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Haunted house? Dracula author's Dublin birthplace available for €400 a night on Airbnb
Haunted house? Dracula author's Dublin birthplace available for €400 a night on Airbnb

Irish Times

time5 hours ago

  • Entertainment
  • Irish Times

Haunted house? Dracula author's Dublin birthplace available for €400 a night on Airbnb

Are short-term lets sucking the lifeblood out of Ireland? The debate rages on , with a new data point to consider: you can now rent Bram Stoker 's house on Airbnb. The Dracula author, the only true northsider among Dublin's 19th century literary greats, was born at 15 Marino Crescent, beside the aptly named Bram Stoker Park at the point where Clontarf, Fairview and Marino join. The Crescent, built in 1792 by the enjoyably named Charles Ffolliott as a means of blocking his enemy's view of Dublin Bay, is a pleasantly curved street of classic Georgian houses that seems a nice enough place to spend a Dublin holiday. The Airbnb listing is disappointingly light on references to Count Dracula, citing instead 'elegant sash windows' and 'fresh towels' as selling points of the three-bed. READ MORE Halloween is already unavailable, but a sample Thursday-to-Sunday stay in September would set you back €1,641. That's €413.67 a night plus a €400 fee for professional cleaning – which seems a lot, but vampirism can be a messy business. Seo libh canaig' 'Have modern fans lost their respect for true Gaels past?' Photograph: Ryan Byrne/ INPHO One of the more curious aspects of attending matches at Croke Park these days is the lecture that precedes the playing of the national anthem, chiding people for any cheering they might be tempted to do before the final word is sung. 'When we sing our national anthem before we play our national games, we take pride in our unique identity and the culture that has been entrusted to us,' says the disembodied voice of the GAA. 'We all have a duty to honour that tradition and to set an example for others and for future generations to always give our anthem at our games the respect it deserves.' Have modern fans lost their respect for true Gaels past, fallen under gunna scréach and lámhach na bpiléar? One other possible explanation: they don't know the words. Sinn Féin TD Conor D McGuinness has pointed out that Amhrán na bhFiann isn't actually in the curriculum for Irish children, at primary or secondary level, something he considers 'shameful', 'outrageous' and, of course, a 'disgrace'. In response to a parliamentary question from McGuinness, the Minister for Education Helen McEntee suggested that 'curricular frameworks provide clear pathways for schools to include Amhrán na bhFiann'. They 'might choose' to teach it in primary school history class or 'could choose' to teach it under the heading of Song Singing in primary music class. Secondary school history 'enables study' of the anthem at various points, and in Junior or Leaving Cert music, students 'may wish' to sing the anthem as part of their practical performance exam. Which is all to say that, no, it is not on the curriculum. 'Fianna Fáil and Fine Gael are actively undermining Ireland's republican heritage,' McGuinness said, citing also the possible conversion of the GPO into a shopping centre. 