So you finally did it. You made that film that you were threatening to make. You’ve made a distribution deal, or at the very least have posted clips on the net. Soon your public will find you. Either way, your work is done and you can now turn your attention to your next project. If you posted it on your own, “they” will eventually discover you and if you have a film company handling your project, they’ll take care of all the heavy lifting from this point on. Well, that’s a good fantasy.

I’ve run the gamut when it comes to representing authors and filmmakers from self financed ventures to multi-million dollar corporate projects and, I am sad to report, the one common link among all the artists we work with is that, unless their names happen to be household names, not many seem to receive much support, even from the big boys.

If you’re a novelist you have to deal with the fact that most publishing companies have slashed their in-house staffs and their publicists are overloaded. Every month, up to thirty books are dumped on one or two in-house publicists. And in the film world, many deserving project fall through the cracks due to lack of public awareness.

Most projects have a window and this is one time you don’t have the luxury of learning as you go. Although you hope that your project will become a classic and continue to sell throughout the years, your book has a shelf life. You need to launch an effective campaign even before it’s been released. I suggest that author s who are publishing with a major house, view their publisher primarily as a printer and distributor and assume that all of the responsibility for securing media coverage for their book rests firmly on their weary shoulders.

The same is true in the film world, actually in the art-world in general. If your publisher, producer or distributor actually launches a campaign for you, that’s great, but don’t count on it. You don’t have the luxury of being wrong. If you assume the media relations will be done for you and it’s not, by the time you discover your error, it will be too late. So, don’t think your job is done once you’ve finished your project. See that as your starting point. Learn the basics of PR and marketing. Take control of your project.

Copyright © Anthony Mora 2007

For further information visit:
www.AnthonyMora.com

UPDATE 7.2.08: Check out our new site The Final Cut Professional for the latest Final Cut Pro help.

People often get caught up in the technical aspects of editing and forget about the actual process. These are a few tips that I have learned in my 5 plus years editing video that I thought might be helpful to people just starting out and maybe the few who need to get back to the basics.

1. Detach yourself from the content.

This is especially true when you are editing your own work. You slaved away writing, directing, and shooting the film and now it is your baby that you don’t want to mess with. In order to be an effective editor, you must look at the piece from an objective angle or else you will restrict your editing choices and possibly sacrifice the quality of the final piece.

2. Experiment

Now that pretty much all editing is done on non-linear editing systems like Final Cut Pro and Avid, editors are free to try new things and they should. For example, when I edit in Final Cut I will often come up with an idea that might completely redo the whole sequence I have been working on. In this case, I will just copy the original sequence and then I have a saved version and I am free to hack up the new sequence and see where I end up.

3. Don’t Be Afraid To Cut

This ties into the first two tips. If something does not work in your sequence, get rid of it. I can think of countless examples when there was a bad take or line that made me cringe and I did not think it was possible to get rid of it. Once I took the leap of faith and cut that out, creativity took control of the rest and made the sequence work. You will feel better as an editor and the final product will be greatly improved if you cut the things that don’t work no matter how attached you may be to them (see tip #1).

4. Share Rough Cuts

It is crucial to step away from the work and allow someone else to look at it. Whether this is your producer or your buddy, either way you get a fresh perspective. Often you will work on a project for so long that you don’t know which way is up and an outsiders perspective helps you notice things you may have missed. A second opinion also gives you a better idea of where you are in the overall process.

5. Attention to Detail

Every frame counts. When you watch a sequence and something doesn’t seem right or it doesn’t quite fit, moving or cutting a clip a couple frames here and there often makes a world of difference. This also applies to the content within the clip. You should try and pay attention to everything going on in the frame because it affects the viewing experience whether or not the audience notices it at first.

Let me know what editing tips or tricks you have in the comments.

Let me start this post by saying that I have always been a fan of Facebook and it is the social networking platform that I use the most. However, with the recent addition of Facebook Apps, the quality of the experience has started to decline.

If you are an avid social networking fiend, then you know that MySpace and Facebook are the two biggest networks in the US. Some complaints that are often said about MySpace is that it is too cluttered, not organized, and users receive a lot of spam. Apps, while good in theory, are pushing Facebook in the direction of all the things that are wrong with MySpace.

