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corpse-of-bandersnatch · 3 years

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That's the whole interview with Jeff by Nicole Iskra, in which they also talked about him shaving of his chest hair. It was published in the Moviestar 05/2001 (the interview, not the chest hair).

I won't translate everything word for word, but if you wish a closer translation of a special topic/question, let me know and I try my best. (Also I apologize for the bad quality of the middle part of the scanned magazine).

PARALLAX – Madness from the Internet

„I was the Incarnation of their worst nightmare!“ - An interview with Jeffrey Combs

Before the interview starts, they introduce the latest movie Jeff was in back then, which is Parallax aka FearDotCom (almost the complete first column describes the Plot). Parts of it where shot in Luxembourg, which is also the Place where the interviewer meets Mr. Combs.

They meet in front of the Inter-Continental Hotel. Mr. Combs is PISSED, because the breakfast in the Hotel was awful (slimy fried egg) and the staff was rude (someone came in his room without knocking or apologizing, while he was sitting on his bed, only wearing a T-Shirt and Shorts).

They walk into the City of Luxembourg and Jeff's wondering about the many colourful life-sized cow sculptures, that you can find everywhere in town (quote: „Is this supposed to be art?!“).

He's searching for a souvenir for his wife, but in in his opinion, all of the dresses are outdated and their colours terrible. The interviewer teaches him the very important rule „Grün und Blau schmückt die Sau“.

They decide to eat in a Burger Restaurant called „Maybe not Bob's“, where he orders chicken wings with french fries and a coke (quote: „like a real American“).

Jeff speaks about the results of his genealogical research: Originally, his family came from Devon in England, but settled 1619 in Jamestown (Virginia) to work for Virginian Tobacco Co.

1. Question: The first question is about the renaming of FearDotCom to Parallax (reason being uncertainty about who owns the name). It follows more describing of the movie’s plot, this time from Mr. Combs himself.

His friend Bill Malone directed Parallax/FDC and offered Jeff the role, because they already worked together in Haunted Hill and Perversions of Science.

2. Question: You got along so well with Peter Jackson while filming The Frighteners. Will you at least get a Cameo in Lord of the Rings, even if it's only as Orc Nr. 260?

JC: That's the one Orc, that survived, right? (laughs). Nah seriously, I didn't get a role, unfortunately. I auditioned, , but the problem was the british accent. I can imitate it, but when you're surrounded by actors like Ian McKellen and Ian Holm, it's really not hard to tell who's a „real Briton“ and who's not.

3. Question: Did your latest movie before Parallax/FDT – The Attic Expeditions – had it's premiere in America yet?

JC: No, not yet. The world premiere was a couple of weeks ago here in Luxembourg and it was also shown on Festivals in Edinburgh and Amsterdam. Sadly, they didn't show it on the film festival in Brussel.

I'm really enthused by The attic Expeditions, because it's interesting, not linear, not logical, with few horror elements, but the horror is mostly psychological. It's like a dream in a nightmare on a trip. The longer you watch the movie, the less you know, what's real, it's a really complex movie, especially by american standards.

4. Question: In retrospect, would you call your role as Herbert West a curse?

JC: (sighs) Somehow, it's a curse and a blessing at the same time. Thanks to the role, I was branded as „Horror actor“ in Hollywood. After Deep Space Nine I was branded as „Horror- and Sci Fi- actor“. Movie people love to categorize you. On the other hand, the role of Herbert West opened up a lot of possibilities for me.

5. Question: 10 Years ago you told a funny story at a convention in New York, about sth. that happened while filming From Beyond. Could you maybe tell it again for the Moviestar readers?

JC: You mean the one with the children?

MS: Exactly!

JC: (grins) Well, we were already filming for a month – so I've been in this horrible make-up for 30 days already, with this awful head piece that looked like a red dog dick. I looked worse than Quasimodo! That's why I ate mostly in my dressing room. One day, they shot a commercial with a bunch of 4-year-old children in mushroom costumes on the same soundstage. We met in the hallway and as soon as those poor, innocent children saw me, all hell has broken loose. I was the incarnation of their worst nightmare, they screamed and ran to their mothers, who wanted to lynch me on the spot. So now it was me, who ran away.