'Amhrán na bhFiann should be taught to every child in every school. It's a basic expression of national identity and civic belonging.' They could include a 'no whooping during the second last line' rule on the curriculum while they're at it. The rocky road to Dublin Presidential candidate Catherine Connolly arrives to a count centre in Salthill during a previous election. Photograph: Joe O'Shaughnessy Meanwhile, Catherine Connolly , the left-wing independent vying to inherit the Áras, is no stranger to the trappings of power. Though seen more often these days sailing through Galway on her trusty bicycle, the firebrand was once used to a more opulent mode of transport. In 2004, as mayor of Galway, she racked up a bill of €650 – €900 or so in today's money – on a trip in the mayoral car to see the county's minor hurlers win the All-Ireland at Croke Park. Leaning on the services of Limo Corporate Hire Irl Ltd, as the Galway City Tribune reported at the time, she was paying a rate of €25.20 per trip, plus €34.98 for waiting time. Her markedly unsupportive deputy mayor at the time, Padraig Conneely, noted that it would have been cheaper to fly to Los Angeles – although the Galway minors weren't playing there at the time. Trips to Croke Park to see her county should be cheaper if she wins the presidency: it's well within cycling distance up the North Circular Road. Never say never RTÉ's Dáithí O'Sé, 2012 Rose of Tralee Nicola McEvoy and Leo Varadkar, then Minister for Transport, Tourism and Sport, on board a replica Famine ship for the Gathering. Photograph: Alan Betson / The Irish Times With choppy waters ahead and the Ireland's small boat at risk of being capsized once again by global waves, the Government has kept an important lifebuoy on hand. Remember The Gathering? The 2013 'initiative' largely entailed the diaspora being wheedled into coming to Ireland and spending money in order to lift the economy out of the doldrums. Despite not offering anything in particular other than the general idea of welcome to affluent third-generation Irish-Americans, it did actually work. Fáilte Ireland's final report found that around €21m of Government and third-party cash was spent to make an estimated €170m for the flagging economy, with 250,000 more tourists than would otherwise have been expected. Like many a figure from folklore, The Gathering disappeared from view once its job was done, but it remains ready to creak back to life when it is needed most. The company set up by the Government to run it is still alive, filing accounts, dormant but available if needed by tourism chiefs or ministers. Its directors, according to its accounts, are Deborah Nolan and Michelle McEvoy, heads of operations and finance respectively at Fáilte Ireland, and it has assets, liabilities, income and expenditure of zero. For now. Grimefighter Signsy is a masked man who has taken to cleaning up graffiti and grime. Image: Signsy/ YouTube Is it a bird? Is it a plane? Is it a council worker? No – it's Signsy, a masked man who has taken to cleaning up graffiti and grime on the streets of Northern Ireland . A version of Superman who is more concerned with the cleanliness of the public realm than crime per se, he uses WD40 and the superpower of being willing to actually do it himself to return obscured road signs to their shining-metal glory, among other amazing feats. 'I've become a hero in disguise cleaning signs, graffiti and maybe even fixing some of the potholes that seem to be everywhere,' he told Belfast Live this week. 'I may do it at any day any time in the cover of darkness to remain hidden.' He uploads his resulting clean-up and repair videos to YouTube with his voice disguised and his face covered. He doesn't have a cape 'yet', he says. He even pledges to tackle spray-painted slogans that 'cause division within our community'. A positive force for his locality no doubt. If he tires of anonymity, that combination of unity rhetoric and pothole-fixing ability sounds like electoral dynamite.