The Problem

Facebook apps started out as a really cool addition to the network. It is a great thing when companies open up to allow others to develop software on their platform and provide value to their users. When this development is left unchecked, however, the quality of the platform is brought down.

The clean interface of Facebook is now overflowing with apps. Instead of posting on someone’s wall, you now have to navigate through their Advanced Wall, Fun Wall and Graffiti Wall before getting to the regular wall. When you visit a friend’s page, it is often covered with clutter resembling the annoying mess that is most MySpace profiles.

Another issue with apps is the invite procedure. When you add an app, it asks you to tell your friends to join, which makes sense, but sometimes it tricks you or forces you to invite your friends to the group. Then an invitation shows up in your friends notifications saying “CJ wants to test your movie knowledge”. (Not to mention that it is easier to invite people to apps than groups, but I’ll save that for another post.)

At first, it seems as though this is a personal invite to respond to something your friend is doing. After you receive thirty of these a week, sometimes from people you never talk to, you quickly realize that it is just another form of spam. The most annoying part of this is that after you have refused to be a vampire, you still get more invitations from your friends as they add the app.

Not only are these annoying, but they dilute the quality of other notifications such as wall posts, new pictures, pokes, etc. At some point this onslaught of notifications turns the user off from the experience.

So what’s the solution?

1. Facebook can try to ensure that the apps themselves are not just spam in a costume. For example, the What Kind Of Drunk Are You? quiz. Once you take the quiz, you are forced to add your friends in order to receive the results. Not only that, but if you click on the continue button at the bottom, it directs you to some ebay page completely unrelated to Facebook or the app. Not cool.

2. Facebook could organize the apps in a better way. They do have them arranged in categories on the apps page, but once you are in a profile, they are just a mess. One of the things that originally made Facebook easier to navigate than MySpace is that they controlled the design of your page. They should still control the design so that the apps are in one spot or grouped by category.

3. Some of the apps, especially things like Super Wall and Super Poke should be able to be plugins instead of completely separate apps. This allows the added functionality without the clutter.

4. Once you deny an invitation to use an app, you should not keep receiving those invitations from other users.

5. Bottom line: users want quality apps, not thousands of shitty ones.

Conclusion

Hopefully Facebook will acknowledge the issues associated with the applications. There are some that I really enjoy, namely iLike, but most of them are garbage. Let me know in the comments if you have any problems with the apps or possible solutions that I forgot to mention. Also, join my Petition To Stop App Spam group on Facebook to help support the cause.

From my first reading of Catcher in the Rye at the age of sixteen, I knew I wanted to be a writer. It was all I ever wanted, imagined, or fantasized about (girls aside). I shunned anything that had to do with business. Business was anathema. In my fantasy, real writers never became businessmen and neither would I. So in my late teens I began to write. I wrote and published some poetry, keeping myself afloat taking odd jobs delivering newspapers and driving airport shuttles. Eventually, to help pay the rent, I began to work as a freelance writer for a local music publication, which led to assignments with other publications. But this was no good. I was working as an entertainment journalist; my calling was to write literature, not to interview rock stars. Still, I continued. I eventually began writing for national magazines and interviewing even more prominent rock stars. This had to stop; my entire artist-self was being compromised. So, I made a stand, albeit a subconscious one. One evening when I was scheduled to interview the Rolling Stones, I fell asleep. I missed the interview. I figured that my tainted life as a music journalist was over. But I continued to receive writing assignments in spite of my faux pas and eventually moved from journalism to PR to production.

For years, in my mind there was no place for business or marketing in the writer’s universe, real writers weren’t business people, they were artists. Trouble was, I never thought to question my definition of an artist. Truth is, apart from doing the work, there is none. There is no writer’s lifestyle, or director’s lifestyle, real writers write, and director’s direct - that is their one directive, so to speak. I am amazed by the number of people who chose to live what they believe is the artist’s lifestyle, in order to avoid doing the work. That’s the ultimate in image manipulation. That is the “if I appear to be an artist, people will assume I am,” school of art.

