in the whole shoot, and very easy to work with as well. He seemed to be aware that it was a big role for him. He told me at one point that his dad had implied that he was finally about to become a real actor; that he had always played wimps, and that this was a role where he could play more toward his father, who could do a heel as well as a hero. Michael loved that idea.

I was amazed, for an actor who has done so many movies, how nervous he was in the beginning. He couldn’t believe it when on the first day I gave him three pages of monologue, like something out of Paddy Chayefsky. He'd never had speeches like that in his life. And then the second day I stuck a hand-held camera in his face about six inches from his eyeballs—he was on a plane, so I wanted to create a sense of movement. He said it was very difficult for him to act, to concentrate and remember his lines, staring at the camera. Then he hit his stride, and by the time we got to the scenes in his office, he was on top of his game.

Q: How do you prepare the actors?

A: In the rehearsal period I try to outline the context of the characters, what their inner life is about, what their backstory is. I try to help the actors suggest things and then let them run with those ideas. Then we have readings; you can see the way an actor is interpreting a role. Once we start filming, we relive what we did in rehearsal seven or eight weeks before. Often it comes out differently; nuances emerge because the material has been marinating in the actor's subconscious. I clear the set except for the actors, so that we keep it quiet. The rehearsal itself can take anywhere from 30 minutes to six hours, in the course of which it should become clear what everybody is looking for in the scene and how to play it. Whether they succeed doesn’t interest me; in fact, I'd rather that they didn’t do it and not spoil themselves emotionally before the cameras go on. Too often you have a good rehearsal and it never comes back.

Q: Do you improvise? A: I always try to encourage spontaneity. I like to be surprised. Astonish me! It is easy to play a scene predictably; a director falls into that because he has to complete the film in a limited period of time. He can clock out all the spontaneity and all the truth. That is the hardest thing a director has to face; he has to stay fresh.

Q: What do you do when a scene isn't working? A: I often deal with it by rewriting extensively on the spot. Part of that process includes listening to the actors. Some actors just can’t say certain words, or they will feel uncomfortable with a speech. They will say, “Gee, Oliver, do I have to say that line? Can’t I just do a look?”

Or I try to use the camera to respond to a mistake. You shoot the scene in such a way that you can cover the blemish. You change the angle, you move the camera. We did enormous amounts of moving camera in this film because we are making a movie about sharks, about feeding frenzies, so we wanted the camera to become a predator. There is no letup until you get to the fixed world of Charlie’s father, where the stationary camera gives you a sense of immutable values.

I generally work fast. | did Salvador in 50 days. I did Platoon in 54 days. | did Wall Street in 53 days. I came in seven days ahead of schedule and close to $2 million under budget. We never wasted an hour. If it rained, we made it a rain scene: Charlie goes to the beach in the rain. I hate waste. When I read about directors shooting a million feet, it makes me sick. They say film is cheap, but how can you sit there in the editing room and have to go through 30 or 60 or 95 takes? Ultimately, take 30 doesn’t look that much different from take 7. Usually after six or seven takes, I let it go. The most I ever did was nineteen takes.

Q: Do you relax in the editing room?

A: Hell, no. I tend to shoot three-hour movies and cut them down to two hours. My scripts are long; I blow a lot of my time shooting scenes that never get into the movie. We had 80 speaking parts in Wall Street. | will probably cut twenty of them. Editing to me is like a tremendous retreat, a march back from Moscow, a rout. When you are writing and directing, you feel like you’re on a perimeter, expanding. When you are editing you are withdrawing your perimeter as quickly as possible and trying to maintain the CP, the command position, because it is about to go under. Philosophically, it always seems to be that movies are about limitation. Every time I make a movie my original concept shrinks. It is a truth about movies that less is more, that sometimes when you try to do too much you get scrambled, you get killed.

Q: How would you describe the theme of Wall Street? A: I wanted to concentrate on the ethics of the characters and see where they lose their way, where they lose their sense of values, where net worth starts to equal self-worth. I think Wall Street is really about the urban culture of the ’80s. The pressure is enormous on these young guys to produce. | think they are perverted right off the bat. Why would someone who is making $100 million have to make another $20 million? Because he has to stay ahead of the next guy. Money is a way of keeping score. A line in the script says it all: “How many boats can you water-ski behind?’ Ultimately, not about money, it’s about power.

There is something patently unhealthy in using money just to make money rather than to create value. How can you justify threatening to take over a company, then selling it back and making $40 million, meanwhile forcing the company to spin off its assets and lay off employees?

Q: Is there a remedy for insider trading?

A: Probably not. There is no question that outsiders don’t do as well as insiders. I have invested in the stock market now off and on for 30 years, and I never made any money at it. It is a privileged club, an oligarchical institution in which the rich talk to the rich. They don’t talk to the poor. A guy goes to La Céte Basque for lunch. He sees a CEO from some other company and tells him some piece of information about a company that’s going into semiconductors or something, and he is going to buy into it. That’s the way the system works. You read about these kids who are making a million bucks, two million bucks a year—it demoralizes the person making $40,000 a year. All of a sudden everybody needs a Porsche or a VCR or a fishing boat. And this is what fuels America, more and more greed. We deal with these issues by staying inside a very small story, one fish in one Wall Street aquarium and what happens to that fish. #

-Peter Biskind, "Stone Raids Wall Street," Premiere, Dec 1987 (Vol 1 Issue 4)

#oliver stone #peter biskind #premiere #wall street #charlie sheen #michael douglas #daryl hannah #judaism #new york #filmmaking #filming #editing

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king-of-better · 2 years

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Number.38.2: Queen of Lions <Lion Reine>

Originally serialised across 7 editions of Hobby Japan the year after GaoGaiGar, it was collected in novel form, with an added epilogue chapter, the year the last part of FINAL came out, alongside the original 2 part novelisation of FINAL itself. A lot of the models made for the serialisation aren't photographed for the novel version, but I've managed to get the serialised version in hand. This is almost certainly the most important spin off material, due to introducing 3 characters who would become important come FINAL, and a 4th who would return for King of Kings. I'm going to base the chapters off the novel version, might go back and add serialised version notes later.

