Latest news with #Hendricks
National Geographic
9 hours ago
- Entertainment
- National Geographic
Jaws was filmed on Martha's Vineyard 50 years ago—and the island has never been the same
Food fights, freezing water, and barrels of fake blood: locals reminisce about the time Hollywood invaded their small community. Director Steven Spielberg on the set of Jaws. Photograph Courtesy of Universal Studios Licensing LLC JAWS DIDN'T JUST CHANGE cinematic history. The summer blockbuster also transformed Martha's Vineyard. Long before the Clintons, Obamas, Oprah, and Larry David moved in to make it the starriest second-home locale on the Eastern Seaboard, the tranquil New England island was everything Hollywood wasn't. In fact, prior to director Steven Spielberg and crew setting up cameras to create the definitive shark thriller, the last movie to shoot there was in the silent era. 'Jaws put us on the map,' explains Martha's Vineyard Museum research librarian Bow Van Riper. 'It was what really kicked off the world coming to the Vineyard, and certainly nowadays it's nothing to see cars from every state in the country over the course of the summer and people from all over the globe planning pilgrimages to see Amity in person.' Locals and tourists make their summer splash by jumping from the Martha's Vineyard 'Jaws bridge,' a wooden walkway connecting the towns of Edgartown and Oak Bluffs that was featured in the film. Photograph by Matt Cosby, The New York Times/Redux In honor of the 50th anniversary of the movie, which premiered June 20, 1975, we talked to current and former locals about the massive impact it had on its shooting location. And how, in turn, Martha's Vineyard helped define one of the box office's biggest hits. There's the harbormaster who helmed 20 boats for Universal Pictures, and the local child actor who (fictionally) lost his life to the great white. A swim on extra, and Deputy Hendricks himself, star Jeffrey Kramer. They share their memories of how it all went down, from food fighting to a faulty animatronic shark. Plus, their thoughts on the ensuing tourist frenzy, and what it means for their slice of sandy paradise today. Jeffrey Kramer Deputy Hendricks in Jaws 'My grandparents came here many, many years ago, in the early 1900s. We were the first Jews of the Vineyard. When Jaws came to town, it was such a big thing, but nobody really knew what to make of it. I had my agent call [casting director] Shari Rhodes, and we became great friends. She was so smart and so dear. She's the one who hired all of the [local] people here, and that made such a difference. Because they were real. [Production designer] Joe Alves chose the Vineyard only because the boats weren't running to Nantucket that day. So he said, 'Well, I'll take it where it's going.' And he came over to the Vineyard. The first day of principal photography was the [scene where] I find a hand on the beach. I was so nervous, I could have probably thrown up. [The filmmakers] often added me to scenes, because the [animatronic] shark [named Bruce] wasn't working. But you had no choice, you had to keep trying to shoot something. They were masterful in keeping the production going. What an effort it was. The rumors were that they were going to pull the plug. That this was never going to work. That they were going to just eat their losses and say no more. But it was a perfect creative storm. The music, the editing—everything came together. You couldn't see it then, but Jaws reshaped the way movies are made. It was a Hollywood invasion that worked." Director of Marketing at Harbor View Hotel '[There was a] legendary food fight that happened among the crew in what's now Bettini Restaurant at Harbor View Hotel. Between the weather, the constant issues with the shark, and the long hours, emotions were running high. That food fight was a bit of catharsis. A chaotic, silly moment that helped break the tension. It wasn't planned, but it's now part of the hotel's lore and one of those only-on-Martha's-Vineyard stories.' Bow Van Riper Research Librarian at Martha's Vineyard Museum 'I was on the beach watching them [film] and the assistant director said, 'Hey, we need 100 brave people to go in the water and pretend to be the crowd.' So my friend and I waded in. There we were in water a bit above our waist, pretending that we were swimming in water above our head. We did it and then we did it again and again. The water was really cold. By the time we were done, we knew why he said 100 brave people.' Charlie Blair Former Harbormaster of Edgartown, Massachusetts "The [Jaws] Teamsters gave up the water because they didn't have anybody that could do it. They wrecked a couple of boats and lost a lot of gear, including a camera. We met with the bosses that evening, and they brought me on to manage all the small boats. I ended up working 20 to 22 