Yes, I am a writer and a director but I am also a businessman and an entrepreneur. And, the real surprise? I didn’t have to make a choice between the businessman and the artist. They are both parts of who I am. I run a company, I write nonfiction books, and I write novels, plays and direct. None of it has anything to do with image or a preconceived “artist’s” lifestyle. What it has to do with is - the doing.

So, if you find yourself trapped in the web of the artist’s myth, save yourself some valuable time. Shatter the myth. Blaze your own path. Become an artist and, if so inclined, a successful entrepreneur and business person as well. Those who insist that in order to be an artist you have to dress, live, think, and create in a prescribed way, are trapped in the myth themselves. Forget about fashion. You are after substance. The bravest artists are trailblazers. They shatter the rules, destroy the stereotypes, and live life on their own terms. Forget about the artist’s myth. Trailblaze your own life.
Copyright © Anthony Mora 2008

For further information visit:
www.AnthonyMora.com

www.modernlovetheplay.com

Its Oscar week! I’ve never lived in LA around Oscar season. I wonder if all the billboards hyping up Oscar night are typical or a plead for ratings due to the prior writer’s strike. Either way, I’m pretty pumped for this years Oscars because several movies that came out this year were truly badass and because Jon Stewart has writers. For those who have no clue what’s even nominated, go here. Finally, my predictions and personal picks.

Best Makeup
Pirates of the Caribbean: At World’s End
Why? Because it takes the most cutting edge 21st century technology to make Kieth Richards look like a drunk rock-n-roll star and Kiera Knightly to look substantially present at all.

Personally… I would love to see Norbit win, “Academy Award Winner Norbit, now on DVD…”

Original Song
“That’s How You Know” from Enchanted
Why? Because I saw this movie on a date and this musical number kicked ass. Busby Berkeley still lives in this massive caberret number. Original song is voted on by being viewed within context and this Disney show was definitely a crowd pleaser.

Personally… Falling Slowly from Once is the best song from a film I’ve ever seen. Do your self a favor and watch that scene because it still gives me shivers its so good. It’s raw emotion in a musical like you’ve never seen.

Original Score
Ratatouille
Why? Because this movie was flawless and the score pushed the animation to another level. Outstanding movies win all categories.

Personally… Radiohead’s Johnny Greenwood’s score from There Will Be Blood is the most influential score of the decade. Fuck you academy rulebook. I hope Joan Rivers goes on strike!

Sound Editing
Transformers
Why? Because Ethan Van der Ryn and Mike Hopkins went out and recorded thousands of new sounds to make 30 foot robots come alive. The animation wouldn’t work if you didn’t hear every piston and metallic pop of Optimus Prime’s fist. I had the pleasure of meeting these guys at a panel and they truly are sound gods.

Personally… I think all sentient beings have the right to life.

Sound Mixing
No Country For Old Men
Why? Because those quiet moments of existenialism cut short by the sound of Bardem’s silence shotgun are terrifying. Mixing is how all the sound comes together and I think it defined this film’s voice. Just watch the scene where Brolin goes back to check and see if the Mexican is still alive in the desert to see how powerful the mixing is.

Personally… I think the mixing on 3:10 to Yuma was superb. The west never sounded so good.

Film Editing
No Country For Old Men
Why? Because each scene begins and ends at the most perfect moment. Zero fat. The pacing is amazing and how about that ending?

Personally… I’d love to see editor Roderick Jaynes take the Oscar for No Country because, well, he doesn’t exist! The Coen Brothers cut their own films and use this pen-name for union issues. Expect to see the same actor they hired to play Roderick when Fargo won to pop up on Oscar night.

Documentary Feature
Sicko
Why? Because its the only documentary nominated that I’ve seen, Michael Moore is an Oscar slut, and health care is such a huge issue in the Presidential bid this year. How can you lose?

Personally… I also thought it was a damn good feature.

Cinematography
There Will Be Blood
Why? Because Robert Elswit kicked unholy ass with his lens across the Texas landscape. Just think of the first 15 minutes, where the cinematography sets up the entire story, or when the oil rig catches fire and Daniel Plainview sits on his chair. It’s just non-stop perfection. Oh yeah, that last shot on the bowling alley is legendary.

Personally… It’s a toss up because the cinematography in No Country was just as good, but I’m a sucker for the epic.

