Showing posts with label libretto. Show all posts
Showing posts with label libretto. Show all posts

Composer+Librettist: Link Starbureiy
ISMN: 979-0-800136-00-9
Draft: August 3, 2017 | Premiere: April 1, 2018&

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Easter is an opera about the coming-of-age of juking, and will showcase feasible use cases (ie. product demonstration).
The first chord (Die, Detective!) of its arc~ speaks to urban renewal. It aptly deals with contemporary civil unrest with foci on the interrelationships between law enforcement in communities it serves, and corruption within the justice system as a whole.  This unfolds from the refuge of an abusive rogue who feels circumstantially slighted by his peers, and because of that, takes the law into his own hands and goes on a rampage which erupts into a war in the process.  I personally think that the ideal theatre for such a drama (because of the scale and necessary visual effects) is via cinema🎞️, and the best vehicle for telling it non-generically may be The Detective (TD) canon.Arc: Easter:Die, Detective!Easter:Déjà VuEaster:Déjà RêvéEaster:Déjà EntenduEaster:Déjà Vécu

Note (+): Easter:Die, Detective! is in some ways heterotic; an operatic synthesis where Easter (Joe Leland) polices a hybrid storyline set in the modern world. It has continuity (courtesy of common characteristics), but is not an actual/proper sequel, per se; instead it's a standalone adaptation/re-interpretation/reimagining. an aside, I subtitled this 'Die, Detective!' from an amalgamation of 'Die Nigger Die!' and 'The Detective'. "Die hard, John McClane." was made into a verbatim.

Including the Die Hard (DH) anthology, The Detective franchise is one of the most popular and best-critiqued action series in cinematic history. Spanning seven (7) films (six sequels) over the course of fifty (50) years (1968 - 2018), the series has a non-linear storyline centered around police detective, Joseph Pascha "Joe" Leland, his sometimes alliances, frequent mishaps, steady heroics, and they mostly follow a standard formula:
- our protagonist typically starts out wearing a clean white shirt that gets progressively dirtier throughout the film (a cinematic timeframe of no more than 12 hours) until it is noticeably filthy
- some antagony introduces itself that constricts a situation, usually forcing the hero to react (thereby getting his shirt dirty in the process)
- a spectacular climatic distress sequence ensues.  Here are those scenes from the middle five (5) films in the series:

The Detective has been and is a portrait of sensational thrills that gently samples high-technology in its sequences [eg. the touchscreen in the Nakatomi Plaza lobby (DH1), the fax machine (DH2)].  In bringing it to a close🔒 after its fifty year run*, I propose a few things, two (2) of which are: the exploration of a backstory for the sake of character development, and the introduction of substantive dramatic elements.  Logic dictates that, if either of those things is missing from a closure🔒 piece like this, an opportunity to tie up loose ends in the narrative would have been forfeited.Trivia: 2018 marks both the thirtieth anniversary of Die Hard (first entry) and the fiftieth anniversary of The Detective (film).

The insertion of the word 'Pascha' was my doing, thus giving him a middle name that was absent in the literature and did not exist anywhere in the canon. Linguistically, 'Pascha' is the Greek equivalent of/to 'Easter'. I also gave him a birthdate of April 10, 1955 (an Easter Sunday). Now we have a point of reference as to why (the arc of) the opera is called what it is.

There were some clues left by Thorp about Leland's military career and personal relationships. The drama delicately navigated around the detective's issues he was having with his wife (Karen Leland who was an infidel and went on to leave him) and later daughter (Stephanie Gennaro with whom he had a strained relationship).

When we first meet Karen via flashback, she is a thirty year-old single (unmarried, no children) lady being courted by an even (7 years) younger Leland. As a couple, they are on the cusp of wedding, but Leland needs more convincing, as he is very early into his career in a new city (New York City). She desires the commitment a traditional band represents so that her children won't be out-of-wedlock bastards, as to maintain her Italian Catholic covenant. I think that the difference in age between the two forces her to pressure Joe into doing something he is not wholeheartedly interested in at the moment, and this is a source of resentment on his part.

I don't envision just collating subplot points from prior entries, but to look altogether retroactively at Thorp's literary interpretation of The Detective [some time around which Leland retires, hence, the events of Die, Detective! would hypothetically take place before and leading up to Nothing Lasts Forever (NLF) -- this episode (which opens on Halloween🎃) is set twenty-six (26) months prior to NLF]. From there, I have interwoven those minor elements into the major tapestry that is this opera.

Note (+): The novel, The Detective (1966)(which serves as inspiration for this piece), was translated onto screen as a movie of the same title in 1968. It starred Frank Sinatra as Joe Leland. Later (1979), a sequel was written for it called, Nothing Lasts Forever. That was made into the movie 'Die Hard'. Sinatra rejected reprising the role because he felt that he was too old to play the part again (1988), so the studio eventually chose Bruce Willis. In doing so, they edited parts of the book's storyline around in an effort to modernize it. One of those changes was Leland being renamed 'John McClane', and the character portrayed as more youthful. But for all intents and purposes, 'Joe Leland' and 'John McClane' are the same cop in The Detective universe.

Nothing Lasts Forever is actually the dénouement of the dramatic arc (told as Easter:Déjà Vécu).

The hardnose behavior and sardonic temperament of our maverick detective is risque, to say the least, and has been valued as an asset among fans.  He has been used to represent the everyday man who perhaps could not say and do things that were otherwise unfashionable.  His exploits and adventures throughout the series have touched on sensitive topics, such as homophobia (TD), racism (DH3), xenophobia (DH5), and large-scale domestic terrorism (DH4).  The audience knows what they are getting with Leland; it revels in vicariously helping him sort through the predicaments he faces with the expected outcome of a better day lying ahead because he just surmounted the odds.

... and that is where we find Easter (Joe Leland) today, an elderly man with one (1) more trick up his sleeve on the brink of receiving his due pension, but genuinely unsure of whether the odds are still in his favor.  His insecurities stem from years, .. decades of having rubbed people the wrong way in order to answer the calls of duty that may never add up to anything more than a thankless job. A miserable alcoholic, he drinks* away personal demons thus becoming his own worst enemy in geriatric anger, and now, in an effort to save both his reputation and family, finds himself in a war pitted against the most formidable foe - hatred.His personal favorite is a brand of DIY rum called Hubert Brown😉. (Drink responsibly.🥃)

To put it bluntly, he is a bonafide alcoholic and it shows. Lack of self-discipline in regards to drinking and its damaging effects has ruined his relationship over the years with his children. Factor-in that his pride, has, in the past, refused to let him get the professional help he could so use, Easter is not making long-term plans because he secretly and instinctively knows that the poison will consume and ultimately get the best of him in his already downward spiral. He is borderline suicidal at this point in time; some days he finds his lonesome actually trying to drink himself to death. With extreme reticence, he's returned to Philadelphia (where he was born and briefly employed for the first part of his rookie year before accepting an offer from the NYPD) from his months-long sabbatical in the Rocky Mountains so that he can rebuild some semblance of a social life. We are to believe that the only thing keeping him 'going' is the practice of pseudo-parenting he gets by boarding three (3) Indonesian college students while hoping for reconciliation with his estranged family, although he is enjoying his new toy jukebox😇.

Since becoming a sexagenarian, he's done plenty of self-examination, and has become sick of the life that he has lived as an adult. After filing his resignation, he immediately moved to Small, Idaho for a refresher. While there (for roughly a year), he discovered that he no longer has any desire to protect anybody outside of his own interests; he wants little more than to free himself from the burden of representing the law. Other than the decent pay (saved up from the PPD job, he hopes to use his earned pension ($$) to purchase a large huckleberry farm in Western Montana and grow a family business, but this may be a pipe dream), he despises everything that the security industry stands for, and is starting to side with those who have been historically oppressed in this country, especially at the hands of what his chosen profession represents. Self-inflicted incredulity has him feeling almost ashamed to have ever been involved in the capacity that he was. At this stage, he is an über-seasoned veteran at the end of his journey anxious to tip the fedora.

