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Oracle Data Pump technology enables very high-speed movement of data and metadata from one database to another.
This chapter discusses the following topics:
Oracle Data Pump is made up of three distinct parts:
The command-line clients,
expdp and
DBMS_DATAPUMP PL/SQL package (also known as the Data Pump API)
DBMS_METADATA PL/SQL package (also known as the Metadata API)
The Data Pump clients,
expdp and
impdp, invoke the Data Pump Export utility and Data Pump Import utility, respectively.
expdp and
impdp clients use the procedures provided in the
DBMS_DATAPUMP PL/SQL package to execute export and import commands, using the parameters entered at the command line. These parameters enable the exporting and importing of data and metadata for a complete database or for subsets of a database.
When metadata is moved, Data Pump uses functionality provided by the
DBMS_METADATA PL/SQL package. The
DBMS_METADATA package provides a centralized facility for the extraction, manipulation, and re-creation of dictionary metadata.
DBMS_DATAPUMP and
DBMS_METADATA PL/SQL packages can be used independently of the Data Pump clients.
Note:All Data Pump Export and Import processing, including the reading and writing of dump files, is done on the system (server) selected by the specified database connect string. This means that for unprivileged users, the database administrator (DBA) must create directory objects for the Data Pump files that are read and written on that server file system. (For security reasons, DBAs must ensure that only approved users are allowed access to directory objects.) For privileged users, a default directory object is available. See "Default Locations for Dump, Log, and SQL Files" for more information about directory objects.
See Also:
Oracle Database PL/SQL Packages and Types Reference for descriptions of the
DBMS_DATAPUMP and
DBMS_METADATA packages
Oracle Database SecureFiles and Large Objects Developer's Guide for information about guidelines to consider when creating directory objects
For information about how Data Pump moves data in and out of databases, see the following sections:
Note:Data Pump does not load tables with disabled unique indexes. To load data into the table, the indexes must be either dropped or reenabled.
The following sections briefly explain how and when each of these data movement mechanisms is used.
The fastest method of moving data is to copy the database data files to the target database without interpreting or altering the data. With this method, Data Pump Export is used to unload only structural information (metadata) into the dump file. This method is used in the following situations:
TRANSPORT_TABLESPACES parameter is used to specify a transportable mode export. Only metadata for the specified tablespaces is exported.
TRANSPORTABLE=ALWAYS parameter is supplied on a table mode export (specified with the
TABLES parameter). Only metadata for the tables, partitions, and subpartitions specified on the
TABLES parameter is exported.
When an export operation uses data file copying, the corresponding import job always also uses data file copying. During the ensuing import operation, both the data files and the export dump file must be loaded.
When data is moved by using data file copying, the character sets must be identical on both the source and target databases.
In addition to copying the data, you may need to prepare it by using the Recovery Manager (RMAN)
CONVERT command to perform some data conversions. You can do this at either the source or target database.
See Also:
Oracle Database Backup and Recovery Reference for information about the RMAN
CONVERT command
Oracle Database Administrator's Guide for a description and example (including how to convert the data) of transporting tablespaces between databases
After data file copying, direct path is the fastest method of moving data. In this method, the SQL layer of the database is bypassed and rows are moved to and from the dump file with only minimal interpretation. Data Pump automatically uses the direct path method for loading and unloading data when the structure of a table allows it. For example, if a table contains a column of type
BFILE, then direct path cannot be used to load that table and external tables is used instead.
The following sections describe situations in which direct path cannot be used for loading and unloading:
Situations in Which Direct Path Load Is Not Used
If any of the following conditions exist for a table, then Data Pump uses external tables rather than direct path to load the data for that table:
A global index on multipartition tables exists during a single-partition load. This includes object tables that are partitioned.
A domain index exists for a LOB column.
A table is in a cluster.
There is an active trigger on a preexisting table.
Fine-grained access control is enabled in insert mode on a preexisting table.
A table contains
BFILE columns or columns of opaque types.
A referential integrity constraint is present on a preexisting table.
A table contains
VARRAY columns with an embedded opaque type.
The table has encrypted columns.
The table into which data is being imported is a preexisting table and at least one of the following conditions exists:
There is an active trigger
The table is partitioned
Fine-grained access control is in insert mode
A referential integrity constraint exists
A unique index exists
Supplemental logging is enabled and the table has at least one LOB column.
The Data Pump command for the specified table used the
SAMPLE, or
REMAP_DATA parameter.
A table contains a column (including a
VARRAY column) with a
TIMESTAMP WITH TIME ZONE datatype and the version of the time zone data file is different between the export and import systems.
Situations in Which Direct Path Unload Is Not Used
If any of the following conditions exist for a table, then Data Pump uses the external table method to unload data, rather than the direct path method:
Fine-grained access control for
SELECT is enabled.
The table is a queue table.
The table contains one or more columns of type
BFILE or opaque, or an object type containing opaque columns.
The table contains encrypted columns.
The table contains a column of an evolved type that needs upgrading.
The table contains a column of type
LONG or
LONG RAW that is not last.
The Data Pump command for the specified table used the
SAMPLE, or
REMAP_DATA parameter.
When data file copying is not selected and the data cannot be moved using direct path, the external table mechanism is used. The external table mechanism creates an external table that maps to the dump file data for the database table. The SQL engine is then used to move the data. If possible, the
APPEND hint is used on import to speed the copying of the data into the database. The representation of data for direct path data and external table data is the same in a dump file. Therefore, Data Pump might use the direct path mechanism at export time, but use external tables when the data is imported into the target database. Similarly, Data Pump might use external tables for the export, but use direct path for the import.
In particular, Data Pump uses external tables in the following situations:
Loading and unloading very large tables and partitions in situations where it is advantageous to use parallel SQL capabilities
Loading tables with global or domain indexes defined on them, including partitioned object tables
Loading tables with active triggers or clustered tables
Loading and unloading tables with encrypted columns
Loading tables with fine-grained access control enabled for inserts
Loading tables that are partitioned differently at load time and unload time
Loading a table not created by the import operation (the table exists before the import starts)
Note:When Data Pump uses external tables as the data access mechanism, it uses the
ORACLE_DATAPUMP access driver. However, it is important to understand that the files that Data Pump creates when it uses external tables are not compatible with files created when you manually create an external table using the SQL
CREATE TABLE ... ORGANIZATION EXTERNAL statement.
See Also:
Oracle Database SQL Language Reference for information about using the
APPEND hint
In situations where there are conflicting table attributes, Data Pump is not able to load data into a table using either direct path or external tables. In such cases, conventional path is used, which can affect performance.
When the Import
NETWORK_LINK parameter is used to specify a network link for an import operation, SQL is directly used to move the data using an
INSERT SELECT statement. The
SELECT clause retrieves the data from the remote database over the network link. The
INSERT clause uses SQL to insert the data into the target database. There are no dump files involved.
When the Export
NETWORK_LINK parameter is used to specify a network link for an export operation, the data from the remote database is written to dump files on the target database. (Note that to export from a read-only database, the
NETWORK_LINK parameter is required.)
Because the link can identify a remotely networked database, the terms database link and network link are used interchangeably.
Because reading over a network is generally slower than reading from a disk, network link is the slowest of the four access methods used by Data Pump and may be undesirable for very large jobs.
The following types of database links are supported for use with Data Pump Export and Import:
Public (both public and shared)
Fixed user
Connected user
The database link type, Current User, is not supported for use with Data Pump Export or Import.
See Also:
The Export NETWORK_LINK parameter for information about performing exports over a database link
The Import NETWORK_LINK parameter for information about performing imports over a database link
Oracle Database SQL Language Reference for information about database links
Many Data Pump Export and Import operations require the user to have the
DATAPUMP_EXP_FULL_DATABASE role and/or the
DATAPUMP_IMP_FULL_DATABASE role. These roles are automatically defined for Oracle databases when you run the standard scripts that are part of database creation. (Note that although the names of these roles contain the word FULL, these roles are actually required for all export and import modes, not only Full mode.)
DATAPUMP_EXP_FULL_DATABASE role affects only export operations. The
DATAPUMP_IMP_FULL_DATABASE role affects import operations and operations that use the Import
SQLFILE parameter. These roles allow users performing exports and imports to do the following:
Perform the operation outside the scope of their schema
Monitor jobs that were initiated by another user
Export objects (such as tablespace definitions) and import objects (such as directory definitions) that unprivileged users cannot reference
These are powerful roles. Database administrators should use caution when granting these roles to users.
Although the
SYS schema does not have either of these roles assigned to it, all security checks performed by Data Pump that require these roles also grant access to the
SYS schema.
See Also:Oracle Database Security Guide for more information about predefined roles in an Oracle Database installation
Data Pump jobs use a master table, a master process, and worker processes to perform the work and keep track of progress.
For every Data Pump Export job and Data Pump Import job, a master process is created. The master process controls the entire job, including communicating with the clients, creating and controlling a pool of worker processes, and performing logging operations.