Chapter 1: Encounter. Hong Kong 2005.

In the dead of night, Chasseur operative Eric Fowler pursues his quarry, a woman whose body seems mixed with an eagle. Eric knows this this woman to become of Bionet's human hybrids, produced using energy recovered from the Jupiter probe to cultivate a human animal hybrid. Eric sees her eyes and recognises the eagle. Before she can kill Eric, a shot rings out injuring the Hybrid, the shooter is one she recognised as Lion Reine, who rescued Fowler, she rejects that name, identifying herself as Renais Kerdif.

Renais, aged 17, was called on by Chasseur for an urgent mission, and met with director Jonas. She often receives complaints due to damaging equipment. The mission however, is to stop a terrorist attack on the GGG France technical research institute by known Bionet affiliate Schwarz Oule, normally active in Germany, and due to othersl agents being occupied, he assigns partners Renais and Fowler to investigate, as Renais' friend Pabia Noah is part of GGG France. Renais seeks to destroy Bionet less for justice, more for revenge. While they prevented the attack as Fowler snuck into CERN, no Bionet agents were captured, the two agents pursues Schwarz to Hong Kong.

Renais had had to track Fowler down after he didn't make contact, working with local police to find him, she attacks the Eagle hybrid, Fowler telling her not to kill it, while she argues it breaks free and dives into the harbour, she cannot pursue with her cyborg body.

At a safehouse, Fowler attempted to determine Bionet's goal, as there was no GGG branch in Hong Kong, their goal was probably to use it as an outpost to reach either Japan's Space Development Corporation or China's Scientific Aeronautics Division. Renais isn't concerned the Eagle hybrid knew her, but she also knew Fowler by name, not his code name Gentleman. Fowler suspects her to be Toba Misao, who he met 2 years ago at the Japanese Cabinet Investigation Office, when both were seeking to acquire Over-Technology for their own governments, after Japan started cooperating Toba was exposed, and vanished after killing a friend and rival of Fowler's. Renais decided to pursue Toba, possibly wanting to believe she too is a victim of Bionet's experimentation.

On a ship, Toba and Schwarz wait. Since being made like this, Toba has yearned for death, but Schwarz and Bionet have consistently prevented it, but she hopes Fowler can kill her. Renais attacked and fought Toba, Fowler rushing to the scene in a Mini. Toba has been lost since the fall of her homeland, the Republic of Velokenia, which was manipulated by Bionet. Angered by her belief Toba has chosen this life, Renais' G-Stone is energised, and she kills Toba. Fowler arrives, and hold Toba as she's dying, saying she can see Inugami again.

Chapter 2: Farewell.China 2005

For 2 about weeks after the death of Toba, Renais and Fowler were held by local authorities, the ship and all its Bionet research taken over by China's GGG affiliate, then 4 days ago it was finally taken to the Scientific Aeronautics Division. Renais and Fowler continued their pursuit of Schwarz finding him at the Great Wall, they monitored to see who he would make contact with. The operation was disrupted by the attack of ZX-05, and Renais gave chase to Schwarz, only to see him captured by the Primeval. Renais convinced Fowler to help chase it so they could capture Schwarz.

The pair hope, through Chasseur's link to GGG, to get intel on the Primeval that will let them act, but she refuses to make direct contact, instead wanting to use stolen Biotech weaponry to destroy the Zonder Robo. While ZX-05 is gathering it's energy, they go to attack, only for Bionet men to attack them. A Zonder Robo suddenly targets Renais, her G-Stone affecting it and ZX-05, and works to try and hold them off,but becomes overwhelmed. Suddenly, a stealth plane flies by, and they grab on. The pilot is surprised, referring to Renais by name, she in turn calls him Full-Cyborg and seems annoyed to see him, to the consternation of the Mobile Unit Captain, harsh words from his cousin.

Gai brings them by StealthGao back to the Izanagi, and informs Fowler that Renais is his younger cousin, and he was unconsciously drawn to her G-Stone while testing StealthGao's repairs. Renais hates her cyborg body, which Gai understands but thinks she is lucky, as his body is almost entirely cybernetic, but he was in a terrible accident, she was experimented on by Bionet. Leo thanks Fowler for taking care of his niece, but when he calls the Shishioh's Renais' relatives she gets angry, and when Leo tries to say Liger and her mother loved eachother, she storms off, Gai follows her, and tries to reassure her of her humanity, and while she finds it hard, she understands him, but blames her father for her current body. Gai, whose parents always loved eachother, cannot understand her feelings.