But that's how it is, when you have a lot to do with make-up and masks and stuff like this. Not long ago, I was strapped to a cross made out of tubes, my throat was „cut“, there was blood all over me. And sometimes, when you're hanging there long enough, the crew just forgets that you're there, because for them, you just turned into a part of the set. Until you give a signal: „Umm sorry, guys, could you..maybe..“ - „Oh yeah sure, sorry Jeff, sorry..“

6. Question: (you might already know this one from this post): After that scene in From Beyond, in which you get eaten by this worm, your chest is as smooth as that of a baby – did they shave off your chest fur?

Jeff: Yes! (laughs)

MS: Did you do it yourself?

Jeff: Yes and I learnt something very important: Never use a normal razor blade, an electric razor is way better and safer and it doesn’t itch as badly, when the hair grows back. I had to shave my chest for a theater role once as well. I was 26 or so and played an 18-year-old.

7. Question: Do you still play in theatres regulary?

JC: No, not in the past couple of years, though theatre is very dear to my heart. Back in the days, I loved to play in theatres – living like a gypsy, 8 weeks in San Diego, and somewhere else afterwards. But that's not how I want to live today, now that I have a family. I don't like to leave my two little girls for several weeks, plus an engagement in a theatre isn't really helpful financially. I earn the same money in 1 week of shooting a movie as I do in 4-5 months of theatre work.

8. Question: I read that Woody Allen pays every actor 5.000 Dollar, because in his opinion, no one is worth 20 Million Dollar, neither beginner nor Superstar. What do you think about the explosive growth of fees nowadays?

JC: I do think that you should take the money, that the market offers you. But somebody, who earns 20 Millions per movie should share at least a million with their not so lucky co-actors. No, seriously, it's not that easy to make a living. A friend of mine got a job, where he plays the brother of Kevin Costner. When I asked him, if he gets payed well, he shook his head and said, that he only gets tariff plus 10%. Tariff is the lowest wage possible, that was defined by union. My friend had the choice to either work with Costner or don't. And as an actor you always hope that a movie like this becomes a success and maybe improves your chances in Hollywood.

MS: Thank you for making so much time for us!

#Jeffrey Combs #corpse-krams

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glass-rose-paperweight · 3 years

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The Season 10, Episode 5 "Fan Fiction" Criticism No One Asked For

I would like to start out by saying that I did genuinely enjoy this episode. However, to anyone with any knowledge of how musical theater works, it is painfully obvious that the writer of this episode doesn't understand how musical theater works. Which I can't necessarily fault someone for, as not everyone has studied musical theater, but I really feel like if you're going to write a musical theater episode, you should understand how musical theater works, at least the very basics (though, it turns out that you can not understand how musical theater works at all and still be picked to direct multi-million dollar movies, see Les Mis and Cats)

Actual analysis/criticism starts below the cut

First of all, the writer of the play appears to have tried to fit about 5 seasons worth of content AND a new ending into a 2 act play. Forget bad, that’s just impossible (also, 2 acts??? What kind of psycho does 2 acts?)

For another thing, for a high school play, it has a pretty high production value (and, I gotta admit, my 5-years-in-theater-classes-ass is very jealous). For something that’s just a school play (a relatively small school judging by the size of the auditorium and the fact that it’s a private school) that isn’t for a competition, it has a higher production value than it likely would. Though, my experience is with public schools, not private schools, so maybe a prep school would be willing to drop that kind of money for a student-produced show.

Now, for the actual musical theater aspects of it. First of all, we need to establish some basics of musical theater. If you don't want to read about it or if you already have this knowledge, you can scroll down to the bolded part.