While the data and metadata are being transferred, a master table is used to track the progress within a job. The master table is implemented as a user table within the database. The specific function of the master table for export and import jobs is as follows:
For export jobs, the master table records the location of database objects within a dump file set. Export builds and maintains the master table for the duration of the job. At the end of an export job, the content of the master table is written to a file in the dump file set.
For import jobs, the master table is loaded from the dump file set and is used to control the sequence of operations for locating objects that need to be imported into the target database.
The master table is created in the schema of the current user performing the export or import operation. Therefore, that user must have the
CREATE TABLE system privilege and a sufficient tablespace quota for creation of the master table. The name of the master table is the same as the name of the job that created it. Therefore, you cannot explicitly give a Data Pump job the same name as a preexisting table or view.
For all operations, the information in the master table is used to restart a job.
The master table is either retained or dropped, depending on the circumstances, as follows:
Upon successful job completion, the master table is dropped.
If a job is stopped using the
STOP_JOB interactive command, then the master table is retained for use in restarting the job.
If a job is killed using the
KILL_JOB interactive command, then the master table is dropped and the job cannot be restarted.
If a job terminates unexpectedly, then the master table is retained. You can delete it if you do not intend to restart the job.
If a job stops before it starts running (that is, before any database objects have been copied), then the master table is dropped.
See Also:"JOB_NAME" for more information about how job names are formed
Within the master table, specific objects are assigned attributes such as name or owning schema. Objects also belong to a class of objects (such as
INDEX, or
DIRECTORY). The class of an object is called its object type. You can use the
EXCLUDE and
INCLUDE parameters to restrict the types of objects that are exported and imported. The objects can be based upon the name of the object or the name of the schema that owns the object. You can also specify data-specific filters to restrict the rows that are exported and imported.
When you are moving data from one database to another, it is often useful to perform transformations on the metadata for remapping storage between tablespaces or redefining the owner of a particular set of objects. This is done using the following Data Pump Import parameters:
TRANSFORM, and
Data Pump can employ multiple worker processes, running in parallel, to increase job performance. Use the
PARALLEL parameter to set a degree of parallelism that takes maximum advantage of current conditions. For example, to limit the effect of a job on a production system, the database administrator (DBA) might want to restrict the parallelism. The degree of parallelism can be reset at any time during a job. For example,
PARALLEL could be set to 2 during production hours to restrict a particular job to only two degrees of parallelism, and during nonproduction hours it could be reset to 8. The parallelism setting is enforced by the master process, which allocates work to be executed to worker processes that perform the data and metadata processing within an operation. These worker processes operate in parallel. In general, the degree of parallelism should be set to no more than twice the number of CPUs on an instance.
Note:The ability to adjust the degree of parallelism is available only in the Enterprise Edition of Oracle Database.
The worker processes unload and load metadata and table data. During import they also rebuild indexes. Some of these operations may be done in parallel: unloading and loading table data, rebuilding indexes, and loading package bodies. Worker processes are created as needed until the number of worker processes equals the value supplied for the
PARALLEL command-line parameter. The number of active worker processes can be reset throughout the life of a job. Worker processes can be started on different nodes in an Oracle Real Application Clusters (Oracle RAC) environment.
Note:The value of
PARALLEL is restricted to 1 in the Standard Edition of Oracle Database.
When a worker process is assigned the task of loading or unloading a very large table or partition, it may choose to use the external tables access method to make maximum use of parallel execution. In such a case, the worker process becomes a parallel execution coordinator. The actual loading and unloading work is divided among some number of parallel I/O execution processes (sometimes called slaves) allocated from a pool of available processes in an Oracle RAC environment.
The Data Pump Export and Import utilities can attach to a job in either logging mode or interactive-command mode.
In logging mode, real-time detailed status about the job is automatically displayed during job execution. The information displayed can include the job and parameter descriptions, an estimate of the amount of data to be exported, a description of the current operation or item being processed, files used during the job, any errors encountered, and the final job state (Stopped or Completed).
See Also:
In interactive-command mode, job status can be displayed on request. The information displayed can include the job description and state, a description of the current operation or item being processed, files being written, and a cumulative status.
A log file can also be optionally written during the execution of a job. The log file summarizes the progress of the job, lists any errors that were encountered during execution of the job, and records the completion status of the job.
See Also:
An alternative way to determine job status or to get other information about Data Pump jobs, would be to query the
USER_DATAPUMP_JOBS, or
DBA_DATAPUMP_SESSIONS views. See Oracle Database Reference for descriptions of these views.
Data Pump operations that transfer table data (export and import) maintain an entry in the
V$SESSION_LONGOPS dynamic performance view indicating the job progress (in megabytes of table data transferred). The entry contains the estimated transfer size and is periodically updated to reflect the actual amount of data transferred.
Use of the
QUERY, and
REMAP_DATA parameters are not reflected in the determination of estimate values.
The usefulness of the estimate value for export operations depends on the type of estimation requested when the operation was initiated, and it is updated as required if exceeded by the actual transfer amount. The estimate value for import operations is exact.
V$SESSION_LONGOPS columns that are relevant to a Data Pump job are as follows:
USERNAME - job owner
OPNAME - job name
TARGET_DESC - job operation
SOFAR - megabytes transferred thus far during the job
TOTALWORK - estimated number of megabytes in the job
UNITS - megabytes (MB)
MESSAGE - a formatted status message of the form:
'job_name: operation_name : nnn out of mmm MB done'
Data Pump jobs manage the following types of files:
Dump files to contain the data and metadata that is being moved.
Log files to record the messages associated with an operation.
SQL files to record the output of a SQLFILE operation. A SQLFILE operation is invoked using the Data Pump Import
SQLFILE parameter and results in all the SQL DDL that Import would be executing based on other parameters, being written to a SQL file.
Files specified by the
DATA_FILES parameter during a transportable import.
An understanding of how Data Pump allocates and handles these files will help you to use Export and Import to their fullest advantage.
For export operations, you can specify dump files at the time the job is defined, and also at a later time during the operation. For example, if you discover that space is running low during an export operation, then you can add additional dump files by using the Data Pump Export
ADD_FILE command in interactive mode.
For import operations, all dump files must be specified at the time the job is defined.
Log files and SQL files overwrite previously existing files. For dump files, you can use the Export
REUSE_DUMPFILES parameter to specify whether to overwrite a preexisting dump file.
Because Data Pump is server-based rather than client-based, dump files, log files, and SQL files are accessed relative to server-based directory paths. Data Pump requires that directory paths be specified as directory objects. A directory object maps a name to a directory path on the file system. DBAs must ensure that only approved users are allowed access to the directory object associated with the directory path.
The following example shows a SQL statement that creates a directory object named
dpump_dir1 that is mapped to a directory located at
SQL> CREATE DIRECTORY dpump_dir1 AS '/usr/apps/datafiles';
The reason that a directory object is required is to ensure data security and integrity. For example:
If you were allowed to specify a directory path location for an input file, then you might be able to read data that the server has access to, but to which you should not.
If you were allowed to specify a directory path location for an output file, then the server might overwrite a file that you might not normally have privileges to delete.
On UNIX and Windows NT systems, a default directory object,
DATA_PUMP_DIR, is created at database creation or whenever the database dictionary is upgraded. By default, it is available only to privileged users. (The user
SYSTEM has read and write access to the
DATA_PUMP_DIR directory, by default.)
If you are not a privileged user, then before you can run Data Pump Export or Data Pump Import, a directory object must be created by a database administrator (DBA) or by any user with the
DIRECTORY privilege.
After a directory is created, the user creating the directory object must grant
READ or
WRITE permission on the directory to other users. For example, to allow the Oracle database to read and write files on behalf of user
hr in the directory named by
dpump_dir1, the DBA must execute the following command:
SQL> GRANT READ, WRITE ON DIRECTORY dpump_dir1 TO hr;
Note that
READ or
WRITE permission to a directory object only means that the Oracle database reads or writes that file on your behalf. You are not given direct access to those files outside of the Oracle database unless you have the appropriate operating system privileges. Similarly, the Oracle database requires permission from the operating system to read and write files in the directories.
Data Pump Export and Import use the following order of precedence to determine a file's location:
If a directory object is specified as part of the file specification, then the location specified by that directory object is used. (The directory object must be separated from the file name by a colon.)
If a directory object is not specified as part of the file specification, then the directory object named by the
DIRECTORY parameter is used.