Best Halloween Costumes for Kids and Adults
Best Halloween Costumes for Kids and Adults

Time Business News

time2 days ago

  • Entertainment
  • Time Business News

Best Halloween Costumes for Kids and Adults

Halloween is coming. People across the UK are getting excited. They want the perfect Halloween costumes for their parties and trick-or-treating. This guide will help you understand everything about Halloween fancy dress. We'll cover ideas for adults and kids. We'll also talk about accessories and tips for creating amazing outfits. Halloween has become huge in Britain. Every October, shops fill with spooky decorations. People plan their costumes months ahead. The tradition started in ancient Celtic times. Now it's a modern celebration that brings communities together. Children love dressing up. Adults enjoy it too. Halloween costumes let people become someone else for a night. You can be scary, funny, or creative. The choice is yours. Traditional scary characters never go out of style. Vampires remain popular year after year. Dracula costumes work well for adults. Kids often prefer friendly vampire looks. Witches are another classic choice. Black robes and pointy hats create instant recognition. Zombies have gained popularity recently. They're perfect for group costumes. Friends can create zombie apocalypse scenes together. Frankenstein's monster offers a retro horror option. The green face paint and bolts make it memorable. Comic book characters dominate Halloween parties. Batman costumes suit both children and adults. Spider-Man outfits are always crowd-pleasers. Wonder Woman has become incredibly popular. These characters work well for World Book Day too. Villains can be more interesting than heroes. The Joker offers creative possibilities. Harley Quinn costumes are trendy right now. These characters let people explore their darker side safely. Fairy costumes enchant young children. Dragons appeal to adventurous spirits. Medieval knights create historical connections. These outfits often work for Christmas costumes too. They're versatile throughout the year. Greek gods and goddesses offer elegant options. Roman centurions provide masculine alternatives. These costumes often use flowing fabrics and golden accessories. Recent films influence costume trends heavily. Marvel movies create new favourites annually. Disney characters remain timeless choices. Star Wars costumes span multiple generations. Netflix series inspire creative outfits. Stranger Things costumes became very popular. These trends change quickly though. What's hot one year might fade the next. Children's safety comes first with Halloween outfits. Bright colours help with visibility. Reflective strips add extra protection. Masks shouldn't block vision completely. Face paint often works better than masks. Comfort matters for young trick-or-treaters. They'll wear costumes for hours. Soft fabrics prevent irritation. Easy-to-remove pieces help with toilet breaks. Warm layers work well under costumes in October weather. Popular kids' choices include: Princesses and pirates Animals like cats and dogs Favourite cartoon characters Superheroes and space explorers Adults can be more creative with their choices. Group costumes work brilliantly at parties. Themes like decades, movies, or TV shows unite friends. Couples can coordinate their outfits perfectly. Scary costumes suit Halloween perfectly. Psychological horror often works better than gore. Subtle creepy elements can be more effective. Think about what genuinely frightens people. Funny costumes bring joy to parties. Puns work well for clever outfits. Pop culture references get good reactions. Self-deprecating humour often wins prizes. Halloween Accessories make Halloween costumes complete. They add authenticity and detail. Quality accessories elevate basic outfits significantly. Makeup transforms faces dramatically. Special effects makeup creates realistic wounds. Coloured contact lenses change eye colour. Temporary tattoos add character details. Props bring costumes to life. Fake weapons should look realistic but safe. Wands suit magical characters perfectly. Briefcases work for business-themed costumes. Some costumes work for multiple occasions. Santa suits appear at Halloween parties. Elf costumes bridge both holidays nicely. Gothic Christmas themes are increasingly popular. Dark Christmas characters create unique Halloween looks. Evil elves offer twisted holiday fun. Zombie Santa combines horror with festive cheer. These crossover ideas save money and storage space. Many Halloween costumes work for World Book Day. Literary characters suit both occasions. Classic monsters often appear in books. Superheroes have comic book origins. Planning ahead saves money and stress. Buy quality costumes that work twice. Store them properly between uses. This approach maximises value and reduces waste. Homemade costumes can be more creative than shop-bought ones. They're often cheaper too. Basic sewing skills help enormously. Even simple modifications improve store-bought items. Charity shops offer great costume materials. Old clothes can be distressed for zombie looks. Fabric shops stock unusual materials. Car boot sales sometimes have vintage pieces. Cardboard works well for robot costumes. Aluminium foil creates space-age effects. Newspaper can be aged for historical looks. Common household items become costume elements. Proper storage extends costume life. Clean items before putting away. Moths love natural fibres. Plastic storage boxes protect from moisture. Hang delicate items carefully. Fold heavy pieces to prevent stretching. Document your costumes with photos. This helps with future planning and sharing. UK Halloween celebrations have unique elements. Trick-or-treating happens earlier than in America. British weather affects costume choices significantly. Warm layers become essential accessories. Bonfire Night follows Halloween closely. Some costumes work for both events. Guy Fawkes masks bridge the occasions. Historical British figures make great costume choices. Halloween costume shopping peaks in October. Prices increase as demand grows. Early shopping offers better selection. Post-Halloween sales provide bargains for next year. Online shopping offers wider choices. But try items on when possible. Size charts vary between manufacturers. Return policies matter with costume purchases. Halloween safety extends beyond traffic visibility. Costume materials should be flame-resistant. Avoid trailing fabrics near candles. Check all accessories for sharp edges. Allergies can affect costume choices. Test makeup on small skin areas first. Some people react to synthetic materials. Natural alternatives often work better. Halloween costumes bring joy to October celebrations. Whether you prefer scary, funny, or creative outfits, there's something for everyone. Remember to prioritise safety and comfort. Start planning early for the best choices. Most importantly, have fun with your Halloween fancy dress adventure. The perfect costume makes Halloween memorable. It connects you with friends and community. It lets your personality shine through. Whatever you choose, embrace the spirit of the season. TIME BUSINESS NEWS