Art Direction
Atonement
Why? Because this movie has been a little whore at award shows. It’s overrated and long and depressing. That said, I’d expect it to win here because the film certainly has what the Academy loves: period piece epic love story.

Personally… as crap-tarded as The Golden Compass was story wise, the art direction was jaw dropping. I’d also like to see Sweeny Todd slash Atonement apart.

Foreign Language Film
Oh, I didn’t realize other countries made films this year. Blame your local cineplex.

Animated Feature
Ratatouille
Why? Because its the highest rated film of the year. The story was much more intimate than any other Pixar movie and the animation set the bar extremely high. Brad Bird is a living legend amongst Miyozaki.

Personally… Persopolis could take the award as dark horse. It’s much more mature and far less known and in French. Remember when Spirited Away took the prize?

Adapted Screenplay
No Country For Old Men
Why? Because it stayed true to the existential (I went to college and learned big words!) themes of the book of the same name and worked beautifully as a western, thriller, crime, drama. Come on folks it was flawless

Personally… PT Anderson’s There Will Be Blood based on Upton Sinclair’s old school muckraking novel Oil! is a really badass idea, but its a loose adaptation. You might see Diving Bell and the Butterfly win because those academy members love films with pretentious names.

Original Screenplay
Ratatouille
Why? I know its an odd choice, but this story has never been told. It was completely original with new themes and characters. The award is for “Original”, not “re-hash”.

Personally… If Juno wins for its annoying as fuck dialog that may be cute but isn’t natural and references pop-culture music in the same vein as Garden State I’m gonna snap. You won’t like me when I’m a drunk Irishman and angry.

Director
Paul Thomas Anderson for There Will Be Blood
Why? Watch this film. Go ahead, watch it.

Personally… you might see the Coen Brother’s up at the podium for No Country just as likely.

Actress in a Supporting Role
Cate Blanchett for I’m Not There
Why? Cause she’s Cate “get-the-fuck-out-of-my-way-Merril-Streep” Blanchett and she’s also nominated for leading actress.

Personally… Tilda Swinton from Michael Clayton was amazing. But the female categories are pretty lame this year. Shame.

Acress in a Leading Role
Ellen Page for Juno
Why? Did anyone see any of the other movies? This year didn’t have any leading ladies that grabbed attention. I’ll shoot the moon with Ellen Page, though I doubt she’ll win.

Personally… Ellen Page is hotter when she’s pregnant.

Actor in a Supporting Role
Javier Bardem for No Country For Old Men
Why? Cause he’s the meanest mother fucker since Hannibal Lecter. I want that haircut!

Personally… Casey Affleck turned in two great performances this year, but I don’t think they’ll win over Bardem’s now infamous character.

Actor in a Leading Role
Daniel Day-Lewis for There Will Be Blood
Why? He is the best actor there has ever been. Period. No actor has ever embodied his characters so completely. Never for an instance are you reminded that he is performing. He is simply flawless and terrifying. The whole film is a tour-de-force showcasing his talent. Some say that he’s won too many awards to win again, but I think he’s won so many awards for a reason. The guy makes a movie every 5 or 6 years and when he does it’s obvious that he’s the best in the industry at what he does.

Personally… Johnny Depp could come from behind for Sweeney Todd but Daniel Day-Lewis is too much a badass to allow that horseshit to occur.

BEST PICTURE
No Country For Old Men
Why? It’s a hot contest between No Country For Old Men and There Will Be Blood. Both are best pictures of the year. Both will be remembered in film studies classes and over analyzed. Both are extremely dark films shot in the same area of Texas. Both center on strong male performances and lack any significant female characters. Both have some of the best endings to films I’ve seen since Saw. (Did I really just say that?). So all those similarities aside I think No Country For Old Men will win because it was simply more crowd pleasing and redeeming than There Will Be Blood. Folks, it’s a real toss up!

Personally… I think There Will Be Blood is the best film of the decade and No Country is best film of the year. There Will Be Blood is an instant American classic about the way we do business and do religion. It’s much more epic in scope and themes compared to No Country’s theme that “nothing in life matters”. Both are excellent films and I’m thrilled to see true masterpieces back in the Best Picture category. Oh, and if Juno wins I’ll be gouging out my eyeballs with sporks and selling them on eBay. In such a case, let me know if you want to bid.