Some might conjecture that he suffers from White guilt, but that isn't my aim with Easter. It would be easy to deduce this because of the relationships Joe Leland has had throughout the series. Pointedly, Al Powell (now his seasonal fishing buddy on the Clark Fork since the turn of the century) and the driver, Argyle, were two Black guys who befriended him in the first Die Hard movie. Also, in the third movie, there was a pronounced buddy-cop vibe between his character and Zeus Carver (trivia: that storyline was originally shopped to Warner Bros. studio executives as a Lethal Weapon sequel, where the leads were a White [Martin Riggs] and Black [Roger Murtaugh] male duo. It was backburned, later acquired by Fox studios, and rewritten as Die Hard with a Vengeance), so we can assume that the detective has at least a soft spot for working alongside Black people.

In today's current social climate, pockets of once-latent animus are spreading across the globe - be it from shifting politics, stances on immigration, bigotry, or what have you - engendering bunches of armchair heroes and keyboard⌨️ warriors; cowards in need of a figurehead they can galvanize behind until their version of order is restored or parturitated.


Unless things are under control, then things are out of control. What we have here is a major city (Philadelphia) on the brink of chaos. There has been yet another incidence of fatal violence committed toward an unarmed and presumed innocent minority at the hands of law enforcement, this time, they belong to Easter's own partner, Bunny (Mika Petrakis). This miscarriage has put the whole town - already fragile from previous similar occurrences across the country - on-edge. Unfortunately for said law enforcement, the difference between other jurisdictions and the City of Brotherly Love is that she lives up to her reputation as being the most blue-collar, no-nonsense town in America, totally intolerant of brutality towards its citizens by those who have taken an oath to protect them. They have social media and a backlog of public case studies replete with examples of no justice being brought to officers in the courts of law. Now, where there was hope and maybe even expectation of a drawn out trial that could potentially result in an acquittal, certain neighborhoods - exhausted from fighting for very limited resources, have other plans for dealing with the perpetrators.

Bunny is an ambitious rookie cop (first year on the force) who is fresh off of a murder case she just helped solve.
Harkening back to Thorp's original Detective plot somewhat, the case that has just been closed🔒 after a six (6)-month investigation involved a brutal murder (victim's head crushed, mutilated genitalia, beating, etc.) in which Petrakis has just deciphered clue codes. In this version of the storyline, it turns out that the victim was dating the daughter of the mayor. There are suspicions that Bunny had been involved in the crime from the start, and was protected by the mayor himself as a favor. Hence, we can see why she is rising in the ranks rather quickly.

I envision her in the mold of Mark Fuhrman, the notorious detective from the infamous O.J. Simpson murder case. -- a snurky dude with a personal vendetta who was willing to plant and tamper with evidence that could have damaged an investigation -- she was also drawn from the Tulsa-based officer, Betty Shelby, who was arrested and tried for manslaughter in her case for murdering Terence Crutcher (watch her run from the courthouse after the verdict). In fact, it was the outcome of this case that prompted me to write the opera. Tulsa has a history of profound racism against Black civilians, dating at least back to the Black Wall Street massacre (1921). What struck my chord was the fact that Shelby and her partners (ground assist and helicopter pilot husband) had the cameras turned off leading up to the execution, and then the coroner compounded that by testifying that the victim (Crutcher) had narcotics in his system.

As an aside - a word about character development - I changed 'Michael' ('Mike Petrakis' was the name of Leland's partner in The Detective) to 'Mika' because 'Michael' means "Who is like God?" in Hebrew, whereas 'Mika' is Native American for "intelligent raccoon"[1]. She is definitely not god-like, nor does she try to be, but she is very clever (or at lease thinks she is). -- There was this White girl I had gotten to know for a short while when I was eighteen (18) or so that was a real bigot, super-racist. I was more ignorant to and fascinated by that stuff (White racism) back then to the extent that I am now, and she let me essentially document her (I had so many questions). It turned out (as I later learned from another Black guy) that before she became a vitrioled person, she was romantically involved with a Black fellow (not me or anyone I knew) and their relationship went sour. When she and I knew each other, she had a "redneck" (her words) boyfriend that "would spit on interracial couples" (he also "drove a big truck") and was really proud of that. My documentary of her stuck with me, and this is how I imagine someone like her could turn out to be. -- Except that this gal (Bunny) is on the clock (she has political bosses), and that makes her extremely dangerous.

There is a new assignment for the talented young officer who is being quickly promoted through the ranks: bring Roscoe, the mid-Atlantic's most dangerous gangster, to justice. Doing so could lead to great rewards and coveted recognition that comes along with it. With the assistance of her connections to the city government and dubious ties to the criminal underworld, this shouldn't be a problem, and wouldn't be if she can just do things her way. Having been recently partnered with retired lieutenant Easter (who is supervising as part of his exit interview requirements so that he can receive his full pension), Bunny surmises that the most opportune time to test the limits of her authority will and has come while under the tutelage of one of the most controversial officers in this country's history. On a routine traffic stop, and doubtedly 'fearing for her life', she opens fire on a seatbelted father and his young daughter, killing them both. With no witnesses other than an unwitting Easter, the department and city are left with the difficult task of explaining and defending this tragedy to the public. Questions arise: is there innocence in this case, and where to place the blame? -- and are answered quickly: blame is placed squarely on Easter, framing him. Furthermore, because of what appears to be a curtailing of a kingpin's business dealings, a hit is put out on the detective's life, endangering him.

Easter had little idea that his assigned mentee was a slimy, full-fledged racist, nor did he understand how deep corruption ran throughout the city's major players from top-to-bottom. Nonetheless, this episode has triggered an intense flashback to the MOVE standoff and shootout event that shaped him during his own rookie year in 1977-1978 as a beat cop in West Philadelphia, and an unresolved issue from his own military past (he went AWOL as a helicopter pilot in the U.S. Coast Guard before becoming a policeman). Now, with a special political election underway, the town's entrenched power elite are out to protect themselves from this rising menace (potential civil enmity) at considerable cost. Their tentacles run deep. Easter's entire precinct [spearheaded by the Chief of Police, Lent Goode (Tom Farrell)] turns against him (forcing him into absolute fugitivity), leaving him embroiled in a search for the truth about his colleagues, the city, and own future.

There is an impending multi-year, very large monetary foreign investment that is due to the City of Philadelphia over the span of the next five years with the first installment due at the end of the upcoming first quarter (March 31, nearly coincidental with Easter holiday), and the investors are adamant about moving its people and business assets into a "cleaned-up" town [Philadelphia is desirable because it geographically sits at a port between the world's political capital, Washington, D.C., and also its financial capital, New York City, which goes along with their trans-Atlantic shipping plans (it's also where I was born😜)]. The sooner this can be done, the better. To them - as well as to the incumbent/incoming administration - this means ridding (or at least substantially thinning) Philadelphia of its Black demographic, to which they attribute disproportionate crime statistics, over-reliance on government assistance, non-shrinking poverty, and hastened artificial decay ...just a drain on society. While this may or may not be correct, these transactions have been under the watchful eye of a few influential persons who support the 'live and let live' philosophy; especially a 'citizens-first over foreigners' mentality. Ironically, all of this is being sold to the public in the name of 'diversity'[1]. That in itself causes a rift amongst the city council [board members], and ethnic crime bosses - themselves promised favors - pounce to capitalize on the discord.

None of this sits well with Easter, who, in tandem with a slough of other personal dealings, is finding it surprisingly difficult to cope with being the witness to this murder. Blackmailed, he is given a tough choice by the higher-ups: cooperate with authorities and help them push-through these very lucrative contracts in return for the assurance of a peaceful and rewarding retirement (which is active), or die under not-so-mysterious circumstances. Not that he would mind, to be honest - considering his current mental state, but there's no honor in that.