Songs within musical theater serve a purpose, and there tends to be a basic formula. You have an opening number to establish the world, the relevant characters, relevant backstory, and to set up the rest of the story (Think "Circle of Life" in Lion King). You'll have songs introducing characters that don't show up until later in the story (Think "Trust in Me" from The Jungle Book). The protagonist usually gets an "I want" song, where they basically monologue to the audience about what it is they want and how that relates to the story set up in the opening number (Think of Belle's song in Beauty and the Beast where she's singing about how she wants more than this provincial life, or Ariel singing "Part of Your World" in The Little Mermaid about how she wants to be where the humans are; there's actually a ton of examples I could give here). Sometimes you might have an "I am" song where the character sings about what they are feeling in the moment/what's going on in that moment and how that is relevant (Think "Speechless" from the live-action Aladin remake). If there is a primary villain of the story, they will usually get a song (Think "Friends on the Other Side" from The Princess and The Frog). If romance is a relevant part of the story, there will be a love song (Think "At Last I See The Light" from Tangled). I used Disney movies as examples because that is what I am most familiar with and because Disney musicals are a direct evolution of Broadway musicals, so you can put Broadway musicals into this formula, too. You'll find some exceptions to this rule (the above-linked Cats video talks about how the purpose of Cats as a musical is to break that typical formula, and how the director not understanding this principle is one reason why the movie flopped so badly), but, for the most part, musicals tend to be able to fit into this formula pretty well. There is also a general rule of thumb for musicals: "when a character is too emotional to speak, they sing; when they are too emotional to sing, they dance." Songs will often come at emotional climaxes in the play. Sometimes a song will be reprised for that emotional intensity (Think "For the First Time in Forever" reprise in Frozen).

The music in a musical play serves a tonal purpose, it serves a plot purpose, and it serves to establish the characters. The point is, all the songs in a musical need to serve a purpose.

And that is where this episode goes wrong.

I am going to be going through each of the 4 songs we are shown in descending order of how good they actually were.

1. The opening song was perfect, 10/10, and I mean that completely unironically. Besides being a genuinely catchy song, it serves its purpose perfectly. It establishes the relevant characters (minus Cas), it establishes relevant backstory, and it establishes the world in which the play takes place (one in which monsters exist and Sam and Dean are hunters). This does everything an opening number is supposed to do.

2. The Single Man Tear song - 7/10. Maybe 8/10 if I'm feeling generous. The song itself sounds like an emotional climax song, likely fitting into the "I am" category, maybe an "I want" song, but those tend to be bigger songs about bigger goals that the protagonist is striving for. It's Sam singing about how Dean represses his emotions and how he wishes Dean wouldn't do that. The problem with this song is that we the viewers are given very little context for the song. The song starts with chanting in Latin, making it sound like it's just going to be a song about exorcising a demon, and that is what is going on while Sam sings. If a significant event happened just before then that Dean refused to address in his typical Dean fashion, this song would make sense, but the audience of the episode (unlike the audience of the play) doesn't have that context, so I have to dock points.

3. The cover of Carry on My Wayward Son - 4/10. Even though in the episode, it is stated to be a cover, it is sung like a reprise. The problem is, this song has no relevance to the audience of the play. It was included for the audience of the episode. If you were sitting in the auditorium watching this play, especially if this is the first time you are hearing this song in the play, it is not going to have any relevance to you. There is no emotion attached. Ideally, the song should have been played at a high intensity (not necessarily high emotional) moment of the play, like maybe a fight scene. Not ideal for a reprise, but at least then there would be something for the audience to connect the song to, something to give it meaning.

4. The song where Cas is singing under the lamp posts - 0/10, seriously considering giving it a negative score. I hate this song. It serves no purpose. It doesn’t happen at an emotional or intense moment. It reveals nothing relevant about Cas or Dean or their relationship with each other. It is literally just Cas singing under some street lamps. Hate it. Get rid of it. A song should serve a purpose, and it shouldn't interrupt the flow of the play. If the play feels like it is grinding to a halt for a certain song to be sung and then resumes when the song is over, that song needs to be removed. This song needs to be removed pronto.

You know what would have been a perfect opportunity for a Cas solo? When he’s barging into the barn in Lazarus rising. You’ve got a high-intensity moment and a new, relevant character that didn’t get introduced in the opening number. That would have been the perfect chance for Cas to burst into song. Not to mention opportunity for subtext! Talk about 10/10.

Despite the total failure of the musical theater aspect of this episode, it is still a good one. Unfortunately, my background in theater and my binging of the channel from which I linked videos meant I spent the entire episode thinking about how good the play would have been on its own. Some leeway can be given to it since the audience of the episode is shown so little of the actual play. It's why I didn't go into anything about the plot. However, the songs can be evaluated, and, all in all, it really just doesn't pass.

#spn 10x5 #spn #supernatural #fan fiction

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geopolicraticus · 4 years

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Some Recent Low Budget Science Fiction Films I Enjoyed

There have been a lot of very bad big budget science fiction films in the past several years, but rather than talk about how bad these bad films were, I’d rather talk about low budget and lesser known films that I enjoyed. None of the films mentioned below are perfect; indeed, I would even hesitate to call them “excellent,” but there were enjoyable and entertaining and moreover they fulfilled what is for me the essential element of science fiction: they presented an idea that gave me something to think about.