If a directory object is not specified as part of the file specification, and if no directory object is named by the
DIRECTORY parameter, then the value of the environment variable,
DATA_PUMP_DIR, is used. This environment variable is defined using operating system commands on the client system where the Data Pump Export and Import utilities are run. The value assigned to this client-based environment variable must be the name of a server-based directory object, which must first be created on the server system by a DBA. For example, the following SQL statement creates a directory object on the server system. The name of the directory object is
DUMP_FILES1, and it is located at
SQL> CREATE DIRECTORY DUMP_FILES1 AS '/usr/apps/dumpfiles1';
Then, a user on a UNIX-based client system using
csh can assign the value
DUMP_FILES1 to the environment variable
DATA_PUMP_DIR. The
DIRECTORY parameter can then be omitted from the command line. The dump file
employees.dmp, and the log file
export.log, are written to
%setenv DATA_PUMP_DIR DUMP_FILES1 %expdp hr TABLES=employees DUMPFILE=employees.dmp
If none of the previous three conditions yields a directory object and you are a privileged user, then Data Pump attempts to use the value of the default server-based directory object,
DATA_PUMP_DIR. This directory object is automatically created at database creation or when the database dictionary is upgraded. You can use the following SQL query to see the path definition for
SQL> SELECT directory_name, directory_path FROM dba_directories 2 WHERE directory_name='DATA_PUMP_DIR';
If you are not a privileged user, then access to the
DATA_PUMP_DIR directory object must have previously been granted to you by a DBA.
Do not confuse the default
DATA_PUMP_DIR directory object with the client-based environment variable of the same name.
Keep the following considerations in mind when working in an Oracle RAC environment.
To use Data Pump or external tables in an Oracle RAC configuration, you must ensure that the directory object path is on a cluster-wide file system.
The directory object must point to shared physical storage that is visible to, and accessible from, all instances where Data Pump and/or external tables processes may run.
The default Data Pump behavior is that worker processes can run on any instance in an Oracle RAC configuration. Therefore, workers on those Oracle RAC instances must have physical access to the location defined by the directory object, such as shared storage media. If the configuration does not have shared storage for this purpose, but you still require parallelism, then you can use the
CLUSTER=no parameter to constrain all worker processes to the instance where the Data Pump job was started.
Under certain circumstances, Data Pump uses parallel query slaves to load or unload data. In an Oracle RAC environment, Data Pump does not control where these slaves run, and they may run on other instances in the Oracle RAC, regardless of what is specified for
CLUSTER and
SERVICE_NAME for the Data Pump job. Controls for parallel query operations are independent of Data Pump. When parallel query slaves run on other instances as part of a Data Pump job, they also require access to the physical storage of the dump file set.
If you use Data Pump Export or Import with Oracle Automatic Storage Management (Oracle ASM) enabled, then you must define the directory object used for the dump file so that the Oracle ASM disk group name is used (instead of an operating system directory path). A separate directory object, which points to an operating system directory path, should be used for the log file. For example, you would create a directory object for the Oracle ASM dump file as follows:
SQL> CREATE or REPLACE DIRECTORY dpump_dir as '+DATAFILES/';
Then you would create a separate directory object for the log file:
SQL> CREATE or REPLACE DIRECTORY dpump_log as '/homedir/user1/';
To enable user
hr to have access to these directory objects, you would assign the necessary privileges, for example:
SQL> GRANT READ, WRITE ON DIRECTORY dpump_dir TO hr; SQL> GRANT READ, WRITE ON DIRECTORY dpump_log TO hr;
You would then use the following Data Pump Export command (you will be prompted for a password):
> expdp hr DIRECTORY=dpump_dir DUMPFILE=hr.dmp LOGFILE=dpump_log:hr.log
See Also:
The Export DIRECTORY parameter
The Import DIRECTORY parameter
Oracle Database SQL Language Reference for information about the
DIRECTORY command
Oracle Automatic Storage Management Administrator's Guide for more information about Oracle ASM
Instead of, or in addition to, listing specific file names, you can use the
DUMPFILE parameter during export operations to specify multiple dump files, by using a substitution variable (
%U) in the file name. This is called a dump file template. The new dump files are created as they are needed, beginning with
01 for
%U, then using
03, and so on. Enough dump files are created to allow all processes specified by the current setting of the
PARALLEL parameter to be active. If one of the dump files becomes full because its size has reached the maximum size specified by the
FILESIZE parameter, then it is closed and a new dump file (with a new generated name) is created to take its place.
If multiple dump file templates are provided, they are used to generate dump files in a round-robin fashion. For example, if
expb%U, and
expc%U were all specified for a job having a parallelism of 6, then the initial dump files created would be
dmp, and
For import and SQLFILE operations, if dump file specifications
expb%U, and
expc%U are specified, then the operation begins by attempting to open the dump files
dmp, and
dmp. It is possible for the master table to span multiple dump files, so until all pieces of the master table are found, dump files continue to be opened by incrementing the substitution variable and looking up the new file names (for example,
dmp, and
dmp). If a dump file does not exist, then the operation stops incrementing the substitution variable for the dump file specification that was in error. For example, if
dmp and
dmp are found but
dmp is not found, then no more files are searched for using the
expb%U specification. Once the entire master table is found, it is used to determine whether all dump files in the dump file set have been located.
Because most Data Pump operations are performed on the server side, if you are using any release of the database other than
COMPATIBLE, then you must provide the server with the specific release information. Otherwise, errors may occur. To specify release information, use the
VERSION parameter.
Keep the following information in mind when you are using Data Pump Export and Import to move data between different database releases:
If you specify a database release that is older than the current database release, then certain features may be unavailable. For example, specifying
VERSION=10.1 causes an error if data compression is also specified for the job because compression was not supported in Oracle Database 10g release 1 (10.1).
On a Data Pump export, if you specify a database release that is older than the current database release, then a dump file set is created that you can import into that older release of the database. However, the dump file set does not contain any objects that the older database release does not support.
Data Pump Import can always read dump file sets created by older releases of the database.
Data Pump Import cannot read dump file sets created by a database release that is newer than the current database release, unless those dump file sets were created with the
VERSION parameter set to the release of the target database. Therefore, the best way to perform a downgrade is to perform your Data Pump export with the
VERSION parameter set to the release of the target database.
When operating across a network link, Data Pump requires that the source and target databases differ by no more than one version. For example, if one database is Oracle Database 11g, then the other database must be either 11g or 10g. Note that Data Pump checks only the major version number (for example, 10g and 11g), not specific release numbers (for example, 10.1, 10.2, 11.1, or 11.2).
When you use Data Pump Export to export SecureFiles LOBs, the resulting behavior depends on several things, including the value of the Export
VERSION parameter, whether ContentType is present, and whether the LOB is archived and data is cached. The following scenarios cover different combinations of these variables:
If a table contains SecureFiles LOBs with ContentType and the Export
VERSION parameter is set to a value earlier than
18.104.22.168.0, then the ContentType is not exported.
If a table contains SecureFiles LOBs with ContentType and the Export
VERSION parameter is set to a value of
126.96.36.199.0 or later, then the ContentType is exported and restored on a subsequent import.
If a table contains a SecureFiles LOB that is currently archived and the data is cached, and the Export
VERSION parameter is set to a value earlier than
184.108.40.206.0, then the SecureFiles LOB data is exported and the archive metadata is dropped. In this scenario, if
VERSION is set to
11.1 or later, then the SecureFiles LOB becomes a vanilla SecureFiles LOB. But if
VERSION is set to a value earlier than
11.1, then the SecureFiles LOB becomes a BasicFiles LOB.
If a table contains a SecureFiles LOB that is currently archived but the data is not cached, and the Export
VERSION parameter is set to a value earlier than
18.104.22.168.0, then an ORA-45001 error is returned.
If a table contains a SecureFiles LOB that is currently archived and the data is cached, and the Export
VERSION parameter is set to a value of
18.104.22.168.0 or later, then both the cached data and the archive metadata is exported.
See Also:Oracle Database SecureFiles and Large Objects Developer's Guide for more information about SecureFiles
Oracle Data Pump provides the results of export and import operations immediately upon completion. In addition to recording the results in a log file, Data Pump may also report the outcome in a process exit code. This allows you to check the outcome of a Data Pump job from the command line or a script.
Table 1-1 describes the Data Pump exit codes for Unix and Windows NT.
Table 1-1 Data Pump Exit Codes
|Exit Code
The export or import job completed successfully. No errors are displayed to the output device or recorded in the log file, if there is one.
The export or import job completed successfully but there were errors encountered during the job. The errors are displayed to the output device and recorded in the log file, if there is one.
The export or import job encountered one or more fatal errors, including the following:
A fatal error is displayed to the output device but may not be recorded in the log file. Whether it is recorded in the log file can depend on several factors, including:


text:
Filmmaker Jon Goldman returns to the land of his great grandfather, Louisiana, to discover the true cost of progress through oil exploration, sixty years after the historic cinema of Robert Flaherty's Louisiana Story with interviews and his own animation.