October 7th, the joint operation to combat ZX-05 launches, Renais and Fowler are allowed to monitor, an agreement was made to turn Schwarz over to Chasseur after he was purified, and Renais would not be mentioned in the report to the Orbit Base. Leo had told Fowler that Liger, while a genius, had a lot of troubles in his private life with his 28 children all taking issue with him, Fowler hoped to help them reconnect. GekiRyuJin rescued the cores, and Special Agent Mamoru purifies the Zonders. The pair took Schwarz, who was now in a state of remorse after purification, admitting he already sent his information. Suddenly Bionet monsters attack, a crocodile bites off Schwarz's head. Renais and Fowler fight, but they are overwhelmed, Fowler takes a blow for Renais, and enrgaed she tears apart all the other monsters. Renais sees that Fowler is mortally wounded. As she watches tearfully, he tells her he did this as his duty to his partner, as he dies.

Chapter 3: Robbery.Somme 2005

After Fowler's funeral, only his widow and 3 year old daughter are at the grave. Due to confidentiality, his wife only onowshe died in a workplace accident. Renais is watching at a distance. The day after Jonas ordered her to Lens, she is to escort the AI units, and is told GGG France have reported her new partner is ready. Renais is unhappy with having to work with the AI, and returning to Lyons, her home until her mother, Freya Kerdif, was killed 3 years ago. She is to escort GBR-8 KoRyu and GBR-9 AnRyu, sister units to FuRyu and RaiRyu, though still maturing. It was determined Bionet in China sought data on the Chinese brothers, so it is possible they will interfere in the transfer, though Renais sees the addition of herself as pointless.

She arrives at the rendezvous point, Felix Paulette Stadium, meeting with Papillion, who was a lead developer. The two robots have the new upgraded GS-Ride unit. From below appears GGG France's Matter Creation Ship Futsunushi, from which emerge the white maser truck KoRyu, and black missile truck AnRyu. Renais is even more confused over why her escorting is seen as necessary.

Renais wanted to ride with the soldiers, but the sisters offer to let her ride, she reluctantly agrees to ride AnRyu, Papillion takes KoRyu. When KoRyu shows concern after she becomes uncomfortable with the memories, she snappd at her. They are seen as they move out in a hovercar by two figures, Moebius and Laplace, whe if Renais had heard would have been filled with rage.

As they approach the Somme, Bionet attacks, Papillion orders the sisters to System Change, and stop the bridge collapsing, when a landslide causes AnRyu to have the same landing issue as EnRyu and RaiRyu. Moebius, who can create weapons from his body, as KoRyu is knocked down and freezes. More troops attack, as helicopters appear, Papillion orders AnRyu to use Nightmare Curtain, to block their vision. Renais rushes to KoRyu, when she sees Laplace, who recognises the "failure" Renais. The scientist has already taken control of KoRyu, and she blinds Renais. Theor are safeguards against lethal attacks, so Laplace decides to retreat with her. AnRyu tries to grab her sister, but is disabled by the squad leader, as KyoRyu drives off with Laplace. Renais leaps at KoRyu with a cannon, but is attacked by Moebius, a second attack is blocked by a sudden shadow. It is clear now why Bionet collected information on the Chinese AI units, for a backdoor into KoRyu, aware of the likelihood of AnRyu to fail to land causing KoRyu shock. GGG cannot be raised, as the are fighting ZX-06 right now.

Chapter 4: Reminiscence.Lyons 2005

When they lived in Lyons, Renais would see her mother, Freya, wistfully speak of Liger, the man she loved, and while Renais was glad Freya was happy, she was annoyed privately how disruptive it was to their relationship. Renais' life changed just before she turned 14.

In October 2002, as Renais' now realises her mother knew Bionet was watching them, Freya suddenly took them to travel. People broke in in the middle of the night, and shots rang out, Renais realising Freya had thrown herself in front of them to protect her. Bionet took Renais to their Lyons branch, and tried to indoctrinate her as an agent, but she always resisted, swearing vengeance. After 18 months, Bionet decided she would be no good as an agent, and decided to use her for experimentation instead.

Laplace and Moebius wanted to create a soldier from more intelligent stock, turning her into a Bio Cyborg. Resisting, she broke out and fought her way through the branch, but her cybernetic were inefficient and burnt out. She was rescued in a Chasseur raid, and a genius scientist performed surgery to give her a stable body, this scientist was one of the worlds top 10 minds, Shishioh Liger, who installed a G-Stone on her body. Blaming Liger for her mother being targeted by Bionet, and as he left before she regained consciousness, she also decided he was too much of a coward to face his daughter, swearing to never forgive him.

Eric Fowler was assigned to instruct Renais as a Chasseur operative, despite being in his 40s he is able to teach her a lot, and where Moebius had for the drop on her was where Fowler normally covered for her. However, they never became close until he died, and she felt guilty for orphaning his daughter.

Chapter 5: Chase.Calais 2005

Renais awakens in a Mercedes-Benz, wich introduces itself as her new partner, Porc-Auto. Renais is annoyed about being assigned a Super AI, not trusting them, but he ignores her complaints, using his Ion Sensor to track AnRyu, but she gets annoyed and learns AnRyu is being taken to Calais, Porc-Auto disagrees, but is forced to take her. Renais takes note of a metal device on the roof she recognises, alongside a metal case. Porc-Auto speeds off for Calais.