hours a day for Universal. These people knew nothing about the water. Absolutely nothing. They didn't know about currents or tides. I [was overseeing] 20 boats. Every day, somebody would wreck a boat or sink a boat. They didn't have a clue. I escorted [star Robert Shaw] off the beach every morning in pitch dark. [He would] have a little nip of Wild Turkey as we idled to the dock. His makeup guy was mixing martinis out of a sterling shaker. By the time he got to breakfast, he was on fire. More credit to him, because he never missed a line." Jeffrey Voorhees Alex Kintner in Jaws and former Wharf Pub manager 'A couple months before they were shooting, my family moved up to the island. I was 12, and [the filmmakers] said we'll pay you $40 a day to be an extra. [My friends and I] all said, 'Let's do it.' We went down to this hotel where they showed us the paperwork. They called a few people back, and said, 'You're getting a speaking part.' Spielberg [told me] there was a barrel full of blood [for when Alex Kintner gets eaten by the shark], but the first time we tried shooting, he was like, 'No, your arm came out of the water a little.' It took seven or eight hours for the blood to clear out of the water and start over. By day five, Spielberg finally goes, 'This is taking too long. This time, when that thing explodes, you have two guys in wetsuits on the water. They're each going to grab one of your legs and pull you down in the water a few times.' This sketch of Jaws character Matt Hooper in an underwater cage was done by production designer Joe Alves from the point of view of the shark's mouth. Photograph by Joe Alves/Greg Nicotero Archive From sketch to screen, Alves' vision helped create many iconic Jaws scenes, like this underwater one. Photograph by Diltz, © Universal Pictures / Bridgeman Images You get Jaws tours all the time down here. Through the years, [when I managed] the Wharf Pub, I hid from [my part in the movie], until I finally started doing signings. You get Jaws nuts. This one girl goes, 'Can he sign anything?' And she starts pulling her shirt up, and security is like, 'No private parts.' So I signed her collarbone, and then she got [my signature] tattooed. It makes some people so happy. I just did a Cameo [an app offering personalized videos from celebrities] this morning for like $40. I got a strange [Cameo request] last year from someone who said, 'Our father was a big Jaws fan, but he died watching the movie on the couch.' Holding my phone up, I go, 'You know, your father and I had a little something in common. He died watching me die.'" Executive Director at Martha's Vineyard Chamber of Commerce 'Jaws and Martha's Vineyard will always be inseparable. The film captured not only the suspense of the sea, but also the soul of this place: its harbors, its people, its character. Martha's Vineyard didn't just host the film. We helped shape it, and it shaped us in return. It also made this small community think about sharks in a different way. I think that that was one of Stevens Spielberg's regrets, because sharks are beautiful. They're predators, obviously, but these are their waters.' "Jaws @ 50: The Definitive Inside Story" premieres on National Geographic starting July 10 and streams on Disney+ and Hulu starting July 11. Check local listings.
IOL News
17 hours ago
- Business
- IOL News
Ritz Hotel Cape Town poised for sale: A new chapter for Sea Point's iconic landmark
The Revolving Restaurant may still get its turn again. Located on the popular Atlantic Seaboard, the Ritz Hotel Cape Town is on the brink of being sold for R240-300 million to either a Dutch or French company. Bruce Hendricks, MD of Hendricks Harmse Attorneys, one of the representatives of the owners and whose company is managing the Ritz Hotel building, confirmed they were deep in negotiations for the sale, with some i's to be dotted and some t's to be crossed. "Depending on the final stages of these negotiations, the sale could go through by next Friday," he said. Hendricks could neither confirm or deny the amount the owner had accepted for the sale nor with whom they are negotiating. There were still some final issues being negotiated and that would be the deciding factor on whether the building will put up a "sold" sign next Friday. It is believed the deal is being brokered by a local estate agency via a private person with international connection and that the buyer (a consortium) is said to be going to continue with the renovations of the building. This was not the first offer taken to the owners, with the hotel in a prime position and ripe for renovation and upliftment. South African developers were themselves vying for ownership. "It's a prime piece of property - 23 storeys which you won't be able to get approval for again in Sea Point - with some bulk available for extra development," said one agent.