Posts Tagged 'petroleum exploration'
This Time It Is PersonalPosted: March 8, 2011 in SYNOPSIS, THE FILM
Tags: bayou, BP/Oil Spill, deepwater horizon, documentary filmmaking, environment, family, fishers, gas, gulf spill, hydrology, land reclamation, Louisiana, louisiana story, mineral rights, MRGO, new orleans, offshore drilling, oil, oil exploration, oil waste, oysterman, petroleum exploration, robert j. flaherty, spoil islands
Sample ReelPosted: February 27, 2011 in SYNOPSIS, THE FILM
Tags: bayou, BP, BP/Oil Spill, deepwater horizon, documentary filmmaking, energy policy, environment, family, fishers, gas, gulf spill, hydrology, Katrina, land reclamation, louisiana story, mineral rights, MRGO, new orleans, offshore drilling, oil, oil exploration, oil waste, oysterman, petroleum exploration, robert j. flaherty, shrimpers, spoil islands
[vimeo 19773195 width="400″ height="300″ ]
Sixty three years before a deep water oil drilling platform near the Mississippi Delta exploded into U.S. History, Robert J. Flaherty (who made "Nanook of the North," and is considered the father of the American documentary) was commissioned by Standard Oil in 1948 to make a film about oil exploration. The result was "Louisiana Story," which portrays the excitement and the rewards a Cajun family receives when a drilling rig sets up on their bayou. It also is prophetic in revealing the tension created when we disrupt the interdependence of the natural environment and those traditional cultures who live in relation to that environment.
By exploring his family's connection to Flaherty and the Louisiana Story, environmental artist and filmmaker Jon Goldman returns to the land of his great grandfather, discovering how industry changed forever the vitality of a region and sacrificed the real cost for prosperity.
The film parallels one artist's celebration of a threatened way of life and another artists need to confront the consequences.The story becomes a conversation on how to change the future.
It is a story about a family's Louisiana legacy revealing how we are OIL IN THE FAMILY. OIL IN THE FAMILY combines a personal narrative with scenes from "Lousiana Story"and will push the boundaries of documentary and docudrama. The film explores the complex issues surrounding oil exploration, extraction and manufacturing through my own animation,
classic animation, interviews and personal stories. It depicts the impact on family and the larger context of how it has changed that place where the original story was filmed.
The filmmakers return to the original film location sixty years later and examine the real impact oil exploration and the powerful petrochemical industry has had and continues to have on the South Central region of Louisiana, its people, its economy, the indigenous landscape and the larger world.

subset: commoncrawl


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Founder and Music Director of the Greek Youth Symphony Orchestra and 2018 European Young Leader (EYL40)
As one of the most charismatic conductors of his generation, Dionysis made his debut at the age of twenty-one with the Vienna Chamber Orchestra. Since then, he has been awarded with several honours and was the first Greek to receive a Conducting Fellowship at the Aspen Music Festival. By the age of twenty, Dionysis had won European Young Musician of the Year Prize and had been featured on a Greek postage stamp. This young virtuoso has performed in some of the world's most prestigious venues, including Carnegie Hall, Amsterdam's Concertgebouw, Cité de la Musique in Paris and the Barbican Centre in London and has worked with orchestras such as the Vienna Symphony and the Maggio Musicale Fiorentino, among others.


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Home > School Storage > Nursery Double Sided Storage Units
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Double Sided Resource Unit with doors on one side and children's safety mirror.
Manufactured from beech faced 15mm MFC with PVC edging. The back panel is also manufactured from 15mm board to maximise the strength and durability.
Supplied with lockable castors the units can easily be moved around the classroom.
Supplied flat pack for easy self assembly.
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Double Sided Nursery Resource Unit + Doors, Mirror & Baskets£452.59
Double Sided Nursery Resource Unit + Doors, Mirror & Trays£429.60
Double Sided Nursery Resource Unit + Doors, Storage / Mirror£493.97
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(a) General. No person shall, on the basis of sex, be denied admission, or be subjected to discrimination in admission, by any recipient to which §§ 5.300 through §§ 5.310 apply, except as provided in §§ 5.225 and §§ 5.230.
(b) Specific prohibitions. (1) In determining whether a person satisfies any policy or criterion for admission, or in making any offer of admission, a recipient to which §§ 5.300 through 5.310 apply shall not:
(i) Give preference to one person over another on the basis of sex, by ranking applicants separately on such basis, or otherwise;
(ii) Apply numerical limitations upon the number or proportion of persons of either sex who may be admitted; or
(iii) Otherwise treat one individual differently from another on the basis of sex.
(2) A recipient shall not administer or operate any test or other criterion for admission that has a disproportionately adverse effect on persons on the basis of sex unless the use of such test or criterion is shown to predict validly success in the education program or activity in question and alternative tests or criteria that do not have such a disproportionately adverse effect are shown to be unavailable.
(c) Prohibitions relating to marital or parental status. In determining whether a person satisfies any policy or criterion for admission, or in making any offer of admission, a recipient to which §§ 5.300 through 5.310 apply:
(1) Shall not apply any rule concerning the actual or potential parental, family, or marital status of a student or applicant that treats persons differently on the basis of sex;
(2) Shall not discriminate against or exclude any person on the basis of pregnancy, childbirth, termination of pregnancy, or recovery therefrom, or establish or follow any rule or practice that so discriminates or excludes;
(3) Subject to § 5.235(d), shall treat disabilities related to pregnancy, childbirth, termination of pregnancy, or recovery therefrom in the same manner and under the same policies as any other temporary disability or physical condition; and
(4) Shall not make pre-admission inquiry as to the marital status of an applicant for admission, including whether such applicant is "Miss" or "Mrs." A recipient may make pre-admission inquiry as to the sex of an applicant for admission, but only if such inquiry is made equally of such applicants of both sexes and if the results of such inquiry are not used in connection with discrimination prohibited by these Title IX regulations.
Page Last Reviewed/Updated Monday, July 30, 2018


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Victim not seriously injured
DOVER, N.H. — A 911 call is being credited with saving a man's life Friday after he fell into an icy river.
Senior citizens in a high-rise spotted the man's head peaking out of a hole in the ice on the Cocheco River, called 911, and the victim was pulled to safety minutes later.
Rescuers said the man was trying to walk across the river Friday afternoon and thought it was frozen solid.
"Residents of a nearby elderly housing complex looked out their back window and saw this guy neck deep in the water, through a hole in the ice, basically with his arms out, trying to hold himself up (and) calling for help," Dover Police Department Capt. Paul Haas said.
Dover police arrived first. They tried to help the victim from a footbridge.
"They were able to lower a rope down from the footbridge, about 40 feet down, where the gentleman was through the ice and actually get him to secure the rope around his body, so he was hanging onto that when we got there," Haas said.
Dover firefighters, who just held ice rescue training two weeks ago, suited up to go in, including firefighter Craig Comeau. The rescue workers also fell through the ice.
"I told him my name, I got his name, and I just let him know that I was there, and I was going to grab a hold of him, and the suit would hold us up, and we weren't going to sink. We were going to get him out of the water," Comeau said.
Rescuers dragged the man safely to shore. He was hypothermic but stabilized at the hospital.
Rescue workers said they remember hearing applause coming from the senior citizens who called 911.
"Someone falls through the ice, you don't have a lot of time, so he certainly, probably, had someone looking over his shoulder," Haas said.
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The PACE coalition is dedicated to promoting and increasing the more than 71 million American jobs that depend on the international competitiveness of globally engaged American companies. The ability of these companies to return to hiring more American workers depends on the health and vitality of their worldwide operations. To ensure American competitiveness, PACE advocates that the United States provide a level playing field for taxation of international operations and not act unilaterally to disadvantage U.S. companies.
Click Here for State-by-State Facts
It's About Fair Tax Treatment and U.S. Jobs
- The U.S. parent companies of globally engaged American companies are a key generator of jobs for America's workers. They employ nearly 23 million U.S. workers, more than 20 percent of the total U.S. private-sector workforce.
- Higher productivity of globally engaged American companies leads to higher wages for American workers. They pay U.S. workers wages that are 30 percent above the average for the rest of the private sector.
- 95 percent of the world's consumers live outside of the United States. For U.S. companies to serve these markets and increase jobs in the United States, they must be able to compete internationally on a level playing field.
- Current provisions in U.S. tax law enable U.S.-based companies to remain internationally competitive, despite a U.S. tax rate that is among the highest in the world.
Facts About Tax
U.S. tax rules significantly affect the ability of American companies to compete in foreign markets. These rules include a provision known as "deferral," which is a key pro-competitive international tax rule for American companies. Click Here to Learn More
State-by-State FactsAmerica's 2,302 globally engaged companies are a critical engine of economic growth and source of employment in America. Learn how globally engaged U.S. companies contribute to their state economies.
Click Here for State-by-State Facts


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On-Campus Apartments FAQ
Before You Sign a Contract
- What are the requirements to live in an on campus apartment?
A lessee (student) must be a student maintaining a minimum of seven credit hours of course work (five credits for graduate students) per quarter, unless an exception is approved in writing by the Associate Dean of Student Life, or be a contracted faculty/staff member of Central Washington University.
Students must provide proof of academic acceptance to CWU prior to taking occupancy.
Student apartments are available for occupancy for students who have completed one academic year of college or are 20 years of age or older and enrolled as a CWU student.
University owned on-campus apartments are available to students with children, married students (must provide marriage certificate) single students.
- How do l move from a residence hall to an apartment?