Attribution: this brand of 'go looking for it and you will find it' corruption is slightly borrowed from the Philly-styled dramatic narratives presented in the Badge of Honor novels by W.E.B. Griffin. --- At the time of all these wicked police shootings between 2012-2016, my cousin wanted to join the PPD. He's got a good heart but poor vision (he also had bad credit which automatically excluded him). I personally thought he would make an outstanding officer (depending on where he was placed), so he and I would do separate case studies analyzing each nationally sensationalized homicide, wondering what would be different if any had occurred in the Delaware Valley (the Freddie Gray [Baltimore] and the Eric Garner [Staten Island] cases were close, but no cigar). Parts of our hypotheses came from watching the television show, Cold Case (which took place in Philadelphia), as well as familiarizing ourselves with Griffin's books.

Note (+): The Shootout of 1978 at Powelton Village house at 311 N 33rd Street in Philadelphia was factual. Putting Easter in that time period is due in part to Howard Chaykin's DIE HARD: Year One concept where the protagonist is a rookie cop in 1977 (assuming his rookie year would extend 1977-1978). Thorp's depiction of Joe Leland being a military pilot is found in both The Detective and Nothing Lasts Forever. I characterized him being a Coast Guard (search+rescue) due to the fact that a police officer of his caliber may have had 'save first' instincts before working as a private detective.

Enter Fer.

In the wake of this, we have a civilian, a man named Fergus, who, having been disillusioned with authority after his own recent encounter with the legal system moved him beyond reproach, devises a plan to carry-out what he sees is the only logical solution to stop and prevent any further foul play against his community - the killing of all police officers, and the dismemberment of local officials (eg. elected officials, ombuds, prosecutors, etc.) for whom they serve. Worst of all, he is even willing and competent enough to take his cause further - orchestrate an all-out war against anybody who is in disagreement with his self-reliance/self-preservation, protectionist philosophy. Inevitably, random persons are made at fault and no one is a safe target, but by billing himself as the "bringer of dawn", this 'manifestation of abuse' can rationalize being his own judge+jury (however sadistic) by using the 'survival of the fittest' evolutionary tactic so that he can 'begin anew'.

I wrote Fer to be perhaps the nastiest, most vicious antihero ever. Even though the character is definitely the antagonist, I refuse to label him outright villainous because he is reactionary; had the others not done what they did, there would be no cause for him to take action. He views himself in prophetic taste like Moses; wanting to manumit his followers from the stronghold of socio-economic oppression and is completely sold on the movement.

In creating him, I referenced source material from Hubert Brown's autobiography, experimenting with what the fervor from a die hard (pun intended) political activist could have been like in 1960s America, while at the same time borrowing some traits from characters in movies and television shows dealing with inner-city gangsters and the drug game (I especially was influenced here by Jamie Hector's characterization of Marlo Stanfield in The Wire and Curtis "50 Cent" Jackson's psychotic 'out-for-revenge' portrayal of Kanan Starks in seasons one and two of Power), Dumas' The Count of Monte Cristo (hence the oft-repeated "I have a Black friend, his name is George." line), elements of spaghetti westerns (particularly the 'lonesome dove' act of Clint Eastwood in the "Dollars Trilogy"), and also the slaughterhaus of Jason Voorhees.

Every so often somebody comes along who turns the game on its heels; completely changing the status quo, more often than not for the better/best. This is why it's so difficult to pin labels on these characters when you can clearly see from where they are coming, and to some degree, going. However, the mastermind behind all of the drama won't be revealed until the epilogue (per usual).


To reiterate, it's impossible to point to a person and say "they are the hero" in this piece, for both sides have selfish interests. As we dig more into the detective's biography, we learn that perhaps he's been coddled by the police force for so long that he's become used to working in an air of privilege. Even though he may think that he is doing the right thing in 'fighting bad guys', his inclination for careless destructive behavior (massive property damage, etc.) and homicidal tendencies show that he is really no better than the other side of the coin, figuratively speaking.

What we do get to see, though, are the real detective skills of Easter. Dramatically, his character is fully developed here. There is clear and present danger that, for the most part, only he can address, and if he does his job, he ultimately becomes a protagonist. If he fails, then we are left to ask what constitutes a 'good guy' anyway(?), and moreso, are patrol police people necessary in today's world where artificial surveillance is so prominent?

How to present our detective doing detective-like things was tricky to accomplish. On one hand, The Detective was written at the tail-end of the film noir age (the screen adaptation looked it), and that style is something I wanted to mimic in this picture (for purposes of continuity). On the other hand, that style looked 'classic' precisely because it didn't emphasize technology, which is taboo here. So, the decision was made to just let Leland be as comfortable as he wanted with his toys. Otherwise, you risk having him rely on Columbo-type detective work (where clues come out of nowhere), leaving the audience to do too much thinking on their own. The first-person tech route is better because the audience gets to see exactly what he sees.

The real hero is actually the jukebox, UUe. As an appliance, it presents workable solutions to poverty problems that are so rampant and counterproductive. It also gives a roundabout answer to the awful political system that has hijacked the city government (which has been under a hostile takeover ever since foreign investors successfully bribed leadership).


In Die, Detective! (DH6/TD7), Easter faces easily his greatest test yet ('Die Hardest'?) as he seems to be getting it from a myriad of angles; he is under siege from a number of threats: Fer, Bunny (partner who embodies the municipality's perfidy), his own family, past haunts, the uphill battle against substance abuse, and, sadly, the debilitating effects of aging. I (and this may be just me) liken it to a Batman storyline where the so-called 'Caped Crusader' must square-off against foes from his rogues gallery in the same paneling. Something like Batman (also a vigilante detective) versus a concerted Joker, Penguin, Riddler, Catwoman, and even Robin all at once. This is serious.

There is a slight chance that some people may make it through the opera and not know what's going on. For them, I want to state that the story (its arc) centers around re-birth or renaissance after dealing with the repercussions of careless vice. In this first chord, the detective is in a fight with himself ("Joe Leland" versus "John McClane"). His challenge is to remove the mental and emotional shackles (ie. the evils of alcohol) that have been holding him back from being a healthy person since he was a young man. To accomplish this, he has to accept that his choices made him who he is - for better or worse - and then he can get off the road to perdition.

This concept of "J vs. J" (an internal struggle) is partly due to listening to Usher's song, Monstar, off of his Raymond vs. Raymond album (the dopest track on there, in my opinion👍🏿). Although his circumstances and reasons for creating that music are completely different from what I'm doing here, the germ is identical: there's a monster in all of us that needs to be addressed and destroyed, if possible.

All cops secretly want to die on the job. No one is sure if the detective will make it to a ceremony. But one thing is certain, as long as he clasps the hands of oppression disguised as an agent of service, then sooner or later, John McClane will be retired one way or another.* Taglines
This is the "Battle for Philadelphia" (that's what I'm calling it). Here we have a civil war in effect. Even though it (urban guerilla warfare) takes place over the span of a single Christmas Eve🎄, the causes of it have been brewing for at least some years. All of these sensitivities are brought to the surface in this piece where over a million people (~2/3 of the current population of Philadelphia) perish, and the audience will have to choose a side.

When The Detective and Die Nigger Die! were published in their respective years (1966 and 1969), the country was in a tumultuous period fraught with political assassinations, coping with extreme racial tension, at war overseas, and a number of other evils beyond the scope of this footnote. Die, Detective! is a loose continuation of that era (albeit brought into circa 2018). It is with reservation that I offer admission of this story devolving into a so-called race war [I do not advocate hate or hate speech]. I had to write it so that such a conflict would be inevitable.