Bionet forces have taken the Channel Tunnel, bringing in a white trailer. Chasseur surrounds the Calais end, while the Army surrounds the Folkestone end, though both are primarily hoping to siege Bionet until GGG can arrive. Renais infiltrates, but attacks from Bionet forces force Porc-Auto to defend her, there chagrin, System Changing into robot form. In his case he has a missile launcher, as the trailer moves, Renais pursues on the Clearrit rocket sled. Porc-Auto catches numerous Bionet agents, as learns GGG has had heavy losses against ZX-06, and the Army is going to attack to capture the train, which could cost KoRyu and destroy the tunnel, and opts to pursue and stop devastation. Renais reaches the train, and slows it down, as Porc-Auto arrives. They investigate the train, but it was a decoy, AnRyu is not aboard. Communication informs them that AnRyu has appeared at Felix Paulette Stadium.

Papillion was blaming herself for the capture of AnRyu, at Chasseur HQ, and awoke KoRyu, tryin to assure her. KoRyu senses something above them, and with Papillion's blessing goes on the defence. Moebius and Laplace are there, with the controlled AnRyu. She tries to appeal to her sister, but the control is too strong. The two sisters are forced to fight, AnRyu uses Starnight Curtain to block her. The scientists take control of Futsunushi, breaking through the defences set up by Entoji. Papillion cannot comprehend what their true plan was, as the matter creation function should be unusable. AnRyu, still fighting, calls on KoRyu to let their SympaRates rise, which triggers something in her sister, but the scientists already have control of Futsunushi.

Porc-Auto and Renais arrive at the Stadium, as Moebius and Laplace have KoRyu board the Futsunushi. Renais prepares to fire on KoRyu, but AnRyu uses Nightmare Hardrain to shoot down the missiles, since she can sense her sister. The scientist order AnRyu to fire, KoRyu shields Renais, and is badly injured, but begs her to help her sister. Laplace and Moebius wire KoRyu into Futsunushi's power systems, replacing the original GS-Ride, Porc-Auto explains to Renais Bionet's goal, and forces her and KoRyu off the ship.

The Futsunushi flew from Lyons, shooting down Air Force interceptors, using matter creation to attack, it resembles a Zonder Robo. Reinforcements will be arriving, although GGG are still reeling from the loss of ChoRyuJin and damage to several others. Renais however wants to work alone, not prepared to receive aid from GGG, when a voice tells her Papillion is looking for her. She swings at the speaker, Shishioh Liger. She expects him to beg forgiveness or something else, but instead he argues with her, claiming to understand who she is. She storms off, but he asks the watching Porc-Auto to look out for her, who gives his word as and English Gentleman. Renais surprises the repaired AnRyu by telling her she'll help save KoRyu. KoRyu takes remote control of Izanagi's launcher to take off with Renais aboard, straight for Futsunushi.

Chapter 6: Decisive Battle.Paris 2005

Gai boards Porc-Auto, and they're Mirror Catapulted towards Futsunushi. The army is attempting to down it before it reaches Paris, but the consumption of raw materials terrifies them. Reine and AnRyu infiltrate Futsunushi. AnRyu sense a wave from GS-Ride, and they find a strange monstrosity, attacking with a vibrating blade. This battle is watched by the leaders of Bionet, Prof Mozman and Dr. Thanatos, who developed the Futsunushi capture plan. Bionet has developed fake GS-Rides, which are powering the weapon they created, Scendogarde. Reine risks herself, but AnRyu won't act, but Gai and Porc-Auto arrive. After squabbling, Renais and AnRyu go ahead, letting them take care of Scendogarde, but quietly asks Porc-Auto not to die, apologising for the past.

They finally reach AnRyu, with wires in her to power Futsunushi, she is now aware of herself, and Fakes are around. KoRyu has given up, but Renais encourages her to fight. The words also inspire AnRyu, who encourages her sister to Symmetrical Docking, which she does after a heavy power load is take from her. As KoRyu is pulled out the wiring, the Futsunushi falls. Mozman and Thanatos appear ahead of Renais. The two use Fakes to take on cyborg forms and attack Renais.

As the Futsunushi lands, the last weapon they created, G=Gigantesque, emerges from the wreckage, but is confronted by TenRyuJin, the combination of KoRyu and AnRyu. Equipped with the Crystal Shield. Laplace and Moebius are shocked, as Renais charges them, and Gai and Porc-Auto arrive, but Gai rushes back to the Izanagi. Before Renais can kill Laplace and Moebius, they suddenly call out, offering the truth of Freya Kerdif's identity, showing proof that Freya Kerdif was an agent of Bionet. Renais is shocked, moreso as they show Renais was originally raised to be a test subject. The revelation shocks Renais to the core. They use the chance to deliver a massive attack, but Porc-Auto calls out, throwing himself in the way.

Porc-Auto tells Renais to chase the scientists. As she chased, he communicates by a low frequency to her to tell her what Liger had told him. Liger and Freya had fallen in love, but she vanished, then a year later told him the truth, having betrayed Bionet out of love for Liger, but never told him about Renais, he first learn tof her the night he performed the reconstruction, and let her believe he was the bad guy. Renais, in Hyper Mode, chases down the scientists, sweating to destroy them.