Chicago Tribune
a day ago
- Business
- Chicago Tribune
Touche French Creole works to bring flavors of New Orleans to downtown Aurora
Those who have visited New Orleans or have a hankering for southern flavors may find what they are looking for at a new restaurant in downtown Aurora. The JH Hospitality group launched Touche French Creole in April at 6 N. River St., one of a trio of restaurants it has opened in the historic Hobbs Building. The venue joins others located on either side of it at the Hobbs Building including Giardino Trattoria & Pizzeria at 12 N. River St. and Leilani Asian Fusion at 2 N. River St. According to a press release from the JH Hospitality group, the 80-seat Touche French Creole restaurant led by chefs Keonte' Tooles and Rayshawn Hendricks offers 'a fresh, modern spotlight, pairing classic dishes with innovative touches and delicious cocktails. Diners can expect elevated takes on Southern staples like shrimp and grits, po' boys, and rich, flavorful etouffees.' Aurora resident Harish Ananthapadmanabhan, a partner with the JH group, said the vision is to help 'make downtown Aurora a truly international food destination.' 'Our goal is that on every weekend all the patrons in the surrounding area think of downtown Aurora as a destination,' he said. 'The more people that come in – they have different options to chose from and that means all the restaurants can thrive. We're bringing in international cuisines to create options but also having things that are reasonably priced.' The JH Hospitality group flew its chefs down to New Orleans to visit a number of local restaurants there to learn more about their culinary approaches as well as to help design the menu of Touche French Creole. He said his group has also made the chefs partial owners in the venue, offering them 'an equity stake so they have more a sense of ownership' in the venture. 'That's exactly the same thing we did with Giardino's as well,' he said. 'That's the overall model.' Hendricks, 25, said he has been cooking since high school. 'After high school, I did attend Joliet Junior College where they have a really good culinary program and studied behind an Italian chef and a pastry chef there,' he said. 'I had a lot of French training and techniques at the school and now we've taken that and fused it with the creole aspect so it's kind of refined comfort food.' Hendricks said the restaurant also offers 'classic French dishes like beef bourguignon and things like that, but most of our menu is New Orleans-based.' 'We have things like fried catfish, shrimp and grits, shrimp etouffee and beignets,' he said. 'In terms of what's been popular, people like our crab cake, our catfish is the number one entree and the shrimp and grits is number two. The people that come in here so far are looking for the New Orleans feel. 'If people haven't been exposed to this, a lot of it is seafood heavy. It's comfort food and reminds people of home,' Hendricks added. 'As a young chef, I want to bring being different and want it to stand out with the cuisine and the creativity.' Stu Saucier of Oswego, 44, works as a sous chef and oversees food preparation at the restaurant and said he brings 10 years of experience to the food industry. 'I've worked at VAI's in Naperville and 113 Main in Oswego and also in the Turf Room in North Aurora,' he said. 'I was working in schools before this and I left restaurants for a while and I was looking to get back in the kitchen and the menu intrigued me. I'm actually French so seeing the French creole sign attracted me. It's an ideal fit.' Saucier said one of the key parts of food preparation is technique. 'When you're a cook it's executing a menu and elevating a menu so when you get a recipe – you're a robot – you do the same thing every time,' he said. 'When you're a chef you build that toolbox up and start learning more techniques and use those to innovate and create and makes things new. It's like being a teacher – you always learn something new.' Marshon Crowder, 26, of Aurora, works as the manager at Touche French Creole and said for him, he has enjoyed the hospitality side of the business. 'It's not been the food, it's the people and I tend to think of myself as a huge people person,' he said. 'I feel like I can connect with a wide variety of people which is what brought me into this. I think this is becoming a destination not only for the Chicago area but the Midwest in general. Downtown Aurora is becoming more vibrant, more lively, and it feels great.' In addition to its dinner menu, Touche French Creole will offer a weekend brunch every Saturday and Sunday. The restaurants hours are 5 to 9 p.m. Sunday through Thursday, 5 to 10 p.m. Friday and Saturday and brunch from 10 a.m. to 2 p.m. Saturday and Sunday. For more information, go to
Cision Canada
3 days ago
- Health
- Cision Canada
FILAMENT HEALTH ENTERS INTO EXCLUSIVE LICENSE AGREEMENT WITH UNIVERSITY OF ALABAMA AT BIRMINGHAM FOR DATA FROM A CLINICAL TRIAL OF PSILOCYBIN FOR THE TREATMENT OF COCAINE USE DISORDER