People have been harboring these sentiments for however long. Even if you think you're better than what meets the eye in Easter, this story will take you there, so to speak. I made sure that there was a lesson (to be) learned here, though, which is that poverty breeds crime, and crime unleashes ill-will, and that none of it is good. My ultimate hope is that we come to understand that these are problems that need technological and economic solutions; you can't exactly legislate your way out of stubborn social destructs.

My outline (six-act structure*) for the first chord is as follows:
A dyadic three-act structure.
- Act 1: remembering sad holidays [prologue]
- Act 2: monstrosity is a tendency
- Act 3: hallucinating from hallucinogens leads to hallucination
- Act 4: dirty shirt
- Act 5: of death and the detective~ [denouement]This is where the opera derives its name. Alcohol is arguably the main character in this part, and it's the detective's abuse of it (his "elixir" as he calls it) that has to die in order for him to finally be able to accept his reality (one must and will kill the other). Easter (a synonym of "Pascha", Leland's middle name) represents the theme of a rebirth/renaissance (which is prevalent throughout the entire opera), so to speak. There is an incidental religious (Christianity) undertone here, considering that his name is Joseph/John, and these events happen near Christmas in Philadelphia, but that's unintentional and certainly not stressed.
- Act 6: Pillowsoft [epilogue]

Tech targets

+ Insane McClane (vg)

@Attention: casting call announcement📣

(projections until confirmed)
- Bruce Willis as Easter (Joe P. Leland), a retired police lieutenant[description:= White male, 60-65 years /// character:= aged, grossly flawed and deeply insecure, drunk, instinctive and experienced, now at the stage where he is remorseful, relocated/switched cities (NYC→Philly) to be closer to his kids (daughter in Chester and son in Maryland) 'just in case', a severely skeptical Irish Catholic]
- Bunny (Mika Petrakis), trainee of Easter[description:= White female, 22-25 years, thickish build (5'7'', 140lbs.-- must really be able to "squeeze in them jeans"), strong features of her Greek/Mediterranean heritage (dark hair/eyes) /// character := she looks nice but she's not nice, sly, bold, opportunistic, a cold and conniving dyke]📣
- Link Starbureiy[1] as Fer(gus), the antagonist[description:= Black male, 30-40 years, this guy's resemblance to Link Starbureiy is uncanny😉 /// character:= ruthless, bellicose, not easily fooled, fearless, and on a crusade for freedom]
- Tommy Beardmore as Jeremiah (Joseph "Joey" J. Leland, Jr.), intelligence operative and only son of Easter[description:= White male, 30-35 years, fit /// character:= travels frequently in search of more than just tech-installing for his job assignments, fallen out-of-favor with his mother and wary of his dad because of doubts of paternity, yet can't ignore evidence of similar behavioral patterns, a boy scout-type]
- Glenn Close as Maundy, powerful mob boss[description:= White female, 65-70 years, Swedish heritage /// character:= cunning, works behind-the-scenes (doesn't use own products or get hands dirty), doesn't like to repeat herself, territorial, proud, suave, regal, she's committed to her business (moonlights as a shipping magnate) and lives by the motto 'You deserve what you let happen to you.']
- Marc John Jefferies as Roscoe, kingpin drug dealer[description:= Black male, 25-30 years /// character:= former police academy graduate+recruit, now a wanted criminal (for murder and narcotics dealing) who is the subject of a joint PPD+DEA hunt (and has been for many months), the biggest drug dealer in Philly and feared leader of an extremely violent criminal network arisen from Camden slums]

/[supporting cast]
- Eógan Tyrone, mayor of township[description:= White male, 55-59 years, Irish/British heritage, must be able to nail the Philadelphia accent /// character:= privileged, seasoned, aggressive, and power thirsty, a typical two-faced political bullshitter]📣
- Rumer Willis as Stephanie Lucia, only daughter of Easter and older sister of Jeremiah[description:= White female, 30-35 years /// character:= independent self-made adult on the cusp of 'finding' herself, employed as a clandestine agent (and that's all we know), sides with her mother in despising her dad but would be unsure why if she did some self-introspection]
- "Lollipop" Sylvia, connect[description:= Latina/Hispanic female, 15-20 years, Puerto Rican heritage /// character:= the unsuspecting distributor for both an offshore drug lord and Roscoe's minions, a candy-loving, cold-blooded assassin, a young girl who is making good money being exploited]📣
- Samuel L. Jackson as Jupiter (Zeus Carver), the deuteragonist, friend of and sometimes collaborator with Easter[description:= Black male, 65-70 years /// character:= semi-retired entrepreneur who enjoys his hobbies and spending time with his grandchildren, resides in the Virgin Islands but is visiting family in Bryn Mawr for the holidays and Easter's badge honoring party, bothered by a nagging spider bite that is restricting his ambulation, probably the sole person with insight into Fer's playbook]📣
- Rusty Schwimmer as Wendy Roberts, civil servant and in-house Doctor of Psychiatry[description:= White female, 50-55 years, heavyset build /// character:= a lonely hopeless romantic (who is just now starting to accept that men never cared about her credentials), professional to a fault]
- Eddie George as Iggy Veracruz, Navy SEAL special ops commander[description:= Latino/Hispanic male, 40-45 years, Central American heritage /// character:= a Texas-bred, tough-as-nails/'hard ass' field general]

/[auxillary cast]
- Reginald VelJohnson as Alven (Powell), retired police sergeant having a decades-long friendship with Easter[description:= Black male, 65-70 years /// character:= a happy-go-lucky retiree who is always there when you need him🙂, his only real concern these days is for his nephew, Albert, who is following in his footsteps and joining the LAPD]
- Lent Goode (Tom Farrell), Easter's police captain[description:= White male, 50-55 years, Eastern European heritage, clean-cut /// character:= lenient but vindictive, really harbors ill-will towards criminals, a brown-noser]📣offered to Brett Hull (other actors may be considered)
- fabl3 (Matthew Farrell), computer hacker and government associate[description:= White male, 40-ish years /// character:= a dues-paid public servant who's worked on important cyber missions over the past decade, distant cousin of Lent Goode]📣offered to Justin Long
- Carl Weathers as Reverend Dominique McClane, neighborhood deacon[description:= Black male, 60+ years /// character:= he can preach until the moon turns blue, but is deep-down tired of the choir itself, lately finds himself babysitting Tharbis' kids, he's been waiting for someone like Fer - who he views as a prophet - to come along]
- Bonnie Bedelia as Egg (Karen Holly Gennaro), ex-spouse of Easter[description:= White female, 65-70 years /// character:= sick/ill, settled in Fairfax County, Virginia, frequently at odds with Easter because of her past dalliances; what's left of their relationship these days is estranged and apoplectic, but both still honor "the deal"]
- Mang, battalion leader for Zone 4/Asian community[description:= Asian (Chinese/Vietnamese) female, 30-40 years, small frame (shorter than 5'5'', 110lbs. or less) /// character:= a feisty survivalist who just so happens to get caught up in a war, a wife with secrets]📣
- Sinqua Walls as Ares (Red* Horseman), one a Fer's henchmen[description:= Black male, 30-ish years /// character:= an architect apprentice, professional student-type, humble and easygoing, takes orders well, is afraid that maybe both sides of the fight are equally wrong]
- Hephaestus (Blue* Horseman), one of Fer's henchmen[description:= Mixed male, 15-18 years /// character:= a mulatto boy caught up in a race war, an otherwise city-slick/street-smart punk kid who is infatuated with the manliness and father figurehood that Fer exudes, participated because he admires the leadership and wholeheartedly believed in its cause, now he must make a decision]📣
- Hebe (Purple* Horsewoman), one of Fer's henchmen[description:= Black female, 40-ish years /// character:= something was amiss in her personal life that she thinks she's found by following Fer]📣offered to Jénel Stevens
A Horseman is identified by the color of their held Beretta handgun.