To be eligible to move from a residence hall to an apartment, you need to have completed one academic year of college or be 20 years of age or older, and meet all other eligibility requirements. Students must submit a separate Apartment Application and deposit. The term of the contract remains that is specified in the residence hall contract.
When transferring from the CWU residence halls to the CWU apartments, students must follow all the steps of checking out of the residence hall. Charges will continue to be billed to the student account until the student has checked out of the residence hall properly.
One hundred dollars per each quarter will not be refunded from the dining debit dollars. This money will remain on the student's connection card and can be used in the dining halls at any time, and anywhere before the end of the spring quarter.
- How do I apply?
Complete the apartment application online at MyHousing through MyCWUand submit the $200 application deposit.
Placement of applicants into apartments is based on the application date, move-in date, and availability of apartment size, type, and location.
Application date — This is the date of your completed apartment application.
Move-in date — This is the date you wish to take occupancy of the apartment. For example, if two students submit an application on the same date requesting the same type of apartment and one requests August 1st and the other requests September 15th, the person requesting the August date will be assigned an apartment before the person requesting the September date.
- When should I get on the waitlist?
As soon as you know you are interested in an on-campus apartment. Frequently there are more requests than apartments available. Students are assigned according to the application date, move-in date, and availability of apartment size, type, and location.
- When will I know if am assigned an apartment?
Housing and Residence Life staff makes every effort to notify applicants of an opening within 30 days of apartment availability. This period of time may vary. You are welcome to contact Housing and Residence Life at (509) 963-1831 or send an email to firstname.lastname@example.com for an update on your application status.
- How do l cancel my application?
Contact Housing and Residence life by sending an e-mail to email@example.com to submit your request in writing.
- What size are the apartments?
Housing and Residence Life maintains studios, one, two, and three bedroom apartments. Floor plans and square footage information can be found on our individual apartment information pages.
- What utilities are included in my rent?
The following utilities are included in the rent for these apartment complexes. Brooklane Village, Student Village, and Wahle apartments: heat, sewer, water, electricity, recycling and refuse service, and high-speed-internet (need an Ethernet-cat 5 cable).
Brooklane Village, Getz Short, and Wahle have DSL/WiFi. (Student will be given a key code at any time of signing your apartment contract).
You may also contact an internet service provider of your choice to set up a high-speed internet connection.
- Are pets allowed?
No. Pets are not allowed in the apartments. The only pets allowed are aquarium-bound fish in a tank no larger than 10 gallons. Residents must maintain responsibility for the aquariums at all times.
- What is the deposit amount?
A $200 deposit is required at the time of application.
- What is the lease/contract term?
The term of the contract is month-to-month. The student may remain as long as he/she is eligible to occupy a University on-campus apartment. However, you must have lived in your apartment for a minimum of six months to be eligible to move to another apartment, and/or receive your $200 deposit back. Tenants are required to submit a 90-day vacate notice by logging into your MyHousing portal and selecting the day you desire to end your lease.
- What are the rental rates?
Rates can be found on our Forms, Guides, and Contracts page under the Apartment Rates dropdown menu.
- Where can I view a copy of an apartment rental contract?
Contracts can be found on our Forms, Guides, and Contracts page under the Apartment Contracts dropdown menu.
- l would like a roommate to move in with me (or l would like to move in with a roommate who already has an apartment). What do I need to do?
New roommates must meet all eligibility requirements, but do not have to go through the waitlist process. The new roommate must submit an apartment application and $200 deposit, sign the lease agreement, and go through the check-in process with the apartment manager. The new roommate should contact Housing and Residence Life to make these arrangements. The current resident must also submit written notice to Housing and Residence Life giving approval for the new resident to move in.
- What happens to my rent if my roommate(s) move out?
All students must submit a 30-day vacate notice. The remaining roommate(s) have 30 days to find a new roommate. If the remaining students have not found a new roommate(s) within 30 days they will pay full rate, beginning the day after the 90-day vacate date. The rent will be divided equally among the remaining residents. If only one person is remaining, he/she will be responsible for the entire amount of the rent payment.
- Is co-ed housing an option?
Yes, apartments are gender inclusive as long as the students follow eligibility requirements as stated in number one.
- What should I do if I am having a roommate/neighbor conflict?
Make an attempt to resolve the situation yourself first. If you are unable to resolve the conflict, contact the Apartment Complex Coordinator at 509-963-2327, or come to Button Hall to discuss the situation. The Housing and Residence Life staff will assist you in contacting the Apartment Complex Coordinator to follow up with you.
- Do you assign roommates?
No, all apartment residents are responsible for finding their own roommates. Housing and Residence Life assumes no responsibility in one's roommate selection process. We encourage students to view the "housing board" on MyCWU for students looking for a roommate or looking to be a roommate. You may also post an ad stating that you also are looking for a roommate.
Your Apartment & Lease
- Who do l contact if l lock myself out of my apartment?
First, attempt to contact your roommate(s) or family members. If they are not available, try to contact your apartment manager. If you get locked out during regular business hours (Monday-Friday, 8am-4pm), you may also contact Housing and Residence Life at (509) 963-1323. If you get locked out after business hours, contact the on-call manager at (509) 201-6112. The on-call manager is available anytime that Housing and Residence Life is not open for business.
- I plan on moving out soon. What do I need to do?
Submit your 90-day vacate notice by logging into your MyHousing portal and selecting the day you desire to end your lease. You will be responsible for rent 30 days from the day your notice is submitted or until you do an official check-out (whichever is later).
Notify your roommate(s) that you are moving out.
- Am I allowed to have guests stay with me? Where should they park?
Guests are allowed to stay with you five days per month with the approval of all roommates (if applicable). If you would like a guest to stay longer you must request in writing and gain approval from Housing and Residence Life.
Residents are responsible for the conduct and behavior of their guests.
Guests parked in Apartment Parking Zones without a permit are subject to receiving a ticket. Contact the parking office or welcome center in regards to obtaining a "guest parking permit". Hours are from 8:00 am - 5:00 pm.
- Can I move from one apartment to another?
Moving to another apartment will not be allowed under normal circumstances because of additional administration, maintenance, and cleaning costs. To be eligible to be on the waitlist to move to another apartment, you are required to live in your current apartment for six consecutive months.
If your status changes, your family size increases, or you feel you have a special reason to request a transfer, submit a written request to email@example.com.
- How do l connect to the internet?
High-speed-internet (Ethernet access) is only provided in Student Village. Getz-Short, Wahle and Brooklane Village have DSL/WiFi.
- Can I keep my apartment over the summer?
You may keep your apartment over summer if you are enrolled in summer session or enrolled in at least 7 credits for fall quarter classes. All applicable lease and rental conditions apply. Sub-leasing is not an option.
- Can I stay in my apartment for quarter breaks?
Yes, you may stay in your apartment during quarter breaks.
- When is rent due?
Rent is due on the 1st of every month. Rent that is not paid by the 10th of the month is subject to a $50 late fee.
- Where do I make rent payments?
All payments must be submitted to the Cashier's Office in Barge Hall, or online through Student Accounts.
Other Department Services
- Do I have to sign up for a meal plan if I live in an apartment?
No. However, if you are transferring from a residence hall to an on-campus apartment, you are required to pay a mandatory dining fee of $100 per quarter, which will be applied to your connection card for use at any CWU dining location.
For information on optional dining plans for on-campus apartment students, please the Dining Services website.
- Will financial aid cover my rent?
You may choose to apply to have your Rent Applied From Financial Aid (RAFFA) each quarter. If approved for RAFFA, your monthly rent charges will be billed all at one time, at the beginning of the quarter with the intent of having them paid by your financial aid award money. Your application will be approved if Financial Aid indicates that your quarterly financial aid award will be enough to pay for your tuition and all of your monthly rent charges for that quarter. If you are denied the RAFFA Application, your rent charges will be billed each month. You may apply to have your Rent Applied from Financial Aid on your MyHousing page, once you have moved into an apartment.
**Please note, even if you have not applied or been denied for RAFA, any housing charges that have already exported to your account (ex. Rent charges for the first month of each quarter) will be paid by financial aid, even though subsequent monthly charges will not.
- Who should I contact if l have a maintenance problem?
Contact Facilities Management at (509) 963-3000 for all maintenance concerns. This number is in operation 24 hours a day. Please call during normal business hours (Monday-Friday, 8AM-5PM) for routine problems. Call anytime for emergencies (i.e. something that could or will cause physical harm to tenants or that could or will cause physical damage to property or structures).
- Do l need a parking permit?
Yes. When you move into an apartment you will need to go to the Parking and Public Safety building to obtain your Apartment Parking Zone decal, (APZ). There is no charge for your APZ. Those residents who wish to park in any other campus parking lot must pay to obtain a permit from the Parking Office.
Anderson requires a standard campus parking permit from the parking office.
Contact us!
We're here to help and always happy to hear from you!