The data supports Filament's PEX010 drug development program targeting stimulant use disorders PEX010 is a first-in-class botanical psilocybin drug candidate currently under investigation in 52 clinical trials worldwide for 14 mental health indications VANCOUVER, BC, June 17, 2025 /CNW/ - Filament Health Corp. (OTC: FLHLF) (" Filament" or the " Company"), a clinical–stage natural psychedelic drug development company, today announced that it has entered into an exclusive global license agreement with the University of Alabama at Birmingham (UAB) for intellectual property related to a recently completed Phase 2 placebo-controlled clinical trial of psilocybin as a treatment for cocaine use disorder (CUD). The study investigated the safety and efficacy of a single-dose of psilocybin compared to placebo comparator in 40 adult patients with severe CUD. The trial was led by Principal Investigator Peter Hendricks, Ph.D., University Professor and Heersink Endowed Chair of Psychiatry at the UAB Department of Psychiatry and Behavioral Neurobiology, and a globally recognized expert in psychedelic-assisted therapies for addiction. "The results of the study demonstrated that psilocybin was well-tolerated and that a single dose resulted in a significant and durable reduction in cocaine use among people with CUD who were representative of cocaine users from the Deep South region of the United States. This is notable as most psychedelic trials fail to recruit participants representative of the population of those who could benefit from care.," said Dr. Hendricks. "We expect to have our data published in a peer-reviewed journal later this year and are excited to contribute to the science and possibly help bring to the clinic a promising treatment for cocaine and other stimulant use disorders in the future." Filament has obtained rights to access and use the data, know-how, and associated intellectual property from the clinical study, in furtherance of the Company's own proprietary development programs in stimulant use disorders. The partnership will also enable Dr. Hendricks to serve as an advisor to Filament Health and to advance research into other substance use conditions. "This agreement marks an important step in our mission to advance PEX010 and our other programs for the treatment of patients with stimulant use disorders," said Benjamin Lightburn, Co-Founder and Chief Executive Officer of Filament. "We are a leading developer of psychedelic drug candidates for substance use disorders and other mental health conditions. The positive data from Dr. Hendricks' trial, as well as his knowledge of clinical practices and ongoing counsel, will be significant assets in facilitating the advancement of our research." ABOUT FILAMENT HEALTH (OTC:FLHLF) Filament Health is a clinical-stage natural psychedelic drug development company. We believe that safe, standardized, naturally-derived psychedelic medicines can improve the lives of many, and our mission is to see them in the hands of everyone who needs them as soon as possible. Filament's platform of proprietary intellectual property enables the discovery, development, and delivery of natural psychedelic medicines for clinical development. We are paving the way with the first-ever natural psychedelic drug candidates. Learn more at and on Twitter, Instagram, and LinkedIn. FORWARD LOOKING INFORMATION Certain statements and information contained in this press release and the documents referred to herein may constitute "forward–looking statements" and "forward–looking information," respectively, under Canadian securities legislation. Generally, forward–looking information can be identified by the use of forward–looking terminology such as, "expect", "anticipate", "continue", "estimate", "may", "will", "should", "believe", "intends", "forecast", "plans", "guidance" and similar expressions are intended to identify forward–looking statements or information. The forward–looking statements are not historical facts, but reflect the current expectations of management of Filament regarding future results or events and are based on information currently available to them. Certain material factors and assumptions were applied in providing these forward–looking statements. Forward–looking statements regarding the Company are based on the Company's estimates and are subject to known and unknown risks, uncertainties and other factors that may cause the actual results, levels of activity, performance or achievements of Filament to be materially different from those expressed or implied by such forward–looking statements or forward–looking information, including the timing and results of clinical trials, the ability of the parties to receive, in a timely manner and on satisfactory terms, the necessary regulatory, court and shareholders approvals; the ability of the parties to satisfy, in a timely manner, the other conditions to the completion of the proposed business combination; other expectations and assumptions concerning the transactions contemplated in the proposed business combination; the available funds of the parties and the anticipated use of such funds; the availability of financing opportunities; legal and regulatory risks inherent in the psychedelic drug development industry; risks associated with economic conditions, dependence on management and currency risk; risks relating to U.S. regulatory landscape; risks relating to anti-money laundering laws and regulation; other governmental and environmental regulation; public opinion and perception of the psychedelic drug development industry; risks related to the economy generally; risk of litigation; conflicts of interest; risks relating to certain remedies being limited and the difficulty of enforcement of judgments and effect service outside of Canada; and risks related to future acquisitions or dispositions. There can be no assurance that such statements will prove to be accurate, as actual results and future events could differ materially from those anticipated in such statements. Accordingly, readers should not place undue reliance on forward– looking statements and forward–looking information. Filament will not update any forward–looking statements or forward–looking information that are incorporated by reference herein, except as required by applicable securities laws.