- Efret, distressed child, only sibling of Gershom, and daughter of Tharbis[description:= Black girl, 8-10 years, dark-skinned]📣
- Gershom, distressed child, younger brother of Efret, and son of Tharbis[description:= Black boy, 6-7 years, lighter-skinned]📣
- Tharbis, distressed mother of Efret and Gershom[description:= Black female of Ethiopian descent, 30-35 years, thin build (body type reflects her struggles with drug addiction) /// character:= a thot]📣
- Dorsel, concerned citizen[description:= White male, 20-30 years /// character:= red-blooded American dude competent with a variety of firearms, pissed-off at the uprising, sees this as the perfect time to kill himself some 'niggers']📣
- Kofi Siriboe as Colin "Ramp" MacIver, petty officer in the maritime forces[description:= Black male, 20-25 years /// character:= fiscally conservative, hardworking and dutiful, a friend of young Joe Leland]📣
- Albert (Powell), freelance private investigator[description:= Black male, 20 years /// character:= nephew of Alven who wants to 'fight the good fight', aspires to be like his "legendary" uncle]📣
- George Coon, concerned citizen[description:= Black male, 20-25 years /// character:= token conservative Black guy, well-read, unctuous, wears his opinions on his sleeve, thinks that everybody should get along with everybody as long as it benefits him]📣
- young Karen Gennaro[description:= White female of North Italian descent, 28-32 years, small frame (~5'6'', 115lbs) /// character:= an abundantly hopeful person with an air of class (read: 'old vibe') to her]📣offered to Amy Frear
- Patel, concerned citizen[description:= Indian male, 20-25 years /// character:= a passer-by whose bad luck put him in the path of danger]📣
- Bachev, concerned citizen[description:= Eastern Bloc male, 25-35 years /// character:= a no-nonsense family guy, prejudice at his core yet affable, large build (6'6''+, 240+), intelligent]📣
- Ling-Lang, concerned citizen[description:= East Asian male, 25-30 years /// character:= restaurant employee out to defend his turf, not the nicest person, but decent and minds his own business]📣
- d0x, Roscoe's BI[description:= Black male, 30-35 years /// character:= tech and business savvy, helps with the logistics of the kingpin's operation(s)]📣
- Lef'fut, Maundy's bodyguard[description:= White male, 35-45 years /// character:= burly guy who doesn't say much, speaks when spoken to, does what is asked of him, the boss' right-hand man and muscle]📣
- Olga, concerned citizen[description:= Russian female, late 30s years /// character:= single mom, immigrant, fed up with the 'others' not appreciating their opportunities, fighting for her race]📣
- Romany Naples, Vice Mayor of township[description:= Italian male, 45-50 years /// character:= second in-command, always en garde, of IJ Syndicate heritage]📣
- Ethel, Jeremiah's girlfriend[description:= White female, 25-30 years /// character:= her relationship is tricky, as she is romantically involved with an always on-call operative, but it's relatively new and she is patient]📣offered to Laura Stetman

Note (+): Any and all confirmations strictly means that talent has opted to work on piece in some capacity relative to what has been proposed, and thus would qualify to be on the payroll.

Note (+): Because of the speed at which I plan to move (on schedule), the antagonist in the story has been written so that the actor would really need to have a close relationship with the writer himself (me), so I've penciled myself (Link Starbureiy) in the role of Fer.  And since I know exactly what I want, I doubt that will change.

- direction+editing+writing = Link Starbureiy (opera+libretto, director, editor), H. Rap Brown[2] (writing, inspiration), Roderick Thorp[3] (writing, characters), Jonathan Hensleigh[4] (writing, characters), David Marconi[5] (writing, characters), Mark Bomback[6] (writing characters), Howard Chaykin[7] (writing, comic book influence), W.E.B. Griffin[8] (writing, drama elements)
- visual/special effects = Digital Dimension[1], Pixel Magic[2], Luma Pictures[3][4], Gloria FX[5]offered
- costume+wardrobe = ?
- makeup = ?
- sound+music = Jerry Goldsmith[1] (incidentals), Michael Kamen[2] (theme), Jimmy Jam + Terry Lewis (coordination)
- electrical = ?
- set decoration = Link Starbureiy (staging)
- stunt coordination = ?
- art direction = ?
- line production/business operation = ?
- casting = Link Starbureiy
- cinematography [camera, lighting, photog direction] = ?
- transportation department = ?
- military science = ROTC at The University of Montana


The following employment opportunities are non-unionized paying contracts available to contractors*. All positions seen here are active; if the position is not in this space, it is not active. If no positions are posted, it means just that - there are no available gigs. Jobs, their descriptions, and any related information is always subject to change, and may remain posted at the discretion of the poster for purposes of posterity. To begin (an) application, open the lines of communication with a direct (private) message to me on YouTube using your Google/YouTube account.  Messages in the comment section may be considered responsive, but only insofar as mutual interest exists. I'm also a firm believer that everyone should have Discord handy.Contractors must independently draft their own contracts (as to what salary, working conditions, etc. is acceptable).
+concept artist - draw, draw, draw, and draw some more! -- proficiency with variety of vector graphics programs (Corel, Adobe/GIMP, MS Paints, etc. w/ brushes: watercolor, camel hair, airbrush, crayon/oil pastel), strong 2D/3D modeling and CAD. Skills in character animation (/animatics) with said tools is a plus! Fine artists will spend their time building assets. --- can you do stuff like this?

+military consultant - help draft schematics for wargaming in an urban landscape. An ideal candidate will have experience in actual combat (deployed), ROTC, and/or be a solid player in real-time tactics video games such as Call of Duty, Medal of Honor, Sniper Elite, and Battlefield -- in these scenarios, we need to know - given certain time constraints - what is feasible versus infeasible in urban guerilla warfare. Considering that Philadelpia, PA is a relatively large layout with many rowhouses, sidestreets, a trolley/elevated transit system, and on two rivers ([1]+[2]), how would battalions attack each other with limited munitions in that setting? --- if you're a gamer, demo your vids on YouTube with the hashtag: #wargamingforEasterOpera

Note (+): Gamers, whose efforts are appreciated😉, are not going to be compensated.🙁 You should, however, be signed-up for AdSense so that you can enjoy the revenue you get from playing games on your channel. If your strategies are used in the final cut, you will receive credit (as your screenname).

+actors - both dry and wet. A dry actor (rehearsal aid) is one who helps with fleshing out a scene, particularly assisting the concept artists to better communicate+illustrate their renderings (for the wets). These individuals are not expected to have screen time. On the otherhand, a wet actor will audition for a role to be seen by a wide audience. --- dry actors might be selected from local talent; wet actors should frequent their respective film office bulletins in Philly (, Montana (, and elsewhere online (eg. All hired actors must be non-union [SAG/AFTRA/AEA=no].* ---- actors please demo your reel on YouTube (at your discretion, make selection public, or unlisted if you only want someone like me to be able to view it) with the hashtag: #actingforEasterOperaOr, at least commit to being de-unionized while on set. The reason no SAG/AFTRA/AEA is preferred is because I don't want a union trying to bully me or getting in the way of what I'm trying to accomplish. I can't have actors or crew or anybody for that matter, slowing down production with a list of demands for working terms; if I have to work a certain style (long hours, etc.), then you have to work that same way. // En lieu of this, offered to hirees is an exceptional benefits package.

Note (+): All acting assignments are paid gigs that will receive credit.

+music - besides myself and a mixer, instrumentalists will be conducted by a classical conductor with experience in film, television, or (the cinematic elements of) video game scoring. Soft notes from Jerry Goldsmith's incidentals, as well as themes from Michael Kamen's original Die Hard score may be incorporated, so the department will need to conduct a full orchestra for additional new music (3+ hours) around that. -- applicants should hold a bachelor's degree in music.