Three Six Zero Names Aimee Jessiman U.K. Head of Management
Three Six Zero Names Aimee Jessiman U.K. Head of Management

Yahoo

time2 days ago

  • Entertainment
  • Yahoo

Three Six Zero Names Aimee Jessiman U.K. Head of Management

Music management company Three Six Zero Group, led by founder and CEO Mark Gillespie, has named Aimee Jessiman U.K. head of management. Jessiman takes on the new role working with such global Three Six Zero acts as Calvin Harris and Swedish House Mafia. More from The Hollywood Reporter Locarno Director on 'Dracula,' Jackie Chan and Hosting a Film Festival With the World "in Flames" YouTube Heading to MIPCOM as TV Market Embraces Creator Economy 'I Saw the Face of God in the Jet Wash,' Cornwall, Callum Turner, Truth, and Super 8 Adventures: A Chat With Mark Jenkin In the role, she will work closely with Gillespie, 'overseeing all aspects of artist management, serving as a resource and mentor for talent managers across the company, and driving business development across the U.K. division,' the firm said. Founded in 2007, Three Six Zero Group also represents Kid Cudi, Jaden and Willow, among others. The firm recently took on rock band Muse, which had been managed by Q Prime for two decades. 'Aimee brings leadership and experience to Three Six Zero, and is a valuable asset to our U.K. operation,' said Gillespie. 'I am looking forward to seeing what we can achieve together.' Added Jessiman: 'I'm incredibly proud to step into this new role at Three Six Zero and to collaborate with Mark on such an exceptional roster of talent. This is a pivotal time for the company, and I'm deeply motivated by the chance to help shape its future.' Three Six Zero describes itself as 'an international management and entertainment partnership company at the forefront of the music, film, television, and digital content landscape.' The company has offices in Los Angeles, Miami, and London. The company's Three Six Zero Recordings, described as a 'forward-thinking independent label built around creative freedom,' was founded in electronic music, but has since expanded to work with 'boundary-pushing artists across genres, including Dom Dolla, f5ve, Willow, and Jaden.' Three Six Zero Recordings also sees itself as 'a platform for artists who disrupt the norm, creating music that resonates from the underground to global arenas.' Best of The Hollywood Reporter From 'Party in the U.S.A.' to 'Born in the U.S.A.': 20 of America's Most Patriotic (and Un-Patriotic) Musical Offerings Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025 Solve the daily Crossword

Locarno Director on ‘Dracula,' Jackie Chan and Hosting a Film Festival With the World 'in Flames'
Locarno Director on ‘Dracula,' Jackie Chan and Hosting a Film Festival With the World 'in Flames'

Yahoo

time2 days ago

  • Entertainment
  • Yahoo

Locarno Director on ‘Dracula,' Jackie Chan and Hosting a Film Festival With the World 'in Flames'