Sydney Morning Herald
6 days ago
- Entertainment
- Sydney Morning Herald
Why Christina Hendricks turned 50 and changed her attitude
This story is part of the June 15 edition of Sunday Life. See all 15 stories. B ang on time, Christina Hendricks Zooms in from her sunlit Los Angeles living room. Cheekbones like summer peaches. Famous hair loosely scraped back. Disarming smile. Oh, and there's a small dog with its paws on her shoulder, a cockapoo named Triscuit. 'I just woke from a little afternoon nap,' says Hendricks, casually fabulous in a striped T-shirt. 'Today has been a lot of life maintenance. Getting the dogs groomed, a friend dropping by with styling things, dealing with the pool. Stuff that catches up with you.' It feels like Hendricks is cataloguing a non-glamorous day to put me at ease. It's 6am where I am, in a Thai hotel room, coming live with ghoulish lighting to one of the world's most-celebrated beauties. She waves away apologies for my wrinkled sundress and bed-hair: 'Don't worry. I'm flattered you got up so early to talk to me.' The warmth feels authentic. While her most famous character, Mad Men 's Joan Harris (née Holloway), moved through the world like a shark, Hendricks is charming, generous and funny. Old-school vivacious. Interesting and interested. The domestic admin is happening ahead of Hendricks and her husband, cinematographer George Bianchini, heading to their other home, in New York City. While Bianchini is nowhere to be seen when Hendricks twirls her screen to showcase their home – a wall of framed posters and photos, books, a comfortable sofa – he's on his wife's mind. 'We spend nearly every waking moment together and never get tired of each other,' she says. 'He leaves for an hour and I'm like, 'I miss you.' He's my absolute best friend.' The pair met on the set of crime-comedy Good Girls, in which Hendricks starred from 2018-21, but Bianchini is 'quite serious at work so we didn't really talk'. In 2020, they had a Cobb salad lunch at New York institution Barneys, and 'that's when the romance started'. Initially long distance, the relationship surprised them, she says. 'We didn't expect it.' With matching tastes in music, food and humour, they proposed to each other in 2023, and their New Orleans wedding in April 2024 was, the bride says, 'gothic, moody and sexy'. 'We spend nearly every waking moment together and never get tired of each other. He leaves for an hour and I'm like, 'I miss you.' He's my absolute best friend.' CHRISTINA HENDRICKS The couple's first wedding anniversary was followed weeks later by another milestone for Hendricks – she turned 50. Girlfriends threw a small party that left her weepy, 'looking around, seeing the support I've had for 20 years', then Bianchini masterminded a three-day extravaganza in Las Vegas. The birthday itself? Less great. Hendricks was 'not super pleased. I'm not like, 'Yeah, woo, 50!' I'm like, 'All right, here we are. Here we go.' ' For the dual Screen Actors Guild Award winner and six-time Emmy nominee, a half-century means 'a lot of introspection about where and how I want to be. I'm still unpeeling it.' The bittersweet part is less ''Oh, I look or feel older' and more, 'I really like it here. How do I want to spend the rest of this beautiful time?' ' Instead of a clichéd glow-up, Hendricks is letting go. 'There's been a shift – an 'I don't give a f---edness'. I'm less concerned about what other people think.' Along with a rich personal life, Hendricks is buoyant about season two of The Buccaneers, Apple TV+'s bold feminist drama. Based on Edith Wharton's unfinished novel, The Buccaneers follows five rich American girls crashing 1870s British society. Think corsets, chaos and estates, with a mostly female cast, all-female soundtrack and a female director, Susanna White. Filming took place in Spain and Scotland, and Hendricks says falling back into a rhythm with her younger co-stars, including Kristine Froseth, Aubri Ibrag and Mia Threapleton, was easy. 'Everyone came in wanting to make this series even better than season one.' Hendricks plays the unconventional, strong-willed Patti St. George, whose social standing as the mother of the Duchess of Tintagel clashes with her midlife reckoning with divorce, status and independence. 