Also wanted are neo soul/contemporary R&B songwriters and beatmakers for a series of forty-five (45) second advertisements featuring Ric Flair[1] of a fictional (in the sense that it was created for this opera) brand of DIY huckleberry-flavored rum called Hubert Brown (the birth name of H. Rap Brown/Jamil Abdullah al-Amin). These are marketing gimmicks that tie into the production (look for these around the Web and in the opera) because that's the distilled spirit our alcoholic detective prefers to drink. (Drink responsibly.🥃) The songs themselves don't have to be that short (and probably shouldn't be), but a full song must lend itself to being sampled.

If you need more information to help you with your composition, Ric Flair is a professional wrestler and personality (it's best that you know who he is. Pretend that he loves R&B and that you are making music just for him.) who will narrate the prologue+epilogue in snippets in the company of a 'friend'. Although he is reputably 'loud' (flashy) in real life, your music should not be. We're listening for melodies that compliment/complement the ambience of man wanting relaxation and telling a story to whoever's paying attention.

My way (rather, the Black American style to which I'm accustomed) of doing this is to put a bunch of professional musicians (whether they've worked together before or not) in a room and let them have jam sessions. We're bound to have a ton of new music and sounds, some things of which are destined to make the cut.
btw, aren't these great?:

+video game programmer - going off concept art and assets to develop the complementary app for Easter. For the most part, gameplay is styled after the Pokémon Go game (2016), consisting of mixed reality/augmented reality elements super-imposed on locations (also, can you make in VR??). -- do you think your team can ship a monetizable app (beta) by April 1, 2018, with continuous predictable updates through November 2018? Show me your GitHub.

+chemist - study (I'm thinking more along the lines of theoretical chemistry) the properties of huckleberries in relation to biofuels [assignment: describe how synthetic compounds (eg. alkaloids) found in the huckleberry/blueberry can be used as a fuelcell to power an artificial motor]. Your research will produce peer-reviewed technical papers (this would make for a great thesis😉).* Funds are in the form of a one-time, short-term grant. -- candidacy: should be competent in all standard purification+analytical techniques, as well as parallel synthesis. A graduate education (PhD/master's) is required.Co-authorship is likely.

+automotive engineer - somebody who can prototype interfaces for self-driving vehicles (smaller cars). You will need to be comfortable with CAD+3D printing of dongle accessories (these control the automobile) into which your machine learning software will be built. More specifically, can you work with the API and that whole ecosystem?

Investor relations

Financial literacy | Flotation and private offering





Your downloadable digital compile🔐 includes the piece's multiplexed game plugin, libretto, and a deluxe edition of the print (Easter:Die, Detective! cinematic). Ships December 21, 2018.

Note (+): The compile is sold separately; your payment of fifty dollars ($50) does not grant you revenue participation rights.


Below are offered perquisites ('perks'). These tiers each have their own set dollar amounts indicating cost-per-item ($/). Think of them as bonus gifts in addition to holding revenue participation rights (ie. equitable shares). A shipping address may be necessary to deliver tangible goods.

+ $500/signed shirt (autographed by Link Starbureiy) [shipping NOW]

Item description: You'll look good in this shirt. The UUe jukebox logo (UUelcome Home) prominently featured on the front, to go with lnq's motif printed on back, will have you styling wherever, whenever. -- Who knows, a signed shirt by me might become a collector's item and be worth lots of money someday.😊
- quality long-sleeve, plain white (get it?), crew neck shirt is 100% cotton (pre-shrunk), soft+durable to keep you warm (roll up sleeves to cool off)
- fit is unisex standard
- machine wash cold inside-out with like colors. Tumble low dry

Please allow 4-6 weeks for delivery (I doubt it will take that long, but I'm obligated to say it😇).

+ $1,000/underwriter credit - Credited as an 'Underwriter' of the opera. Your name (first plus last) will appear in the end scroll during film credits. You'll also get a signed shirt. [ships December 2018]

+ $25,000/private screening - Enjoy the pre-release (plus meet+greet) with me during a screening for professional journalists. [transportation and lodging accommodations are your responsibility.] -- This perk also comes with an 'Underwriter' credit and a signed shirt. [ships December 2018]

Additional hospitality: As my personal guest, you will receive an entrance badge to the theater, an assigned seat (this just means that you'll get a nice view if stadium seating is available), and a gift bag to take with you. There will be catering (suited to my cuisine tastes, probably nourishing soulfood) on-hand to everyone during the experience. This should be fun!


The following is a question (Q) and answer (A) format organized by topic, many of which may be anticipatory. comment

//general (14) //production (9) //financial (12) //technology (6)

Q: Is this Die Hard 6?
A: Yes. Or, rather, 'The Detective part 7'. Technically, it (the first part of the operatic arc) is 'Easter:Die, Detective!', but for legal reasons (I do not own the 'Die Hard' (trademark) franchise rights, it is only used here courtesy of the respective owners as a point of reference with no infringement intended), I hesitate encroaching on the "Die Hard" titular property at this time. It is instead put it in "The Detective" category, for which I do have the rights.

Because the arc wraps with a rehash of Nothing Lasts Forever (chord 5), this, in a way, is a reboot of the series, as well.
Q: Is this the official webpage for said project?
A: Yes. This is the official central page for the opera, Easter, by Link Starbureiy. Other sites may ping back here as a point of reference.
Q: Will there be sequels?
A: To the opera itself, no. The first chord is intended to conclude the Joe Leland saga. By the end of the fifth chord, the Leland Family drama is completed as was published.
Q: This comes across like a multitude of projects. Please clarify.
A: Easter is an opera that is told is five parts called chords. The first chord (prelude) of this opera is called, 'Die Detective!'. Since we are doing one thing at a time, Die, Detective! is what is currently underway for screen adaptation. The plan is to have the other four (4) chords released in similar succession.

In terms of the amount of activity in this opera, there are a few intra-opera technology targets🎯 that we aim to hit, but these are supportive (supplemental) and not extracurricular.
Q: If you cannot obtain a distribution agreement from a major distributor, is this a hindrance?
A: No. This is my own work, a project created by me to be exhibited/delivered to the public. A lack of a distributing partner would not be an impediment; as exorbitant as such costs[1] are, it may actually be welcomed (such a deal would only be negotiated* for tangible home media and international markets, anyhow, namely China). Besides, I'm not at all interested in the motion picture ratings game; Die, Detective! is (ahem, it's actually NOT RATED) an R+ (for intense sequences) piece, and I won't allow a distributor/studio dictating with scissors what they think is appropriate for me to attain. Plus, there are other distribution methods available.Twentieth Century Fox has first rights of refusal.
Q: Establish permissions.
A: Because this is a transformative phonorecord, the U.S. Copyright Act of 1976[1] supersedes and supplements permission from Dial Press, the publishing imprint for the books, The Detective and Die Nigger Die!, to use those works as I see fit, however faithful.  That is my legal authority to move forward with this piece.  I have qualifications (via [1], [2], [3]) to prepare a derivative work (chords 1 and 5) from a musical angle. And even if the permit were to be rescinded (it won't), this is - according to fair use doctrine - pursuant of an original work (chords 2-4). Standard stuff.