The 78th edition of the Locarno International Film Festival has a lot to offer movie buffs. There is auteur cinema, both from established and new voices, big-screen classics, plus experimental fare, Cannes highlights, and stars like Jackie Chan, Emma Thompson and Lucy Liu who will receive fest honors. Some of the more high-profile titles screening at this year's fest, running Aug. 6-16 in the picturesque Swiss lakeside town, include Dracula by Romanian director Radu Jude, the latest from Abdelletif Kechiche, Stanley Kubrick's The Shining, this year's Cannes winner, Jafar Panahi's It Was Just an Accident and Legend of the Happy Worker, which was executive produced by David Lynch and directed by veteran editor Duwayne Dunham, who worked with Lynch on Twin Peaks and Blue Velvet. More from The Hollywood Reporter YouTube Heading to Mipcom as TV Market Embraces Creator Economy 'I Saw the Face of God in the Jet Wash,' Cornwall, Callum Turner, Truth, and Super 8 Adventures: A Chat With Mark Jenkin Tomorrowland Main Stage "Severely Damaged" After Catching Fire, Festival Set to Continue Locarno artistic director Giona A. Nazzaro is the man who is once again in charge of serving up an eclectic lineup full of 'the pleasure of cinema,' as he likes to say, to festival audiences and industry attendees alike. Nazzaro spoke to The Hollywood Reporter about how Locarno78 will reflect the state of the world, screening a timely-sounding TV series, bringing the controversial Kechiche to Locarno and how special it is for him and Locarno to honor those big stars. Congratulations on the great lineup. Any insight you can share into how tough it was to put together what looks like an exciting mix of serious art-house films, from established and new voices, more offbeat-sounding fare, as well as broader-appeal movies? We were extremely tough on ourselves, and unfortunately, the selection process was also very harsh, because a lot of films that we loved didn't make the cut. Sometimes I say that the quality of a selection is as good as the films that did not make the cut. In unveiling this year's lineup, you noted that the festival does not take place in a vacuum. How is the state of the world reflected in the 2025 ineup? This is something that really kept our minds busy all the time, because we are all complex beings. As someone who belongs to a lineage of cinephiles, we always try to protect our cinephilia from the outside world, especially people like me who have grown up in Italy, where there is this ideological mortgage coming from our cinephile ancestors with political engagement and a political outlook on the films and whatnot. So we try to break free of this cage. But somehow, everything that is going on in the world keeps asking you questions. So, what really is the place of a certain film in this specific moment? I really wish I could just be in my own mental space where cinephilia reigns supreme. But then you have to ask yourself serious questions: how do you pick a film and contextualize a film in the framework of a world that seems to be falling apart? I know this sounds a bit sanctimonious, because we still have the privilege of going into a dark cinema and watching a film. But how do we not abuse this kind of privilege, and how do we not make it just a selfish thing? I know this sounds terribly abstract because it does not have a straight answer. But it goes back to the fact that cinema is at its most political and free when it is completely 2025 will also feature two films that seem to refer to the Gaza conflict: by Palestinian director Kamal Aljafari in the main competition and Israeli director Eran Kolirin's in an out-of-competition slot. Why did your team pick these two, and did you select films from different perspectives on purpose?It would be wrong on so many levels to think that one thing evens out another thing. It would be the worst mistake to do something like that. It would be terrible. We have a film about Gaza, because it's a film that was supposed to be Kamal Aljafari's first film, when he was looking for a friend in Gaza, around the early years of the 2000s, when the so-called largest open-air prison in the world was creating the preconditions of the unspeakable tragedy that we are witnessing today. And the reason why we picked that film as programmers was that we see a filmmaker who, while he thinks he's making something, he's actually creating his very own archive of himself, his family, his land, his homeland and so on. This material somehow got lost, and then Kamal retrieved it again, and it's a very fascinating story. And somehow this material has become timely. We also have the new film by Eran Kolirin, who is an extremely outspoken Israeli filmmaker. That is not a film about Gaza. It's really a film about the Israeli and Jewish Zionist identity. It shows: 'What we were, what we thought we were, what we have become.' And it's a completely no-budget film in black and white. It's a film made in sketch episodes. And it's terribly prophetic in a Bron is doing double duty at Locarno this year. He has the documentary in an out-of-competition slot, and his series , about the Iran-U.S. nuclear talks at Lake Geneva in 2015, which sounds so timely. It's not the first series you screen at Locarno, but it's still rare. How did that decision come about? This is the second time in my years that we will show a series. We also screened, a couple of years ago, an Italian teen TV series called Prisma, which was a very big success for Amazon. The Deal is interesting. I got an email with the six episodes. I usually look into something just to have a taste of what it is. I was immediately hooked. Director Jean-Stéphane Bron is known as a documentary filmmaker, and suddenly he's in this environment where he creates this six-episode TV series about