Housing Services Office
Button Hall
Monday - Friday, 8:00 AM - 5:00 PM
400 E University Way Ellensburg, WA 98926
(509) 963-1831
Residence Life Office and Mail Center
South of Barto Hall
Monday - Friday, 3:00 PM - 7:00 PM
(509) 963-1323
For questions, comments or concerns please feel free to Fill Out Our Contact Us Form, and a representative from Housing and Residence Life will reach out to you during business hours.


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Growing up gay in Memphis gave Ira Sachs the inspiration for his debut feature The Delta, but he didn't stop there. With his sophomore feature Forty Shades of Blue, Sachs took the Grand Jury Prize at the 2005 Sundance Film Festival. During his recent press tour, Sachs sat down with me in San Francisco's Dolores Park to discuss the struggles of an independent filmmaker and the rewards of telling the story of Forty Shades of Blue.
Groucho: So what where the earliest beginnings of this story for you?
Ira Sachs: So I started writing the script in 1998. And the initial idea was to make a film about a woman like many of the women I'd met through my father. My parents got divorced in 1968. My father was a larger than life character who was hard-living—always a lot of women around him. From a very early age I was sort of thrown together with women who were from a very different class, very different background, very different experience from myself. And often my initial response was one of a certain amount of antagonism and dislike. And some of these women have ended up staying in my father's life and my life for twenty or thirty years. They've had kids with my Dad, several women, and I've grown to know them much better and I've learned to understand them in certain ways that I didn't initially expect. And I think the film is, in a way, about a woman that you would dismiss at first viewing. You'd see her and you'd think, from her exterior, that you would understand and know everything about her, but somehow you were better than her. And the intention was to look at her more closely, with more rigor in a way and allow the individual beauty of this character—interior beauty—to emerge. So that was the initial—that's where it came from. Then there was the process of creating a fictional script, which was a many, many-year process. I worked with co-writer Michael Rohatyn, and he and I developed these characters which were very different from any of the people particularly in my life. But I was always interested in films—in the same thing, which was this kind of sense of characters who usually disappear from movies. They're like—I was thinking of Theresa Russell from Straight Time. Like if you made a movie about the secretary, instead of about Dustin Hoffman, what would that movie be? And I think what we attempted to do was to do that in a way that was very classic—approach her story like a novel, like Portrait of a Lady or something, in the sense that you're going to be very clear-eyed in understanding what is good, bad, and other about this character—
G: Talking of the script, a lot of, for a lack of a better word, naturalist cinema of the day, involves maybe less complete scripts or improvisatory frames for a script. Did you have a full script, or did you have a series of scenarios?
IS: This script was, I would say, eighty-five to ninety percent fully written before we started production. There are a couple of scenes—the scene with Rip Torn, after the event, where he goes upstairs in the hotel and meets this girl—those two scenes, the party that's upstairs, are the two most improvised scenes in the film. And, in a way, they were created similarly to certain work that I did on a film The Delta, which was my feature before this, which was sort of: set up an environment and let it rip. And if you have Rip Torn to do that, it helped. But the rest of the film, and this was also different in the two films, was I was working with trained actors instead of non-actors, which I had done previously. I think that what you find is they can take things that are on the page and turn them callously into things that are very alive. On the other hand, in terms of the shooting style of the film, we were very—even though it wasn't improvised, the style is modeled after the work that you see Ken Loach doing with Chris Menges in the '70s and '80s, which is a kind of shooting style that very much gives the actor control of movement, his side of the camera—the camera follows the actor instead of the other way around. And that gives a certain freedom for chance, happenstance, and also a lack of self-consciousness by the actor, which allows them to really embody the moment.
G: How did you go about casting the film? I know, over a number of years, you probably looked at a lot of different actors. How did you end up with this core three?
IS: We wrote the film for Rip Torn, so that was kind of the initial idea, was to create—because Rip Torn is so similar to some of these men on which the character is based. People like Sam Phillips, who was the founder of Sun Records, or Willie Mitchell, who's the founder of Hi Records—in the sense that he's a real unique and truly American, larger-than-life, complicated, and incredibly insightful artist who is his own thing. And I think we needed someone who had his own way of speaking, his own way of moving through the world that could convey that individuality, that idiosyncrasy that you find in characters like Sam Phillips, for example. Dina Korzun I had seen in a movie called Last Resort, which was the earlier film by the director Pavel Pawlikowski, who made My Summer of Love, and I had been struck by her, in that film, very naturalistic performance. When I met her to talk to her about working on the film, I also learned that she was a very trained actress from the Moscow Theatre School and that she, in a way, brought a whole other level to the film that I don't think was the initial intention in the sense that the initial view of the film is that it would be very, very realistic—and ultimately, I think it's not. I think it's a much more constructed, much more controlled, and much more artful piece of work than just straight naturalism might be. And I think that has a lot to do with Dina bringing a very conscious approach to a character that invests it with certain kinds of iconic mystery throughout the film. And she knew what she was doing. You know, we would talk about Catherine Denueve, and we would talk about Isabelle Huppert, we would talk about Bridget Bardot, and these people, these characters who, almost in the way they walked through the frame, hold your attention. And part of it is what they reveal and part of it is also what they hold back. And I think that's something that she does very well—is to pull back certain elements that maintain a sort of mystery about the character, an interest in the character. And slowly, she gives you what you need. And then Darren—I had seen Darren Burrows in a bunch of small roles in small films. And I've always been struck by this interesting actor who acted very much with his eyes, like there's a way in which he conveys sort of strong emotion through minor and sort of soft gestures and primarily through his eyes. And I really love that about his performance. So I cast him—I mean both casting Dina and Darren was really only possible once the movie had been financed and I had control of the guys.
G: For the audience, there is a lot of mystery and there's an invitation to speculate as to where the characters have come from to some degree, but for the actors, of course, the process is going to involve specifying that for themselves. How did Dina Korzun, for example, go about that? Her character very much strikes me, as you said—this sort of character who is often impenetrable to people. We see them on the arm of someone on TV or in other films, as a flat character. How did she decide upon the background?
IS: I think she—you know she said to me that she knew a few women who had made certain choices in their life—not necessarily marrying an American man, but she knew a few women who had made choices in their life which had maybe shut them off from other possibilities, and I think she identified with that. She and Rip, from the first moment they were together—they just made sense. And that's an odd thing 'cause he's in his—he's quite a bit older than she is—30 or 40 years—and they're from totally different backgrounds, but from the first moment they were together doing a read-through of some scenes, there was something about them that was really understandable. And that was very important to the film because you wanted—you need to feel that something is at stake. So I think the other thing that happens is one of the things I think I try to provide for actors is that they don't have to imagine very much. So it's all there. I mean the house is there. We designed it to be their house. It's all there, which doesn't mean they're living there and we're all moving in, but there's not a lot of—you know, the scenes, the larger scenes, the group scenes where you are seeing all these people from Memphis who are invested in Rip's musical legend—they were all the right people who would be invested in someone from Memphis' legend. There was a way in which we tried to provide as much detail to the actual presence on-screen that gave the actors the things to work with. Rip also did—like we—I got some tapes of Sam Phillips and we listened to some Sam Phillips stuff. He met Jim Dickinson, who's a Memphis music producer. He spent two or three days with Jim on how to play the piano. And so he sort of took it all in.
G: And did you have a lot of rehearsal time?
IS: No, I didn't want a lot of rehearsal time. I think, particularly with these actors—I had felt that I had over-rehearsed my last film—that was non-actors—and I actually feel—this film so much depends on something happening in the moment you turn on the camera that if you over-rehearse it, it would have killed that possibility. It's all sort of in the seconds that the film is flashing before the camera. And I think that—so we hardly rehearsed at all.
G: Let's talk a little bit about the last decade between films. It strikes me that a career in independent film is very much a marathon. Maybe you make the loop a little bit more—a little shorter every time, hopefully.
IS: Yeah.
G: What was it like trying to get another feature out there?
IS: Challenging. Challenging primarily on a financial basis. And also because I was interested—I'm interested in dramatic films, which I think are harder and harder to finance—non-genre films. Non-comedies. Though my next film is a genre film, interestingly enough. And I think that also—this is a film which people call execution-driven, meaning it's only as good as it is when it's made. It doesn't have sellable attributes until it's finished, and— a star but not a star. He's not a financial star. So it was a process, really, for me, of learning to be a director at this point—and, as you said, to try to make the loop a little bit—try not to run around it as many times. During the time that I was working with this film, I wrote another film, which is a suspense film originally written for San Francisco. I'm not sure it will be able to be shot here. And that's been a little easier to put together, partially because the actors feel, after watching 40 Shades of Blue, that I can competently make them look good and direct them, which I think is really important. And then the material is very similarly psychological and about very similar questions that I've always been interested in terms of questions of intimacy. Its told through the genre of the suspense film, so there's a more commercial hook.
G: Is that the film for which you hope to work with Maggie Cheung?
IS: Yes. Yeah. Yeah. We're trying to set it all up now to shoot the film.