More concretely, I am granted definite statutory custodianship from the estate of Jamil Abdullah Al-Amin to reuse the book, Die Nigger Die!.
Q: What is the ISMN with the Library of Congress?
A: ISMN: 979-0-800136-00-9
Q: Explain this operatic phylum.
A: Easter is an opera predicated on cinema (opera cinema). Much like how you can have a movie based on a book, the prelude chord (Die, Detective!) centers around characters and a plot synthesis spiritually connected to the books, The Detective (1966, Roderick Thorp ISBN: 0-8488-0375-2), and Die Nigger Die! (1969, H. Rap Brown ISBN:978-1-55652-452-3).
Q: 🗓️When does the opera premiere?/When does it get released?
A: April 1, 2018 [libretto📘] (online @this parlor in its non-cinematic entirety = chords 1-5) / December 21, 2018 [cinematic] (chord 1 debuts theatrically 🎄Christmas holiday weekend [domestic🇺🇸])
Q: Discuss debut and post-premiere distribution plans.
A: In addition to being a metered embed on this very webpage, the cinematic will have a wide domestic release in IMAX theatres and on RealD® screens for its opening week [eleven (11) days from 12/21 - 12/31 /2018] so as to qualify for Oscar nominations -- any further theatrical releasing will be played by ear. -- The opera itself has a lot of replay value, so after that first weekend, on Christmas Day (12/25/2018), it will have broader simultaneous availability as a streaming/video-on-demand item for rent* or purchase in digital format. Supposedly, this practice keeps advertising costs down; ensuring that distribution fees will only have to be paid once.[1] Expected services to be used are: Vimeo, YouTube, and Windows+Xbox. The cinematic will also be compiled with the libretto.Keep in mind that renting an item is usually cheaper than purchasing it. However, the terms for holding/borrowing are shorter.

Q: Why have such a relatively short/limited theatrical engagement?
A: Mainly because of the habits people have in consuming media nowadays. I think an opera of this caliber deserves the very best delivery [sound (audio) and visual]. So as to maximize revenue and minimize costs, unless it has a huge opening where a standard fifty percent (50%/week) drop-off won't affect business, it will only be in theaters for no more than two (2) consecutive week(ends). I certainly will entertain keeping the print available in first- and second-run houses until the nut hits the floor if it is breaking records. The silverscreen is there so that you can enjoy it with others in a stadium, with all of the "ooohs and aahhhs", comfortable seating, and refreshments (if that's your thing). I'm purchasing the highest-quality theaters just for this experience, which isn't cheap. I figure, after you've seen it once on the big screen, it should be available around the same time on your small screen so that you can watch it whenever/wherever; you'll have both options there for your liking.
Q: Under what genre is this classified?
A: It is of the war genre. While still 'Die Hard'-styled (ie. constricted action and so forth), the overall setting is moreso placed in 'The Detective' realm. In that sense, it is also a crime drama. {I really want to emphasize this being a 'crime drama', because it will feel at points like a drawn-out episode of your favorite police procedural before its war crescendo. There is so much intrigue here that people who love gangster flicks could go for this.}
Q: What is the duration of this piece?
A: Running time for Easter:Die, Detective! (the first chord of a five story arc) is ~200 minutes (3+ hours).
Q: When does recording commence?
A: Some time in early Spring [shortly after rehearsals] - estimated to last through mid-Summer (July 2018), can be extended for reshoots as necessary.
Q: Where does recording take place?
A: Principal photography (+second unit photography) will be shot on location in Philadelphia County, Pennsylvania and maybe in-and-around Butte, Montana. Butte can serve as a backdrop for Philadelphia since it has residential neighborhoods that share similar architecture to those in southeastern Pennsylvania. Primarily noted is that some of the ground war scenes will be filmed there, as the event happens on Christmas Eve, and Montana's prolonged winters should provide the desired 'chill' during the course of photography. And also - in addition to some of the tax incentives the State of Montana offers filmmakers - because it has a large Irish community (which itself plays a substantial role in this piece).

These locales aren't coincidences. Montana is home, and it's easier to some degree for me to stay close to it. Not thinking about myself for a second, when putting this together, my mind was on a particular family member who lives in Philadelphia and was going through some stuff. An extended stay in Philly gave me an excellent excuse to be with them.

Q: How can I audition for a role?🎭
A: There are a number of roles for actors to audition. Not every role is open; some are (already) hand-picked by staff and thus not open for reasons that are out of your control. Before applying, you should know what role(s) you are wanting. Although there isn't too much information available regarding the character, a short description has been provided as a rubric. That said, all the staff is looking for is your ability to act and take direction.
Q: How long⏳ should my demo reel be?
A: Ideally, a demo reel will not exceed one-hundred seconds (100 seconds [~1.5 minutes]).
Q: Why are you only shortlisting schools/theater departments? Stop being such a snob.
A: lol. I'm not picking favorites. The top schools are the top programs for a reason. They offer the most thorough (maybe not the 'best') training. We want talent that is ready to 'go' from Day 1. When a production of this caliber is even mentioned, the bigger the applicant pool is not always merrier, so imposing a limit on a bucket draw tends to work favorably for the casting director. Still, drama departments across the country aren't differentiated by too much, and so any graduate (even a minor in theatre/drama studies will suffice) is welcomed to apply.
Q: Is this a unionized production?
A: Absolutely not.
Q: If I am part of (have membership in) a worker's union, am I allowed to participate?
A: Possibly. Unions are relics of Prohibition and exist to regulate some thing. They can be beneficial to the 'little guy' who is just starting out (by guaranteeing a minimum wage), but are a pest to larger organizations. You've got to eat, I get it. I can work with the contract that you have drawn up [maybe even honoring/matching sheet rates supplied by SAG or AEA ("Equity")], but don't count on me unionizing my whole production (a requirement of the union) just to feed you. The legal way around that is to treat you as a temporary employee, and have you NOT REPORT those earnings to your union, only to the IRS. Both parties (even the AFL-CIO) have to report this information to Uncle Sam, anyway. Basically, you become an independent contractor. Standard stuff.

The other tidbit is for me, the employer, to have insurance, which most jurisdictions insist on, anyhow, because they're taking a calculated risk hosting an endeavor (ie. a big budget production will likely spend those funds, meaning that the locality or parts therein will need to be underwritten somehow). Think about it like this (hypothetical): I have a planned project. Two performers come to me looking for work. One is a freelancer with no experience, but loaded with natural talent. The other is a talentless unionized hack with a pretty face. She can obviously help sell the project in her own way, but the freelancer can also help, and all he wants is the chance to work on set for some pizza🍕 slices. There's no way I'm unionizing the production just because of her, when I could just hire some other babe who understands the deal. A box of pizza and some cheap insurance policy, or the extra expense of dealing with bloated collective bargaining agreements? You do the math. (see also benefits package, inactivating your status)
Q: Are children allowed on set?
A: Unless a child is part of the production (eg. as an actor), they, like anyone else not on payroll, should not be on set. Children - especially small children - are considered hazardous/a safety risk and not welcomed on set at any time during production.
Q: Are drugs and/or alcohol allowed on set?
A: No. My set is a substance-free workplace. Employees are prohibited from possessing, using, or being under the influence of controlled substances in the workplace. Violating this policy subjects the employee to termination of employment. Manufacturing and/or distributing illegal drugs (anywhere) can result in that person being reported to authorities. Say 'no' to drugs.
Q: Are pets allowed on set? Can I bring my pet to work?
A: No. Please keep your pet(s) at home. If any animal is on set, it is likely that they are being handled by a hired professional handler.
Q: Does the script call for any nudity?
A: No. Proudly, no one's physical privacy will be compromised during this production.

Q: Must I be accredited to invest?
A: This raise is a private placement[1] that is open to accredited and non-accredited investors alike.
Q: How is it that non-accredited investors are able to be serviced?
A: Because this praenumeration is attached to a rewards model, it qualifies as being exempt from Reg D (Rule 506); thus allowing us to proceed in accordance with Regulation A+. We note that provisions of the JOBS Act applied here would not necessarily be asymmetrical. [Assurance: all such underwriting activities adhere to federal rules+regulations of the United States of America.]
Q: Is the purchase of shares a secure🔐 transaction?
A: Yes. The payment processing is handled on the frontend by Everbutton, which utilizes the Stripe API on the backend. --Please note that you are collateralizing commercial paper which is unsecured debt.--
Q: Can I use money market instruments that I already own to negotiate a larger transaction?
A: Yes. First, to know that you are serious, we will need for you (or someone on your behalf) to make the maximum API (ie, via use of credit card or ACH) purchase of $50,000. Then, in the section of the shopping cart that reads: "Add a note to this payment:", enter a direct phone number, e-mail address, and statement informing us that you wish to fiddle with your CUSIP holdings. If all goes well, we will be in touch.
Step 1:

Then, Step 2:

Now, actually try it out for yourself:
Q: Do shares come with voting power?
A: Nope. Shares purchased here have no other privileges beyond their potential multiplicative value. Input into decision-making and/or direction is not an option that can be bought. You are strictly taking a financial risk.
Q: Do you accept bitcoin?
A: No. Even though cryptocurrencies (bitcoin, ethereum, etc.) are tech stocks in and of themselves, the hassle of brokering them on my end isn't worth the effort at this point. Please sell-off your holdings in legal tender before dealing here.
Q: When is the expected turnaround for my investment?
A: As soon as 150% on receipts is returned [likely within thirty (30) days after box office close🔒]. This means that if we stay on-schedule, and all of our targets are hit, then disbursements happen no later than April 21, 2019.🤞
Q: How is repayment delivered?
A: With PayPal or via direct deposit.