G=Gigantesque keeps functioning no matter what TenRyuJin does. Renais finds Porc-Auto is heavily damaged, as Raiga and Papillion arrive by GunDober, and start trying to treat him, trying to save the Super AI. GaoGaiGar arrives to fight G=Gigantesque, Liger takes Renais elsewhere. TenRyuJin is considering detonating her GS-Ride to destroy G=Gigantesque, but Gai, recalling recent events, won't see another comrade sacrificed. Unfortunately, the Goldion Hammer is currently out of action. Inside Futsunushi Liger takes Renais to the Molecule Plane, a weapon originally intended for GaoGaiGar, but it requires G-Stone power that GunDober can't provide, when Renais offers her own G-Stone.

GaoGaiGar's current option is the use of Hell and Heaven, a danger, when the Molecule Plane arrives, Renais aboard to supply power, and is equipped by GaoGaiGar. The Molecule Plane launches an attack that melts through G=Gigantesque. The light fades from Porc-Auto. G=Gigantesque has the Fake GS-Ride exposed, and the Molecule Plane unleashes it's full power. The Amaterasu recovers everyone and starts repairs on the sisters, but Renais is sad to see Porc-Auto, that he has died for her twice in a row, having recognised his AI was derived from Fowler. The body has been destroyed, but the AI remains to support her, to her relief.

It is now winter, Renais drives her Rover Mini, and acting as a taxi, drives a certain mother and daughter, who are wondering about the current battle of GGG. The girl feels the car smells like her father, which it inadvertently makes a noise in response too, Renais amazed at how it truly is the same person. GGG France has used their allowed G-Stone supply, so they cannot create a new robot body for Porc-Auto. Renais doesn't want to call Liger before GGG's battle, but is considering calling him dad next time she sees him. Porc-Auto decides to tell her what her code name, Queen of Lions means, Shishioh.

Epilogue: 2006 Queen of Lions After

Renais like everyone else is being parasitised, she is able to partly resist thanks to her G-Stone. She awakens, that day was 6 months ago, as she chased Bionet and saw them parasitised, she is one of the few to remember what happened, due to her cyborg nature.

Porc-Auto picks Renais up, informing her of Papillion's loss. There have been kidnapping incidents lately of people with superhuman abilities. However, rather than abduction, Papillion seems to have left of her own accord, vanishing ahead of her transfer to Orbit Base, though she might have been controlled. Porc-Auto has however been tracking her.

Renais infiltrates the amusement park Papillion has been tracked to, and finds a man who takes her for a Bionet agent and hypnotises her, but she breaks free. At this point, he recognises her as Lion Reine.

The man is Soul, who works for a group that, like Chasseur, is under the auspices of GGG. He is looking for his abducted partner, Erable. They work together to find the heart of Bionet's operation.

As they move further, Soul admits to loving Erable, who has the ability to dowse.

They come to the leader of the operation, in a clown mask, Gimlet. Initially only concerned with Soul, he is terrified to realise who Renais is, ordering and attack

Renais and Soul rescued the captives, but the park opened before the battle was finished. Porc-Auto takes Renais to De Gaulle, where she and Papillion see Soul and Erable off to Japan, the knew Papillion old. A proper introduction is made, Erable is Kurenai Kaede, Soul is Yanagi Sho. Renais properly introduced herself as Renais Kerdif Shishioh. They leave for their own stories, while Papillion is surprised Renais is using her father's name.

#gaogaigar

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designmorphine · 2 years

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@matiasdel.campo, architect, designer, associate professor at Taubman College of Architecture and Urban Planning, University of Michigan, director of the AR2IL, and co-founder of the architecture practice SPAN, will be lecturing at the Computational Design: NEXT 10 conference. - Join now, link in bio or: https://parametric-architecture.com/cd-next/ - Event details: Date: July 16-17, 2022 (Saturday & Sunday) Time: 12:30 - 20:30 UTC Where: ZOOM Online - Matias conducts research on advanced design methods in architecture, primarily through the application of Artificial Intelligence; collaborating with Michigan Robotics and the Computer Science department. His firm SPAN gained wide recognition for the design of the Austrian Pavilion at the 2010 Shanghai World Expo, and more recently, for the Robot Garden at the Ford Robotics Building. SPAN’s work was featured at the Venice Architecture Biennale in 2012 and 2021; ArchiLab in 2013, and the Architecture Biennale in Vienna and Buenos Aires in 2019. Solo shows include “Formations,” at the MAK in Vienna and the exhibition "Sublime Bodies" at the Fab Union Gallery in Shanghai, China. Matias del Campo was awarded the Accelerate@CERN fellowship, the AIA Studio Prize, and was elected to the boards of directors of ACADIA and IJAC the International Journal of Architectural Computing. In 2016 and 2020 Matias del Campo co-chaired the ACADIA conference as well as chairing the 2020 DigitalFUTURES edition. @cdnext @parametric.architecture @designmorphine @ekimroyrp @pa.next @hamithz @thepaacademy #designfordesert #houdini #houdinifx #workshop #webinar #photography #rhinonerd #coding #fashiondesign #artist #parametric #parametricdesign #parametricarchitecture #computationaldesign #computational #computation #grasshopper3d #rhino3d #rhinoceros3d #algorithm #design #art #architecture #conference #superarchitects #nextarch #rhino #architecturestudent #cdnext #conference (at 𝓣𝓱𝒆 𝓤𝒏𝒊𝓿𝒆𝒓𝒔𝒆) https://www.instagram.com/p/CfYbaTMOaPK/?igshid=NGJjMDIxMWI=