Time Trap (2017)

Already from the title you know this is going to be a time travel movie, and it was. In a good time travel movie you expect to be surprised by some unlikely twists and turns, and this film delivers in this respect.

One of the things I liked about this film was probably one of the cheapest but nevertheless effective special effects, and these were the creepy abandoned vehicles, revealed later to be abandoned because their owners had unexpected gone time traveling. But this is only a small detail.

Unlike a lot of other, higher budget time travel films, this time travel film really captures the weirdness and the epic scope of time travel, and people from one era meet people from vastly different eras and predictably misunderstand each other. There are awkward moments, but many of these confrontations are handled competently.

The Gateway (2018)

Gateway is a story of travel across alternative universes, some of them nearly identical to our own, close enough that we could mistake one for the other, but more often other universes with sinister differences from ours, which invite us to extrapolate the scenario to even more sinister possibilities, which are implied in the final scenes. There are a few good twists in the story, as one would hope for from intelligent story writing involving a number of closely similar universes.

Travel to other universes is made through a device only just large enough for a person to fit themselves into, which is set in a small laboratory. My guess is that these sets, while satisfactory for the viewer, were not expensive to build, and this was really the only technological element of the film. All of the rest of the story is writing and acting and direction—the bare bones of cinema, and here these are well handled. This isn’t a perfect film, but it is pretty darned good in my estimation.

The Endless (2017)

This film is as likely to be called horror as science fiction, and may even be identified as Lovecraftian cosmic horror; just because I am writing about science fiction films here I will include it as though it were science fiction, regardless of any other classes it may fall under.

The Endless is weirdly compelling in a good way. Clearly there is a problem, perhaps many problems, and there is some big, terrible secret that the audience is not being told. Like a mystery, the film gives clues as to what the big, terrible secret is, and, in the case of The Endless, the buildup is worth the wait. The big, terrible secret is truly big and terrible.

As with Gateway (above), the story has some good twists, both large and small, and even after I figured out the basic idea of the film was about, I was kept interested to the end, so the science fiction element of the film isn’t just a gimmick; once you get the gimmick, there is still much of the story that remains to be unraveled, which leads one to the horror that is wrapped in the science fiction gimmick.

Skyline (2010) and Beyond Skyline (2017)

Beyond Skyline had a budget of about 20 million, whereas most of the other films I’ve discussed here had a budget closer to a million dollars, so that is an order of magnitude more money, and it is obvious from the film that they spent the money on effects. One of the things I liked about Skyline and Beyond Skyline is that you don’t just get to see human beings kidnapped by aliens, you actually get to see inside the alien spaceship and the horrible things that happen to the unfortunate human beings who get taken up into that alien spaceship.

When I watched science fiction films when I was a child I was always disappointed that more wasn’t shown of aliens and alien spaceships, though many people feel that a film is more effective for what you don’t show, but rather only suggest. A perfect example of this was Close Encounters of the Third Kind, which (in the original version) ends as soon as Richard Dreyfus walks into the alien spaceship. Another version of Close Encounters was later released, in which they gave some teaser images of the interior of the alien spacecraft. I wanted more, and so this film was kind of like a satisfaction for my younger self, who wanted to see the otherness of the other manifested in a radically alien spaceship interior. For this reason alone I appreciated these films, though the writing and story aren’t at the level of The Gateway and The Endless, discussed above.

S.U.M.1 (2017)

S.U.M.1 is a creepy film, made the more creepy by the fact that it came out at the same time the lead actor was on Game of Thrones as Ramsey Bolton, who was hands-down the creepiest character on Game of Thrones. So he not only fit the role, he magnified the creepiness, which in this case added to the intensity of the film.

There is a pervasive sinister feeling to this film, which I assume was intentional, which makes it verge on being a science fiction horror film, like The Endless (above). One could define a spectrum of cinema with pure science fiction at one end (with, say, the classic exemplars being films like This Island Earth or Logan’s Run) and pure horror at the other end (with the classic exemplars being a film like Dracula). Given this science fiction/horror continuum, Frankenstein is close to the horror end, but has science fiction elements; Alien and Predator are near the middle of the continuum; S.U.M.1 is near the science fiction end, but still has a number of horror elements, including the undercurrent of anxiety that keeps the film moving forward and keeps the viewer interested.