Note (+): You are encouraged to register with PayPal if you have not already.

Q: Is my investment sound?
A: Yes. As required by law, transactions are reviewed by an independent certified public accountant (probably this guy). Now, scroll back up to the picture of the pretty lady with the great smile and invest.
Q: Can I get a refund?
A: No refunds allowed. Funds are gathered and used immediately on production. A subtraction of financing could halt production (ie. equity withdrawal would be detrimental to credit), and so is not allowed. It is my duty/responsibility to make as much information and terms available to you before you make your choice so that you can do your due diligence in making the best decision (which will never result in rescindment).
Q: What is the budget for this project?
A: There is no set number as of now (and likely won't be until post-production), but judging by the expenses of the last two Die Hard entries, a 'large budget' (relative to what those cost to produce) should be a safe bet. I will say that this number (whatever it comes to) is a ceiling; the actual amount used may well be significantly lower. Keep in mind that budgeting covers pre-production+production+post-production+marketing (from idea-to-viewing).
Q: For how long does the raise last?
A: In stages (seed+series A,B,C,..) until enough funds are acquired to cover all costs/expenses throughout the entire production. This means that fundraising can theoretically run into Q4.

Q: Are you shipping a (tangible) hardware product as a result of this work?
A: No. The plan is to have all specs released as a bundle for DIY.
Q: Where can I learn more about methods and methodologies of urban agriculture?
A: Just use Google/Bing and watch videos about the topic online (eg. YouTube), for starters. I got a taste of 'urban farming' by getting my hands dirty at Garden City Harvest in Missoula, Montana. I recommend a book by Will Allen called, The Good Food Revolution (ISBN-13: 978-1592407606), which helped sharpen my understanding for composing portions of this opera. Basically, my education on the topic came from reading literature, watching videos, and working on sites, and yours can, too.
Q: Where can I buy some Hubert Brown rum?
A: It's not for sale. And if it is on sale, it's not being sold by me. The spirit was created just for the first chord of the arc, and is a fictional brand. That said, you can make yourself some by following the instructions. (Drink responsibly.🥃)
Q: Under what license is Insane McClane developed?
A: GNU General Public License v3.0
Q: Is Insane McClane freemium?
A: Yes. 'Free' as in 'no pay' and opensource.
Q: When can I play with the ai?
A: It will be done when it's done. Monitor the GitHub if that interests you.


Title: Easter:Die, Detective! [theatrically distributed as: Die, Detective!]
Genre: War/Crime
Studio: LES
Release date: December 21, 2018
Sites: public cinemas (wide), mobile platforms (universal)
Hashtag: #Easter

- Easter is an opera by Link Starbureiy. It is composed in an arc of five chords. The first chord is called, Die, Detective!. The fifth and last chord, Déjà Entendu, is an elemental revamp of Nothing Lasts Forever. Thus, the complete arc of Easter is a spinoff of the original The Detective novel by Roderick Thorp incorporated into a reimagining of the Die Hard series. It aims to refresh+provide closure🔒 to both. [sequel to The Detective, prequel to Die Hard]

The reactions of a framed police detective lead him out of retirement and into war.

- the story picks up with Joe Leland (/John McClane +all accustomed problems in tow) having moved from New York City (by way of Idaho) to Philadelphia [now volunteering (his mandate for a healthy pension) with the Philly Police Department]
- Leland is of advanced age and retired
- Leland serves as a mentor to a trainee rookie cop
- the series/franchise gets its first (main) female villain (played by Glenn Close)
- Die, Detective! is approximately 3.25 hours long, making it the longest episode in the series, in stark contrast to the previous entry, A Good Day To Die Hard, which was the shortest
- this is classified as a war drama (not as an 'action flick') that features a large-scale race war stemming from modern-day issues (eg. oppressive police brutality, rise of ethnic nationalism, etc.)
- after getting arrested, Leland situationally finds himself as the last responder amidst chaos where he must use his considerable detective skills and military background to piece together clues in a game of survival
- Leland re-teams with Zeus Carver (reprised deuteragonist) for stretches
- Heisman Trophy winner, Eddie George, plays a Navy SEAL whose squadron gets caught up in the meanest urban warfare
- 1 million people die, including major franchise characters (hint: check the title)
- Rumer Willis replaces Mary Elizabeth Winstead as Leland's daughter
- newcomer(?) Tommy Beardmore replaces Jai Courtney as Leland's son
- we get an in-depth look at the protagonist' backstory (especially military/pre-cop and early career+marriage tidbits) from stitching together flashbacks and material from the DIE HARD: Year One graphic novel(s). >> In doing so, we learn how "Joe Leland" became "John McClane", and, thus, uncover his origin story
- a much darker, layered, incredibly deep, and considerably more "adult look at police life" in the same vein as Thorp's and W.E.B. Griffin's prose, versus the hazy 'shoot em-ups' of prior offerings

"I wanted to compose something that spoke or speaks to the social turmoil in the world of today, and at the same time provides a potential solution. Piggybacking on some of the most popular Americana provides just the experience for me to do that. Joe Leland/John McClane has been portrayed by two of the most iconic film actors of all-time, Frank Sinatra and Bruce Willis, respectively. That said, they're more well-known than he is. The only way to know who he really is is to explore him. -- His journey deserves a proper destination. -- The challenge was to modernize a timeless relic. So with Die, Detective!, we've done just that." - Link Starbureiy

- Glenn Close as Maundy in Easter:Die, Detective!
- 'Die Hard 6' greenlit
- Ric Flair to be featured in Easter:Die, Detective!

The audience is encouraged to, if they have not already, familiarize themselves with the following works of Roderick Thorp: The Detective [ISBN: 0-8488-0375-2], and Nothing Lasts Forever [ISBN-13: 978-0393012491]. Both of these novels have been adapted to film; The Detective (The Detective) and Nothing Lasts Forever (Die Hard[1][2][3][4][5]). Additionally, themes and material for Easter:Die, Detective! are sourced from the autobiography, Die Nigger Die! [ISBN-13: 978-1556524523], by H. Rap Brown.

- Samuel L. Jackson, who plays Zeus Carver, was an acquaintance of civil rights activist H. Rap Brown
- thirty-year anniversary of Die Hard (1988) and fifty-year anniversary of The Detective (1968)
- Leland was given the middle name 'Pascha' by Starbureiy as part of the character's profile
- Rumer Willis is the actual daughter of Bruce Willis, and had a role on the television show, Empire (Fox)
- this project is, in part, underwritten with crowdfunding

- 2018 Nominee (Conductor, Director, New Production), International Opera Awards[1]

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We are happy to take you, the fans, on a conclusive journey as we bid adieu to our favorite cop.  Here, you get a first-hand account of my thinking into the development of this masterpiece.  Performance-wise, I want Easter to be(come) one of the top-grossing and most highly acclaimed operas ever, that's what I'm going for. Enjoy.