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mirandamckenni1 · 7 hours

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How Supernovas Act as Universe’s Largest Particle Accelerators Check out the Space Time Merch Store https://ift.tt/2WuAqOx Sign Up on Patreon to get access to the Space Time Discord! https://ift.tt/ZiWMhCc Cern's Large Hadron Collider routinely collides particles at energies equivalent to a fraction of a second after the Big Bang. If this worries you, then the following fact will either put you at ease or scare the hell out of you. And that's that a particle with the energy of an LHC collision hits every square kilometer of the Earth every single second. And we only relatively recently figured out where these cosmic rays are coming from. PBS Member Stations rely on viewers like you. To support your local station, go to:https://ift.tt/b6ksJZG Sign up for the mailing list to get episode notifications and hear special announcements! https://ift.tt/tm4E8pN Search the Entire Space Time Library Here: https://ift.tt/L2qTJYd Hosted by Matt O'Dowd Written by Matt Caplan, Hayley West & Matt O'Dowd Post Production by Leonardo Scholzer, Yago Ballarini & Stephanie Faria Directed by Andrew Kornhaber Associate Producer: Bahar Gholipour Executive Producers: Eric Brown & Andrew Kornhaber Executive in Charge for PBS: Maribel Lopez Director of Programming for PBS: Gabrielle Ewing Assistant Director of Programming for PBS: John Campbell Spacetime is a production of Kornhaber Brown for PBS Digital Studios. This program is produced by Kornhaber Brown, which is solely responsible for its content. © 2024 PBS. All rights reserved. End Credits Music by J.R.S. Schattenberg: https://www.youtube.com/user/MultiDroideka Space Time Was Made Possible In Part By: Big Bang Sponsors First Principles Foundation John Sronce Bryce Fort Peter Barrett David Neumann Alexander Tamas Morgan Hough Juan Benet Vinnie Falco Mark Rosenthal Quasar Sponsors Grace Biaelcki Glenn Sugden Ethan Cohen Stephen Wilcox J Tyacke Mark Heising Hypernova Sponsors Michael Tidwell Frank Plessers Chris Webb David Giltinan Ivari Tölp Kenneth See Gregory Forfa Alex Kern Bradley Voorhees Scott Gorlick Paul Stehr-Green Ben Delo Scott Gray Антон Кочков Robert Ilardi John R. Slavik Donal Botkin Edmund Fokschaner Chuck Zegar Daniel Muzquiz Gamma Ray Burst Sponsors Neil Moore Robin Sur Arko Provo Mukherjee Mike Purvis Christopher Wade Anthony Crossland Grace Seraph Stephen Saslow Robert DeChellis Tomaz Lovsin Anthony Leon Leonardo Schulthais Senna Lori Ferris Dennis Van Hoof Koen Wilde Nicolas Katsantonis Joe Pavlovic Justin Lloyd Chuck Lukaszewski Cole B Combs Andrea Galvagni Jerry Thomas Nikhil Sharma John Anderson Bradley Ulis Craig Falls Kane Holbrook Ross Story teng guo Harsh Khandhadia Jammer Matt Quinn Michael Lev Rad Antonov Terje Vold James Trimmier Jeremy Soller Paul Wood Joe Moreira Kent Durham jim bartosh Ramon Nogueira John H. Austin, Jr. Diana S Faraz Khan Almog Cohen Daniel Jennings Russ Creech Jeremy Reed David Johnston Michael Barton Isaac Suttell Oliver Flanagan Bleys Goodson Mark Delagasse Mark Daniel Cohen Shane Calimlim Tybie Fitzhugh Eric Kiebler Craig Stonaha Frederic Simon John Robinson Jim Hudson Alex Gan John Funai Adrien Molyneux Bradley Jenkins Amy Hickman Vlad Shipulin Thomas Dougherty King Zeckendorff Dan Warren Joseph Salomone Patrick Sutton Julien Dubois via YouTube https://www.youtube.com/watch?v=2sSNWIJbV3Q

#IFTTT #YouTube #Youtube

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swissforextrading · 5 days

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CERN and the US sign joint statement of intent

CERN and the US sign joint statement of intent CERN Director-General, Fabiola Gianotti (right), and Principal Deputy US Chief Technology Officer, Deirdre Mulligan, of the White House Office of Science and Technology (left) at the signing ceremony. (Image: US Department of State, Bureau of Oceans and International Environmental and Scientific Affairs) CERN and the US government have released a joint statement concerning future planning for large research infrastructures, advanced scientific computing and open science. The Joint Statement of Intent was signed in Washington DC in April by CERN Director-General, Fabiola Gianotti, and Principal Deputy US Chief Technology Officer, Deirdre Mulligan, of the White House Office of Science and Technology (pictured). Acknowledging their longstanding partnership in nuclear and particle physics, CERN and the US intend to enhance collaboration in planning activities for large-scale, resource-intensive facilities with the goal of providing a sustainable and responsible pathway for the peaceful use of future accelerator technologies. Concerning the proposed Future Circular Collider, FCC-ee, which would collide electrons and positrons to produce copious quantities of Higgs bosons, the text states: “Should the CERN Member States determine the FCC-ee is likely to be CERN’s next world-leading research facility following the high-luminosity Large Hadron Collider, the United States intends to collaborate on its construction and physics exploitation, subject to appropriate domestic approvals.” A technical and financial feasibility study for the proposed FCC is due to be completed in March 2025. CERN and the US also intend to discuss potential collaboration on pilot projects to incorporate new analytics techniques and tools such as AI into particle physics research at scale and affirm their collective mission “to take swift strategic action that leads to accelerating widespread adoption of equitable open research, science, and scholarship throughout the world”. In December 2023, the high-energy physics advisory panel to the US Department of Energy and the National Science Foundation released a 10-year strategic plan for US particle physics. Meanwhile, the next update of the European Strategy for Particle Physics, which is formed through a broad consultation of the particle physics community in Europe and beyond, is about to get under way. The CERN Council has set the deadline for submitting written input for the next Strategy update at 31 March 2025, with a view to concluding the process in June 2026. The final report of the FCC Feasibility Study will be a key component of that input. ndinmore Fri, 05/24/2024 - 11:59 Byline Matthew Chalmers Publication Date Fri, 05/24/2024 - 17:23 https://home.cern/news/news/cern/cern-and-us-sign-joint-statement-intent (Source of the original content)