Extinction (2018)

Extinction is built around one major twist in the story, and, once that twist is revealed, it doesn’t continue to have the same level of interest as The Gateway and The Endless, which also feature major plot twists, but it isn’t a bad film, and can be enjoyed on its merits.

I Am Mother (2019)

Several of the films mentioned here have been Netflix productions, and I Am Mother is one of those Netflix productions. Netflix seems to have more-or-less taken over the market that used to be cheap made-for-tv science fiction films. To Netflix’s credit, their science fiction films are pretty good, and much better than than their predecessors in the 70s, 80s, and 90s (back in the days of broadcast television—yes, I know I’m old). Part of the improved standards of science fiction is due to the greater affordability of good quality special effects, but part of it is also due to the maturation of genre. As science fiction becomes more mainstream, it becomes less bound by some of the familiar features of the genre, which is, in all honesty, a mixed bag. Some of these familiar features were good, and some of them were silly or stupid. Thus capturing the best of science fiction means transcending the genre conventions by retaining what is best and dispensing with the most cringe-worthy aspects.

As with all the films mentioned here, there is a twist in I Am Mother; if you’ve watched enough science fiction films you will probably try to guess how the plot twist will highlight the central idea of the story; sometimes it is obvious, and sometimes it is a genuine surprise—better yet if it is a shocking surprise that makes you jump in your seat. If we make having a plot twist in the central idea definitive of science fiction cinema (or definitive of one kind of science fiction), then we can trace this tradition back to The Cabinet of Dr. Cagliari.

As I noted above, I don’t consider any of the six films mentioned above to be great films, however, compared to the big budget flops, these films are great entertainment and far more enjoyable that the big budget science fiction films that I have seen of late. The most recent Predator film was truly terrible, a worthless film, Disney has not merely made bad Star Wars films, but has vandalized the entire mythology and so retroactively weakened the earlier films by retconning them. In this dismal context I did not even bother to see the new Terminator film, which by all accounts was as pathetically bad as the new Predator film. These films are my basis of comparison, and, with this basis of comparison, the films that I have discussed above are eminently enjoyable and well worth watching. So forget the big budget disasters at the theater and find the above films on DVD or on some streaming service. Maybe after the studios have been punished by financial loses, they will come to understand that spectacle cannot substitute for story.

#film #cinema #science fiction #The Endless #time trap #the gateway #I Am Mother

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endorsereviews · 6 years

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Steve Sjuggerud – Extreme Value 2016 Newsletter (Stansberry Research)

The World’s Most Valuable Land…. At Almost a 50% Discount Fourteen years ago, I showed folks how to invest in a Hawaiian beachfront property for $150 an acre… an investment that returned 201%… Now, I’ve found an even better opportunity — an extraordinary deal on probably the most valuable land in the world, in Manhattan… a deal that, just like last time, could potentially make you a small fortune… “

Dear Reader,

I was expecting a dinosaur to pop up any minute.

Fourteen years ago, I was driving through the lush greenery on the Hawaiian island of Kauai… the island where Steven Spielberg filmed Jurassic Park.

You can easily recognize some of the breathtaking vistas featured in the movie.

I drove all around Kauai’s single highway, stopping here and there.

(When a sign says “scenic viewpoint” on Kauai, you stop.)

One time, I pulled over and found myself looking straight into a canyon… with a vertical drop of several hundred feet. It had a waterfall at one end, and was filled with green plants.

No wonder Hollywood comes here dozens of times a year to film movie after movie…

Opposite the canyon rim where I stood, I saw a tiny yellow vehicle. I squinted and saw that it was leveling the ground for a new housing development. What a gorgeous view they’re going to have. This canyon is just across the road from the Pacific Ocean…

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After all, who doesn’t want to live in paradise?

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Back when real estate just started taking off in the U.S… and it turned out to be a hugely profitable situation.

In fact, the “backdoor” investment I discovered in Hawaii returned 201%. And the few other similar investments I found like it returned 56%… 54%… 36%… and 31%, some in about a year.

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Buildings come and go… and go up and down in value… but land is forever.