'Patti's story is a modern take on what someone in the 1800s would experience,' she says. 'But showing it in a relatable way to shed some light on how difficult it has been for women for this long. We are in 2025, seeing a very familiar courtroom-drama type of behaviour: the scrutiny, the doubt, the power play that can happen between men and women in the legal system.' Hendricks knows first-hand how staggeringly hard divorce is. She split from her first husband, Geoffrey Arend, in 2019 after a decade together. 'I've had that moment of being under someone else's sky and feeling disconnected from your heart,' she says. 'But there's also something empowering in saying, 'All right, we have made this decision. And now we have to move forward.' ' Resilience runs through her story. Born in Tennessee to a psychologist mother and a forest ranger father, Hendricks grew up in Oregon and Idaho. Her first jobs were in a beauty salon and menswear store, and by 18, her 'unusual and quirky' looks led to modelling work in Japan and Italy. Acting lessons helped her transition from commercials to TV. That's her hand (but not her stomach) on the poster for the 1999 Best Picture Oscar winner American Beauty. Early roles in TV series such as Beggars and Choosers and The Court led to her 2007 breakout part of Joan in Mad Men. At first, the character terrified her. 'I called [creator] Matt Weiner and asked, 'Is she just a bitch?' He said, 'No, she's trying to help.' Once I could see how hard she worked to be a wife, mother and great at her job, I started to relate to her more.' Audiences didn't just relate – they adored Joan. 'They were like, 'Go girl!' They found her honesty refreshing,' says Hendricks. 'I thought maybe this strong woman could be me, too. She gave me confidence.' That confidence helps Hendricks navigate an industry she believes is a struggle. She doesn't elaborate but says, 'Some things happened a few years ago that I'm still dealing with emotionally. I didn't feel I had power. I wasn't being heard. That's a power-play women still face.' Tougher now, Hendricks is more open and less afraid to speak her mind: 'I stick up for myself.' She does this for others, too, through supporting LA's rape-treatment centre, and mentoring women in film. Some of her best career advice came from Carol Kane, her co-star on Beggars and Choosers, Hendricks' first TV series, when the cast was told to run and form a tableau in front of the camera. 'She told me, 'Honey, you're just as important. Get up front and show your face.' ' The bigger life message from that moment? 'Be respectful of people who've been there longer. Learn from them,' Hendricks says. 'But also, you're there for a reason. Don't be afraid to say it out loud. Ask the questions you need to ask.' It's a cue to say I want to ask questions that might feel reductive, but what the hell – when will I get the chance again to find out what skincare products Christina Hendricks uses? She laughs and says she'll shut me down if we veer into 1950s housewife territory. Style first. Audiences have seen Hendricks in everything from 1960s chic to corsets. At home, it's 'easy-breezy, French girl' wide-leg jeans and striped tops. 'And you wouldn't believe how many silk floral soft things I own,' she says. That snowy complexion takes work, she says. 'I have dry skin, so I use balm, not cleanser. Thick, creamy things – I pile 'em on.' Exercise? 'The worst. I studied dance for many years so I respond to Pilates, as it uses body positions and stretching and strength that I understand.' While she works in an industry that worships youth, Hendricks doesn't feel she's judged or lost work because of her age, although she's self-aware enough to only go for roles she's right for. 'But I have noticed a difference [between cast members of various ages] when I'm on The Buccaneers set. We communicate differently, relate differently, work differently.' Loading One role she's played often is that of a mother. In real life, Hendricks is child free by choice (kids are 'a lot of work', she's said previously) but speaks with clarity and care about motherhood, especially as it relates to the mother-daughter relationships portrayed in The Buccaneers.