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moviereviews101web · 22 days

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Final Heat (2024) Movie Review

Final Heat – Movie Review Director: Jeremy Gimenez Writer: Jeremy Gimenez (Screenplay) Cast Brad Benedict (The Oval) Alexandra Daniels Molly Cerne Maddy Curley Cortni Joyner Plot: The married owners of a struggling functional fitness gym recruit the best athletes to compete in the Games for the huge cash prize. But a figure from the past with a secret threatens to destroy their team,…

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#2024 #Drama #Final Heat #Sports

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yhwhrulz · 2 months

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thxnews · 5 months

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Quantum Detectors Eyes Global Expansion with New Deal

Quantum Detectors, a small but formidable player in the global electron detector systems market, is set to expand its international reach thanks to new export funding. The Oxfordshire-based company, renowned for its advanced technology aiding scientists worldwide, is ready to take a significant leap forward in its growth trajectory.

Unlocking New Opportunities with UKEF and Lloyds Bank

Securing a Future in Global Science and Technology UK Export Finance and Lloyds Bank have stepped in to provide a crucial financing package to Quantum Detectors. This new funding, amounting to £300,000, will enable the high-tech manufacturer to invest in groundbreaking technology and expand its export of British-made products. A Journey from Oxfordshire to Global Markets Establishing a Worldwide Presence In less than two decades, Quantum Detectors has evolved from a small business to a key supplier for major government labs and institutions like CERN. This journey signifies the firm's commitment to innovation and excellence in the scientific community.

Expanding the Reach of British Scientific Expertise

Empowering Global Research and Innovation Quantum Detectors' products are integral to major synchrotron light sources worldwide, assisting in a wide array of scientific research. With the new financial support, the company aims to penetrate new overseas markets, thus broadening the impact of British scientific expertise. The Path to Enhanced Technology and Market Reach A Stepping Stone for Future Success The financial backing from UKEF and Lloyds Bank, particularly through a bank guarantee, will pave the way for Quantum Detectors to enhance its technological offerings. This move is pivotal in ensuring the company's continued presence as a leader in the global market.

Government and Industry Leaders Acknowledge the Milestone

Praise for Quantum Detectors’ Innovations Andrew Griffith MP, Minister of State at the Department for Science, Innovation, and Technology, highlighted the critical role of investment in propelling scientific and technological breakthroughs. Similarly, Tim Reid, CEO of UK Export Finance, and Roger Goldsbrough, CEO of Quantum Detectors, expressed their enthusiasm for the company’s potential for further growth and development, emphasizing the importance of smaller firms in driving innovation. Lloyds Bank’s Role in Empowering Quantum Detectors Supporting Specialized Businesses in Achieving Ambitions Sarah Phillips, Regional Trade Director at Lloyds Bank, underscored the bank's pride in supporting Quantum Detectors. The firm’s use of CERN Timepix & Medipix technologies exemplifies its commitment to pushing the boundaries of scientific discovery and research. Sources: THX News & UK Export Finance. Read the full article

#BritishHigh-TechManufacturing #CERNPartnerQuantumDetectors #ElectronDetectorSystemsExpansion #ExportGrowthinScienceSector #GlobalScientificInnovation #LloydsBankFinancingPackage #OxfordshireScienceandTechnology #QuantumDetectorsInternationalGrowth #SynchrotronLightSourceTechnology #UKExportFinanceSupport

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gbaromspokemone · 6 months

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Description

The events of Sword and Shield take place in the Galar region, a large, narrow stretch of land that is one of many in the Pokémon world. Shigeru Ohmori, the game’s director, described it as a more modern setting. The region itself is influenced by Britain, with many landmarks resembling the Houses of Parliament and the Cerne Abbas Giant. In the south of the Galar region are rural towns with cottages and Victorian architecture. The center of the region is populated by an industrial revolution-style city with steampunk elements.

Many towns in the region have Pokémon Gyms that look like soccer stadiums and feature both Dynamaxing and Gigantamaxing as introduced by Pokémon League Galar Chairman Rose. Much of the region’s northern areas are dominated by snow-capped mountains. The Wild Zone, an open-world area with numerous roaming species of Pokémon, encompasses much of the region’s south-central region. The weather in the Wild Zone changes regularly.