As Robert Stammers, former portfolio manager for a $1 billion real estate fund and a private timber fund, said:

“The reason that land is an appreciating asset is a simple one. It is in limited supply, and no one is producing any more. The demand for land is constantly growing as the population increases, and since its supply is limited, its price must increase over time. Unless something happens to limit demand for a given area or make it unusable, the grounds should be expected to increase in value over time.”

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These discounts were possible because most investors (including both professionals and amateurs) base stock market prices on criteria like cash flows and earnings.

But very often, when a company owns tons of valuable real estate, in the form of land, buildings, and stores, it gets completely overlooked. This enables savvy investors to swoop in and buy an ownership stake in this real estate at a tremendous discount.

#2) It gives you a HUGE margin of safety — one you simply can’t get with any other type of investment.

No matter what happens to any business, the land will always be there.

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When a company has lots of valuable real estate, they can always sell it, and make a fortune for shareholders.

Of course, buying real estate in the stock market also allows you to get in and out of opportunities very quickly… and helps you avoid all of the hassles that typically come from actual real estate investments.

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Like many unusual ideas like this one, however, they have their time… then the opportunity is gone.

Since I first discovered my first “undervalued land” opportunity, the housing market soared… then crashed… and today, is slowly recovering…

And for over a decade, I didn’t think I would ever find another opportunity like that again.

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Good investing,

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His average closed recommended position since 2002 has gained 31% — through both bull and bear markets…

And it’s how, over the years, he’s shown his readers safe gains like these:

304% in Dividend Capital Trust 194% in Realty Income Corp. 79% and 54% in Brookfield Asset Management 98% in Wal-Mart 65% in ExxonMobil 77% in Proctor & Gamble 88% in Microsoft 132% in Intel 173% in Altria Group 113% in Phillip Morris 133% in Latin American Export Bank 77% in the Sequoia Fund 125% in Berkshire Hathaway 406% in Prestige Brands 54% in Sprott Resources 201% in Alexander & Baldwin 142% in Icahn Enterprises 248% in International Royalty Corp. 124% in Gateway 99% in POSCO 104% in Portfolio Recovery Associates 249% in KHD Humboldt Wedag 59% in TJX Companies 82% shorting Lehman Brothers 97% in Circuit City 95% in Jakks Pacific 56% in Alico 111% in Blair Corp. And many more… It’s no wonder Extreme Value has earned an army of fiercely loyal followers, including well-known money managers, investment firms, and CEOs.

Over the past 14 years, in fact, we’ve received countless e-mails from Wall Street folks praising Dan’s work.

For example, former mutual fund manager T.B. told us:

“I’ve worked on both sides of the street until I left that line of work over 15 years ago. In all those years, I’ve never read research that was more well-thought out, developed, and written than yours… I’ve learned more from you in the last 4 years than from others in the prior nearly 40 years.”

Financial advisor and author Joe R. wrote to say:

“From June 2012 to June 2013, I made well over $100,000 following your advice. I trade a ministerial account and the money is used to support missions and church building. I’ve been able to fund a missionary in Thailand, build a church in Uruguay, pave a parking lot for a church in Texas – all of this in about 1 year.”

James E., also a financial advisor, said:

“I have been a Financial Advisor for the past 14 years and have lived through 2 bull markets and 2 bear markets… The research that you do… is the best I have ever seen. Keep up the good work, I read you every day and appreciate the time and effort it takes to create your research.”

And professional money manager Jim P. had this to say about Dan’s work in Extreme Value:

“My clients are on the way to the bank with Extreme Value recommendations. On one stock… we have made more than $1.6 million in a few short months, with more surely to come. Editor Dan Ferris not only picks stocks well, but he has an excellent sense of timing his purchases… Where else can you get a professional analyst for $1,000 a year, with no benefit liability? And where else can you be confident that taking a position has a more than 80% probability of a gain?”

Even Stansberry Research founder Porter Stansberry — who gave Extreme Value an “A” grade in the last Stansberry Report Card — says it’s “a must read:”

“Extreme Value is, hands down, the highest-quality, independently published monthly journal about high-quality, long-term investments. If that’s what you’re looking for (and it should be), it’s a must-read.”

Best of all, Dan’s strategy is simplicity itself:

Buy a few great businesses and wait… and do nothing except get richer.