the behind-the-curtain dealings of the 2015 Lausanne Iranian nuclear deal talks. It's extremely interesting, and it's also eerie in a way, because when we picked it up, I thought this is a really interesting Swiss production about something International, and it looks a bit like 24 or The West Wing, this kind of American political TV series. Then history creeps up on you, and suddenly it happens again. History is quicker than cinema. So, we go back to your earlier question. We felt that history was urging us, pushing us, as if [to say]: 'It's not good enough. You have to do better.' Suddenly, when we were watching, I was telling my team: We need to be able to ensure that the films we select will also tell, retrospectively, something to someone who will study what happened in Locarno while the world was in flames. I didn't simply want the idea that even with the world going out of balance, we were just involved in our tiny cinephile squabbles. We wanted to have films, cinema, that look head-on into is again showcasing a range of cinema today, including comedies and some outrageous-sounding films. Can you talk a bit about why it's key for you to not solely focus on serious, even gloomy, art-house fare despite Locarno's strong art-house reputation? My team and I always try to create a program that is as diversified as possible. I don't want that after 11 days, people go back home and say the only thing they saw were long takes and people staring into a void. I want people to go on a ride, on a trip. So you can have challenging films and funny films, you can have documentaries, and you can have genre films, but not because of a high priest of eclecticism. A comedy is there because it's an interesting film. And if a film takes three hours to get its point across, and we select it, it's because we sincerely believe it is a film that needs to be enjoyed on its own terms. As you can also see with Dracula, Radu Jude resists, stoically, the temptation to make beautiful films. And I mean that as the highest possible praise! And, luckily, we have extremely intelligent genre filmmakers who don't care about sticking to the rules of so-called genre filmmaking and go their own crazy ways. Are there any countries represented in Locarno for the first time this year or represented again after a long break? We finally have Japan in the competition again. For certain reasons, we didn't manage to get a film for a while, and it was really weighing heavily on my mind. I thought we should try to find one, because we receive a lot of film submissions, but we also actively look for films since all of us have a large network. And we found Sho Miyake's Tabi to new Abdellatif Kechiche film, , the final movie in his trilogy, is probably one of the most controversial selections for this year's fest. Kechiche, who won the Palme d'Or in Cannes in 2013 for , has been confronted with criticism of harsh and controversial working conditions on his sets, as well as a sexual assault allegation, which he denied, and a probe which was dropped. Why did you decide to screen his new film at Locarno despite all this? We are obviously all aware of what happened, the backlash, and the aftermath of it, and so on. But then we got in touch with the producers, and we had an opportunity to see the film. And the film is in no way controversial. The film is simply a reminder of the tremendous talent that Kechiche is. It's such a staggering talent — the film seems to be light-footed, light-hearted, and quickly made as if it had been shot in an afternoon among friends. It was like when you drink a glass of natural still water, which is fresh, and then you think: Oh, I never tasted water before. What I mean is I think the film deserves a chance. It does not mean that we condone certain behaviors. The official stance of Locarno is very clear on that. But the film is not about this. It's about something else, and I think it deserves to be shared. It's a wonderful film. Let me return to the theme of the timeliness of the Locarno lineup and how it fits into the state of the world. Miguel Ángel Jiménez's , starring , will world premiere on the Locarno Piazza Grande. The film feels like a reference to our time's discussions about the power of rich people, given all the current talk about tech billionaires. Any insight on what made you bring that film to Locarno? It's a very old story about a patriarch who does not want to share his wealth, including with his daughter and offspring. It's a story about greed. It's a story about living in a world of your own making. It's also very Greek. It's about an ogre that lives on an island, and everybody is willing to please this ogre. So it's a story that resonates with ancestral echoes. Willem Dafoe plays this character with extreme gusto, and he [channels] some great, great actors, but I don't want to give it away. But when you say [billionaires] today, obviously, there are those names that pop into your mind inevitably. And if people see it that way, I cannot say anything against that. Locarno will also welcome some big names who will receive honors this year: Jackie Chan, , , Milena Canonero and . How did you decide who to honor this year? It's really about the wish of having a larger family. As a Hong Kong cinema fan — I've written three books on Hong Kong — Jackie Chan is a dream come true. Lucy Liu is one of the greatest actors in the world. Emma Thompson is a genius — craft and talent incarnated. Milena Canonero, it goes without saying, is a Renaissance genius. So it's really not about the fetish of the names. It's really about the pleasure of having these people become part of the Locarno of The Hollywood Reporter The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best 13 of Tom Cruise's Most Jaw-Dropping Stunts Solve the daily Crossword