G: In reading about Sundance, which is the first place I heard of the film, I was struck immediately before I'd seen the film, before I knew anything about you—"What is this film 40 Shades of Blue that has won the festival but that no one's really talking about?" which has gotta be kind of frustrating. Did you feel that it's a film that people discovered only after the fact?
IS: Sundance is a weird environment to show your film. It's a very—it's driven by the market. It's a market more than a festival at this point. And all the audiences are driven by looking at the screen and wondering what are the dollar bills that are going to appear in front of the actors' faces. So even your most—your just someone who's come to Park City from Provo, he's talking about what something sold for. So it's not really an audience. So it's a business—I don't know, I liked my film. It didn't really bother me—I push hard to try to get people to pay attention to it. But I'm also—I made the film for others, and I made it for myself. And I had the wherewithal to withstand many years of sort of not being able to make it—and still believing in it. So once I made it, I believed in it more.
G: Let's talk a little bit about the character of Memphis in the film and also the quality of the music in the film. You grew up in Memphis, right?
IS: Right.
G: What is it about the place that functions as a character in the film, I guess, and how did you see the music as an element of character as well?
IS: Well, I think, in truth, Memphis is a character for me because it's what I [know]—If I'd grown up in San Francisco, I might make films in San Francisco, if I'd grown up in Detroit, I might make films in Detroit. It just happens to be a place where I spent 7,000 days and nights living through childhood. But I think that's such an impressionable time, and there's a relationship you have to a city where you grow up which is unlike any other in the sense that you don't even remember the time before you knew what it was and what was there—this shopping center and that liquor store and that supermarket—suddenly was torn down and became a high rise. And you care—every single thing about it you care because it all meant something to you as a kid. So I think in a way what I offers in terms of the film is that it's from the inside, so there's not any wide shots, there's not big establishing shots of the city that say "Look, its Memphis." It's actually a much more integral character in the film. It's as integral as Rip Torn or Dina—it's a part of the film. There's no way to step out of Memphis and look at it from the outside because that's not what this film is about. It's from the inside.
G: And the music—it seems that maybe for the Rip Torn character, it represents a kind of party culture or hedonism maybe, that he enjoys the lifestyle—
IS: Yeah. To me, actually, I think it represents the expressiveness of art. That in a song —a two-minute-and-thirty-five-second R & B pop tune, you can create an enormous amount of emotion and history and feeling and tell a story. And that's sort of what movie-making is. It's like trying, in that one hour and forty-seven minutes to affect people through art and artifice. And I think its also, to me—Rip as a person and Rip as a character are very similar because there's a certain kind of sort of innate genius that is un-imitable. You can't imitate it. No one else can be that person. And I think that's really where his strength as a character is, is he's the one and only. And both in the movie and as an actor. I also think music to me—I mean my father actually worked in the hotel business—which is less—you know, I think I could make a good movie about the hotel business—but there's something about music which plays into the fact that cinema is sound and image, and you're always trying to work with both sound and image against and with each other. And so music is a great way to add layers to the story.
G: And of course, it also provides a projection of Dina's character's inner self.
IS: Yeah. Music becomes a metaphor in the film for how people express themselves.
G: You mentioned the integration of sound and image in the film. The soundscape is striking. I don't know how to describe it, but how do you go about getting sound on set, and how much of it is post-production?
IS: I have a very good sound designer, Damian Volpe, who just did the sound design for Matthew Barney's new movie, which was silent, like a two-hour silent film that he did all the sound for. So it was a way of totally creating the form through sound design. And I think working with him and working with my editor—we actually, my editor Affonso Gonçalves, Damian and I, halfway through post-production went to Memphis because Damian was obsessed with getting the right train sound—getting the sound of extras but we needed more extras from Memphis with Southern accents and like, if there are gonna be crickets in a lot of scenes, then we need to have real Memphis crickets. So there was an intent—there was a necessity to maintain the authenticity that we had visually, orally.
G: Looking forward, do you have an ambivalence about riding the mainstream with your films?
IS: Not yet, because I really like the script I'm working on, which is a film called Marriage—I like the story, I like the metaphor. I think it's got a bunch of great scenes in it. I have ambivalence about the fact that if I thought of The Delta, I would put it out of my head, because I wouldn't be able to make it—it would be much easier for me to make a bigger movie than a smaller movie. That is true because I think it's very hard to maintain small careers in the film industry. You can make one or two, but you can't make fifteen. You have to change size. You know, I think that there's—you can fantasize about Gus Van Sant's career: you know, if you make people $250 million, they might give you $3 million. But—you try to figure out how to cleverly subvert without doing that out of being ironic. But somehow—I mean, you know, the studio system made some great movies, and they were very commercial films. They had more range because people were able to make more films and each one didn't have to make as much money, but there were still, whether they were John Ford or John Huston or Vincente Minnelli—I mean, I think Meet Me in St. Louis is just one of the craziest films about American, like, sadomasochism and, like, violence, and it's a Judy Garland movie! Made by a gay man, you know, in the system. And it's like, look what he did. Look what he said about America. So I think you try to take those stories as shining examples.
G: Well, I think the film is excellent, and I hope it brings you more success.
IS: Thank you very much. Thanks.
[For Groucho's review of Forty Shades of Blue, click here.]


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Mama this month got her heart on (actually she is such a doll that she always has her heart on) and had us look for Chocolate cake recipes.
I ended-up having to try a few out and this one was our absolute favourite from a great blog called shutterbean a gorgeous looking blog with super recipes and inspiring photography.
Winning Hearts & Minds Chocolate Cake
Serves 8 (or two people in my case!)
- 7 ounces (200 grams) best-quality dark chocolate
- 7 ounces (200 grams) unsalted European-style butter, cut into ½-inch cubes
- 1 1/3 cup (250 grams) granulated sugar
- 5 large eggs
- 1 tablespoon unbleached all-purpose flour
Preheat the oven to 375 degrees Fahrenheit, and butter an 8-inch round cake pan. Line the base of the pan with parchment, and butter the parchment too. (I used two pans as I wanted this cake to go a bit further and I knew it was going to be super rich)
Finely chop the chocolate with a serrated knife and melt it gently with the butter in a double boiler or in the microwave, stirring regularly to combine.
(yeah, didn't bother cutting it all up)
Add the sugar to the chocolate-butter mixture, stirring well, and set aside to cool for a few moments.
Then add the eggs one by one, stirring well after each addition, and then add the flour. The batter should be smooth, dark, and utterly gorgeous. (don't you just love Molly's writing?)
Pour batter into the buttered cake pan
and bake for approximately 25 minutes, or until the center of the cake looks set and the top is shiny and a bit crackly-looking. (I usually set the timer for 20 minutes initially, and then I check the cake every two minutes thereafter until it's done. At 20 minutes, it's usually quite jiggly in the center. You'll know it's done when it jiggles only slightly, if at all.) Let the cake cool in its pan on a rack for 10 minutes; then carefully turn the cake out of the pan and revert it, so that the crackly side is facing upward. Allow to cool completely. The cake will deflate slightly as it cools.
Serve in wedges at room temperature with a loose dollop of ever-so-slightly sweetened whipped cream.


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15) Jekyll Island Historic District
Jekyll Island Historic District, a National Historic Landmark administered by the state of Georgia, is situated on the southeast side of Jekyll Island. Occupied by the Guale Indians who called the area Ospo, the island was a popular hunting and fishing site. Gen. James Edward Oglethorpe, founder of Georgia, maintained an outpost on the island, and a plantation was established by one of his officers, Maj. William Horton. In 1794 a French family, the du Bignons, bought the island. They retained possession until 1886 when the island was sold to the newly formed "Jekyll Island Club." Considered to be the most exclusive social club in the United States, the Jekyll Island Club had a limit of 100 members, among them the Astors, Vanderbilts, Pulitzers, Morgans and McCormicks and was laid out by prominent landscape architect H.W.S. Cleveland. A club house was built on the island and members constructed private "cottages"-- enormous residences designed to house entire families with staff. The club was open for the post-Christmas season when many families came down from Newport and New York to relax and enjoy the "country life." In 1942 the U.S. government ordered the area evacuated. The state of Georgia purchased the island from the club in 1947 and turned it into a state park. Most of the cottages have been preserved and are open to the public. Among them are San Souci, owned in part by J.P, Morgan and one of the first condominiums in the U.S.; Indian Mound, the twenty-five room home of the Rockefeller family; the Goodyear Cottage completed in 1906 from designs by the firm of Carrťre and Hastings; Crane Cottage, circa 1917, the largest and most lavish of the cottages; the original Club House, a wood and brick Victorian structure with towers and manicured lawns; and Faith Chapel, built in 1904 in the Gothic style with copies of the Notre Dame de Paris gargoyles. The chapel also has a large signed Tiffany stained glass window.
Jekyll Island Historic District is between Riverview Drive and Old Village Boulevard on Jekyll Island. The Club House is now a fully restored hotel open to the public. The island can be reached off of US 17 and Jekyll Island Road, southeast of Brunswick.