Dan will spend up to 6 months or more researching a single stock before making a recommendation… running all the numbers, and sometimes traveling thousands of miles and going on site to investigate a situation (like he did with his previous “undervalued land” recommendations)… looking for how to buy world-class assets trading at ridiculously cheap prices.

After that, Dan will issue a buy recommendation. His goal is to hold for the long term. He won’t recommend a stock just so you can have a new “hot pick” every month, if it hasn’t passed his incredibly stringent investment criteria.

That said…

If you’re the kind of person who’s looking for a double every two weeks, Extreme Value is not for you.

You’ll be wasting your money, and our time.

Folks who will benefit the most from Extreme Value are patient investors, with a long-term time horizon, say from three to five years.

If this is you, it goes without saying that not every stock will be a winner… but you’ll likely be very happy with the end results.

“I use Extreme Value for my core holdings,” says subscriber Tom B., “And have made $500,000.”

Subscriber Frank R. told us:

“Extreme Value has accounted for gains of over $50,000 in the last year. When I retired four years ago with a “decent sized” portfolio, I still worried about the future and outliving our income. After four years (with a very comfortable lifestyle) our net worth has increased and I no longer obsess about whether we’ll make it.”

And one Stansberry reader, Jim W., even told us he made an incredible $1.01 million in just 4 years, thanks in part to following Dan’s work.

It’s important to note that the money you make following Dan‘s work depends in large part on how much you invest. So your experience might vary from what you’ve seen here….

That said, these are the kind of results you could expect with Extreme Value.

If you want the opportunity to reduce risk in your equity portfolio and make big long term gains, here’s what I recommend you do:

Simply try Dan’s research and recommendations for the next 30 days, 100% risk-free.

If it doesn’t meet your expectations, or you find this kind of investing is not for you, just let us know. We’ll give you a full refund at any time during the first 30 days of your trial.

In other words, you risk nothing by giving Extreme Value a try today.

How to Get Started Extreme Value costs $1,500 for a full year.

Considering everything you receive — and the potential gains you could make — we think it’s a terrific bargain.

Your trial subscription includes:

Tuesday E-mail Updates. Every Tuesday, Dan will e-mail you his Weekly Updates, discussing any news about model portfolio stocks, as well as recommending when to lock in gains… when to add to your position… and when to sell.

12 full months of Extreme Value. On the second Friday of each month, Dan will e-mail you a new issue… analyzing the markets and detailing which investments you should buy. Each investment will have the potential to double or triple your money over the long term. You’ll also receive a hard copy in the mail.

*** Don’t forget: Dan’s latest research on his new “undervalued land” opportunity — called One-of-a-Kind Assets at a Discount — is immediately available as soon as you sign up for your subscription trial. It details how to claim a stake in one of the most unique and valuable land assets in the world, only usually available to billionaires, available at a 44% discount today…

The Extreme Value Handbook. This exclusive manual outlines Dan’s full strategy… and how he’s created one of the most successful track records in Stansberry’s history by looking for investments with “extreme” fundamental value.

Dan’s library of educational resources. You’ll have immediate access to Dan’s training videos… Educational interviews… Presentations… FAQs… His favorite issues… Dozens of special reports… And recommended reading lists.

Literally everything you need to become a world-class investor in your own right.

World Dominating Dividend Growers. In this book, you’ll learn why these kinds of companies are incredible income investments… How to identify a World Dominating Dividend Grower… Exactly how to buy them… and how they can produce safe, double-digit annual income streams for their shareholders.

And that’s just the beginning.

With the kind of track record Dan has, you can probably see why we charge $1,500 for Extreme Value.

But today, you can try it RISK-FREE for the next 30 days…

And if you’re not 100% satisfied in the first thirty (30) days of your subscription, you can get back every penny you paid just by calling us toll-free. No “handling fee” whatsoever.

In short, we think you’ll love Extreme Value when you to see it for yourself.

There has never been a better time, with Dan’s new “undervalued land” recommendation…

And this offer is 100% RISK-FREE.

To take advantage of this 30-day risk-free Extreme Value trial, simply fill out the order form below.

Just keep in mind: The news that will affect this “undervalued land” company could hit the wires any day now, and the stock could surge — so this may be your only chance to get in.

Get started right now — fill out the order form below.

Steve Sjuggerud – Extreme Value 2016 Newsletter (Stansberry Research) posted first on premiumwarezstore.blogspot.com

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sublimedeal · 6 years