Debbie Nightingale, Hot Docs Festival Co-Founder, Dies at 71
Debbie Nightingale, Hot Docs Festival Co-Founder, Dies at 71

Yahoo

time2 days ago

  • Entertainment
  • Yahoo

Debbie Nightingale, Hot Docs Festival Co-Founder, Dies at 71

Debbie Nightingale, a co-founder of the Hot Docs Canadian International Documentary Festival, which eventually became the largest documentary event in North America, died July 10 after a bout with cancer. She was 71. 'Every part of the Hot Docs we know today grew from what Debbie helped establish,' execs at the Toronto-based festival said in a statement. 'She recognized the importance of documentary filmmaking and providing a place where filmmakers, funders and audiences could connect. Without her, we wouldn't be here. Her legacy will be forever felt, and she will be truly missed.' More from The Hollywood Reporter Three Six Zero Names Aimee Jessiman U.K. Head of Management Locarno Director on 'Dracula,' Jackie Chan and Hosting a Film Festival With the World "in Flames" Connie Francis, 'Where the Boys Are' Singer and Actress, Dies at 87 Nightingale and veteran documentary maker Paul Jay in 1993 launched a documentary showcase that would eventually become Hot Docs. She helped raise the initial $100,000 to get the festival off the ground and served as its first festival manager and later as executive director. Born in Toronto on Oct. 14, 1953, Nightingale had been producing the Trade Forum at the Festival of Festivals, the forerunner of the Toronto International Film Festival, when Jay urged her to explore the launch of a documentary showcase for the Canadian Independent Film Caucus, today known as the Documentary Organization of Canada. 'It was because of her involvement, on spec, that the festival flew,' Jay told the POV Magazine in a 2007 interview. Nightingale went on to become a prolific film and TV producer, with such credits as the TV series Living in Your Car, the hockey movie Chicks With Sticks and the animal adventure comedy Bailey's Billion$, which starred Jennifer Tilly and Dean Cain. She eventually left the Canadian film and TV industry to run the Haute Goat Farm as a farmer. 'Debbie was not only the founder but the true heart and soul of Haute Goat — a dreamer, a doer and an inspiration to all who crossed her path. Her love for animals, people and the land was the magic behind every visit, every experience and every smile on the farm,' the Facebook page for the farm in Port Hope, Ontario, wrote in remembrance. Nightingale is survived by her husband, Shain Jaffe, a retired literary agent, and her children, Sarah, Leland and Noah. The family asks that donations in her memory be made to the Ontario Veterinary College in Guelph. Best of The Hollywood Reporter The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best 13 of Tom Cruise's Most Jaw-Dropping Stunts Solve the daily Crossword

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