The Jekyll Island Club House is a Historic Hotels of America member, a program of the National Trust for Historic Preservation.


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Story highlights
NEW: Ariel Castro's house razed; site to be graded and seeded
Michelle Knight releases balloons outside home before demolition begins
Plans call for the house to be torn down and the lot cleared in a single day
Castro, who held three women captive in the house, pleaded guilty to 937 counts
The Cleveland woman who was held the longest at Ariel Castro's house of horrors was there to see it shortly before it was torn down Wednesday.
Michelle Knight handed out yellow helium-filled balloons Wednesday morning to people who'd gathered for the demolition of the 1,400-square-foot house where she and two other women were raped and held captive for roughly a decade.
Minutes later, a hydraulic excavator began reducing the house to rubble, destroying the site of one of Cleveland's most notorious crimes.
Knight told reporters that she was at the demolition site in part to remind relatives of abducted children that all is not necessarily lost.
"I want the people out there to know – including the mothers – that they can have strength, they can have hope, and their child will come back," she said.
Castro forfeited the house on Seymour Avenue as part of a July plea deal with prosecutors that took the death penalty off the table in exchange for a life sentence, plus 1,000 years in prison.
Castro's victims resilient after years of abuse
Demolition began around 7:30 a.m. as an aunt of another former Castro captive, Georgina DeJesus, made the first hit on the house, operating the excavator with assistance.
By 10 a.m. the house had virtually been leveled, and the excavator's arm was dropping debris into a garbage truck.
Before the demolition, Knight gave out balloons and, standing not far from the house where she lived an 11-year nightmare, she led a group in releasing them into the air. She said they represented abducted children who were never found.
"I go from here as being a motivational speaker and let everybody know that they are heard, that they are loved, and that there is hope for everyone," she said.
The goal is to tear the house down and get the property filled in, graded and seeded in a single day, said Gus Frangos, president of Cuyahoga Land Bank, which is supervising the demolition.
Castro pleaded guilty last month to 937 counts, including murder and kidnapping. The charges stem from his kidnapping, rape and assault of three women: Knight, abducted in 2002; DeJesus, abducted in 2004; and Amanda Berry, abducted in 2003.
Also held was Berry's daughter, who was born at the home six years ago. DNA tests confirmed that Castro is the girl's father.
Berry and her daughter escaped from the home with the help of a neighbor on May 6, calling police in her now famous 911 call: "Help me, I am Amanda Berry. I've been kidnapped, and I've been missing for 10 years. And I'm here. I'm free now."
Knight's visit to Castro's home was at least her second in a week. On Friday, she stood outside and looked at the house at 2207 Seymour Ave., a neighbor said.
Victim returns to Cleveland house where she was held for 11 years
She also attended Castro's sentencing Thursday, telling him "I spent 11 years in hell. Now, your hell is just beginning."
Castro's friends and family removed personal items from the home Monday, including musical instruments and photographs. Police said most of the items removed Monday were personal items left over after investigators collected evidence.
Berry also visited the house this week, collecting pictures drawn by her daughter.
Ariel Castro's son: I won't visit dad in prison
Castro reconfigured the home to keep the captives' whereabouts a secret, FBI agent Andrew Burke testified during the sentencing. The back door was outfitted with an alarm, bedspreads and curtains obscured parts of the home, and a porch swing was placed in front of the stairs leading to the rooms where Castro held the three.
Why so many high-profile crimes in Cleveland?
CNN's John Murgatroyd contributed to this report.


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A federal lawsuit will be filed against the American Bar Association on behalf of a blind man arguing the required Law School Admissions Test is biased against the visually impaired and should not be required of blind law school applicants.
The suit will be filed on May 24 in U.S. District Court for the Eastern District of Michigan, Attorney Richard Bernstein said.
Bernstein, who is blind, was the last law student to be admitted to law school 15 years ago without taking the LSAT.
The suit is being filed on behalf of Angello Binno, 28, of West Bloomfield, who was born blind.
Binno, 28, is a Wayne State University graduate who worked for two years for Homeland Security and was awarded a high security clearance.
He has been denied admission to law school five times because of his LSAT scores. His latest rejection was April 28 by the University of Detroit-Mercy School of Law. Previously, he was denied admission to the Thomas Cooley Law School, Wayne State University Law School and two other times at UD-Mercy, he said.
"All I want to do is attend law school and some day work in the area of civil rights," said Binno.
Bernstein said Tueday that the test, which costs $139 to take and is administered by the Law School Admissions Council of Newton, Pa., discriminates against the visually impaired because it requires testers to draw diagrams and charts, something inherently discriminatory against a blind person who cannot conceive of or perceive spatial relationships.
After Northwestern University Law School admitted Bernstein, who practices law in Farmington Hills, without taking the LSAT in 1996, the American Bar Association changed its policy under pressure from the Law School Admission Council — the company that administers of the LSAT.
The ABA now threatens any law school with removing its accreditation if it enrolls blind or visually impaired students without requiring them to take the LSAT, Bernstein said.
The Law School Admissions Council is the only entity that gives the test and the LSAT is the only test used by law schools when considering enrolling a student.
The LSAC has been sued twice by the Department of Justice in 2002 and 2011 for failure to provide reasonable accommodation on the test for disabled students and for having an inaccessible website at www.lsac.org.
In the 2002 case, the LSAC refused to grant extra time to four students with cerebral palsy as a reasonable accommodation under the landmark 1990 Americans with Disabilities Act.
In that case, the DOJ noted that the LSAC asked the students to take cognitive tests to determine if they were learning disabled.
At the time, Ralph F. Boyd, Jr., assistant attorney general for Civil Rights in the Justice Department, said the agreement to allow for the students to have extra time for the LSAT under the ADA "ensures the testing procedures are fair for all parcipants in the law school application process."
The LSAT scores of a law school applicant is a major component of the evaluation process of students applying for admission to a law school. A high LSAT score improves an applicant's chances of getting into a top-notch law school even though statistical studies have shown there is little, if any, correlation between the LSAT scores and academic success in law school.
"We are asking that law schools have the ability to control their own admissions process without interference from the American Bar Association," said Bernstein.
"We want law schools to be able to admit qualified visually impaired or blind candidates without having their accreditation threatened due to the blind applicant's inability to take the LSAT since that test is biased against anyone who has a visual impairment."
Binno graduated in 2005 from Wayne State University with a Bachelor of Arts and a major in political science.
He worked for two years for Homeland Security in the area of immigration and was given a high clearance so he could access the National Crime Information Center database.
He is not seeking any financial damages just the opportunity to be judged for law school admittance based on his grades, extracurricular activities, work performance and not his performance on the LSAT.
"We are not saying blind and visually impaired students should automatically be allowed to go to law school," Bernstein said. "We are saying a blind student's law school application should be complete without the LSAT."
Binno said he "had trouble with the LSAT because it contains a lot of visionual sections he considers discriminatory, including one that requires the student to draw a map of a seating chart of seven passengers in nine seats on an airplane.
The question is part of the logical games section of the LSAT which comprises 60 points of the possible 180 points of the test.
"In answering some of the questions it may be useful to draw a rough diagram," Question III of the official LSAT Preptest said.
"If I can't draw a chart, how can I answer this question?" said Binno, who speaks Arabic, Chaldean and English and who has no numbers recorded in his cellular phone because he memorizes all of his contacts.
He wanted to attend the University of Detroit-Mercy Law School because it allows a student to earn a dual Juris Doctorate to practice in both America and Canada once he or she passes the state bar exam, Binno said.
The state bar exam, which tests a law school graduate's knowledge of the law, has nothing to do with the American Bar Association.
"Why is it necessary to make a blind person draw pictures to become a lawyer?" said Bernstein.
"Requiring blind students to take the LSAT and threatening law schools with removing accreditation is summarily denying blind students the right to achieve their educational and career goals," Bernstein said.
By limiting the number of lawyers who are visually impaired or blind, society is being punished because there will be fewer experts in these areas with personal experience with discrimination to fight for civil rights of those who are disabled or others who face societal discrimination, Bernstein said.
"If the ABA doesn't change its policy on the LSAT, you are setting up a policy to limit the civil rights struggle for people with disabilities," he said.
The ABA has devastated the dreams and aspirations of people with disabilities, he said.
"By limiting disabled people from getting a legal education, you are limiting the civil rights of future generations in this nation."
Contact Jerry Wolffe at 248-745-4612 or firstname.lastname@example.com or follow him on Twitter @JerryWolffe1 or on Facebook.


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The clocks slid back an hour
and stole light from my life
as I walked through the wrong part of town
mourning our love.
And, of course, unmendable rain
fell to the bleak streets
where I felt my heart gnaw
at all our mistakes.
If the darkening sky could lift
more than one hour from this day
there are words I would never had said
nor heard you say.
But we will be dead, as we know,
beyond all light.
These are the shortened days
and the endless nights.
– Mean Time by Carol Ann Duffy.