Pokémon already introduced in previous games, such as As in Pokémon Sun and Moon, such as Weezing will receive regional Galarian forms with new types, stats, and appearances. Some Pokémon, like Linoone and Meowth, can even evolve regionally.

Also, be sure to try out Pokemon Platinum Redux!

#pokémon #pokemon

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opcaoturismo · 6 months

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Noel Cavaco Dias: “Na Hotelaria, a paixão, o interesse e a dedicação continuam a ser primordiais”

A ADHP-Associação dos Diretores de Hotel de Portugal assinalou o seu 50.º aniversário, entre outras ações, com um jantar comemorativo da efeméride que decorreu no dia 11 de novembro no Intercontinental Lisbon. Recorde-se que a ADHP foi fundada em 24 de outubro de 1973 pela mão de 11 diretores de hotel que tinham como objetivo não só promover as suas unidades e as regiões que integravam como também criar pontes e partilhar conhecimento entre si, algo que permanece no cerne da missão e ação da ADHP. No decorrer do jantar, antigos presidentes foram distinguidos com a medalha de mérito da ADHP, como reconhecimento do trabalho desenvolvido na associação e no turismo. Um dos diretores homenageados foi Noel Cavaco Dias, presidente da Assembleia Geral da atual direção da ADHP e presidente da ADHP entre 2004 e 2007, exercendo agora as funções de diretor geral do Riviera Hotel, em Carcavelos. Foi com ele que o Opção Turismo trocou algumas impressões dobre a sua carreira na Hotelaria e no Turismo. “Tudo começou a partir dos 16 anos durante as férias de Verão e com a vontade de ganhar dinheiro. Como o meu pai trabalhava em Hotelaria e vivíamos no Algarve, durante os três meses de Verão ia sempre trabalhar em unidades hoteleiras. No final do ano letivo em que terminei o 12º ano fui trabalhar como mandarete/bagageiro, e posteriormente rececionista para a Quinta do Lago”. Aos poucos apercebeu-se que não só o seu trabalho era apreciado como “genuinamente” gostava do que fazia. Foi nessa altura que decidiu que era aquilo que queria fazer “para o resto da vida”. A vontade de “dirigir” apareceu naturalmente pelo que se candidatou à Escola de Hotelaria e Turismo do Porto (EHTP), que era a única em Portugal, na altura, com curso de Gestão Hoteleira. “Quando terminei o curso trabalhei uns anos no Algarve na área de F&B, como assistente primeiro e depois como diretor. Depois com a abertura do Hotel Méridien em Lisboa, (atual Intercontinental Lisbon) regressei à área de alojamento, como chefe de Receção”. E, a partir daqui, vou um andar sempre para a frente. Passou-lhe alguma vez pela cabeça desistir da Hotelaria? - “Houve obviamente momentos menos bons, mas desistir nunca foi uma opção. Todas as outras profissões que conseguia lembrar-me, me pareciam bastante menos interessantes, e eu gostava verdadeiramente do que fazia”. Está contente e realizado com as experiências que teve ao longo da sua carreira? - “Sim, bastante! Trabalhei em ótimos grupos nacionais e cadeias internacionais, quer em Portugal, quer no estrangeiro. Para além da minha longa carreira como director geral, tive a oportunidade de exercer funções de responsabilidade departamental em alojamento, F&B, Comercial, bem como formações complementares em Finanças e Recursos Humanos, que contribuíram e aceleraram a minha progressão profissional”. Era diferente ser diretor na altura em que foi nomeado para essas funções com o ser diretor geral hoje? - “Eu diria que no essencial não. A paixão, o interesse e a dedicação continuam a ser primordiais. Obviamente as coisas evoluíram, a tecnologia deu um salto gigantesco e alterou a forma de fazer as coisas. As necessidades e expectativas dos clientes também. Mas isso, para mim, não é o mais importante. Que conselhos daria a alguém que quisesse seguir uma carreira na hotelaria

- “Não há nenhum segredo esotérico para atingir esse ou qualquer outro objetivo. Quando temos verdadeiramente o foco no objetivo programado, pensamos consciente ou inconscientemente nele e nos envolvemos emocionalmente com o mesmo, tomamos naturalmente as ações necessárias para o alcançarmos. É simples, basta querermos realmente”. Noel Cavaco Dias é graduado em Gestão e Técnica Hoteleira pela EHTP e tem o curso complementar em Hotel Management pelo Centro Internacional de Glion. Entre outras várias distinções formações, possui o curso de Graduação Hoteleira (ADHP), é Bacharel em Gestão Hoteleira pela ESHTE, e Licenciado em Gestão de Empresas Turísticas do INP. A isto, junte-se uma Pós-graduação em International Hotel Management, e em Gestão Empresarial (Universidade do Algarve). Tem diplomas do Professional Development Program, e do General Manager's Program da Universidade de Cornell; fez o programa de Gestão Avançado do Porto Business School. Na sua carreira profissional, e sempre em funções de Direção, saliente-se a passagem por grandes grupos nacionais com Dom Pedro, TD Hotels, Riviera, e em cadeias internacionais como Méridien, Occidental Hoteles, Tiara Hotels, Radisson SAS, Crowne Plaza e Melia, sempre em funções de Direcção. É director geral de hotel desde 1993. Read the full article

#adhp #aniversario #diretor #NoelCavacoDias #riviera

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