To quote the last words of Daniel Plainview: “I’m finished.”

Driving sucks. Traffic sucks. Especially in L.A., where I live, or any major metropolitan area. What makes it even worse is that people suck at driving. If people were a little more aware, I think it would possibly improve traffic flow and definitely curb the frustration levels. Below is a list of some of my top driving peeves:

1. People who don’t use turn signals

Seriously folks, it’s a flick of the wrist and it will save you from me slitting your wrists. Especially when I am trying to turn into traffic or do some crazy left turn across six lanes and some douchebag coming towards me doesn’t turn on his signal and closes my window.

2. Assholes who turn out in front of you when there are no cars behind you.

Example, you are driving down the street towards a light, there is traffic in front of you, but you are the last in line. You leave a gap in between yourself and the car in front of you and a car pulls out in front of you to try and get into the flow of traffic when they could have waited two seconds and been fine.

3. People who don’t pull out for a left hand turn.

Man I hate these people. I’m talking about when the light is green, you pull out into the intersection and wait until you can turn. No excuse for not pulling out. Don’t be scared. This is especially true when there is no left turn signal and it is a busy intersection/time. This can make the difference between one person making the light and three people.

4. The Middle of the road Stop and Chat

I haven’t experienced this that often but when I do, it blows my mind. Two cars going opposite ways on a narrow street stop, roll down their windows and have a conversation. Meanwhile I’m stuck behind one of these morons wondering if there is a god. Pull over or call them please.

5. “If I Have An SUV, I get two parking spots right?”

This always happens to me at the gym and in parking garages. It’s almost like they think that all other cars are so small they can fit any where. Either squeeze your ass in or park somewhere else. This is also shitty if you are parked next to one of these beasts and you have to shimmy in to get into your car. I might have opened my door and hit your car. I’m not sorry.

6. Using the wave as an excuse to do anything

The other day some guy pulls out right in front of me and starts to creep across a 2 lane street. He just throws his hand up in the air like it is his free pass to be a jackass. Ridiculous. Just because you thank me doesn’t mean you can do whatever you want. People who give a limp wrist wave or just throw their hand in the air when I am doing something nice for them also fall under this category as do people who don’t wave at all. Its the sweaty palm baby squeeze handshake of the road and makes me never want to do anything for anyone again.

Whew, I got worked up just typing all that. I’m sure there are others that I will think of, if I do, I will make another post. If you have anything that irks you about driving, let me know in the comments.

Having worked as a novelist, playwright and director, I know that often the last consideration is branding or marketing. Yet, in the real world, those are important considerations. Having worked as journalist, editor and producer, I know from the media’s perspective what makes a powerful and compelling story. And finally, having served as president and CEO of Anthony Mora Communications, Inc. for over sixteen years, I also know from the perspective of a public relations consultant what creates a story the media will respond to.Emotional branding is considered by some to be a relatively unique field, yet in the PR world we have been using it for years. The PR process is not only effective as a media placement tool, innovative companies and entrepreneurs are utilizing the basic methodology, understanding that it is one of the most powerful and effective brand building tools available. A company builds a lasting successful brand by developing and creating an effective story. It is not about the hard-sell, or being the biggest, or the flashiest, or even the coolest; it is about making a deep powerful connection, about communicating on a basic human level.

The two criteria are generally quite similar. For a story to work it must be engaging, interesting and hit a basic human core, and public relations is the only form of marketing that lives or dies on how compelling the story truly is. Unlike advertising, with PR you cannot pay to have a story placed in the editorial section of the media (well, at least it shouldn’t work that way). You must craft and pitch a story compelling enough to capture the media’s attention – a story that in essence is strong enough to become the news.

PR is a process and using that process is the most effective and powerful way to create and develop an effective brand. Generally companies have turned to marketing firms to build their brands and whereas these firms can be effective, it is the PR mindset and methodology that truly creates the most powerful and lasting brands. When I’m wearing my PR hat, my job is to communicate, to be a consummate and effective storyteller, which is what branding is all about. A successful brand tells a story both emotionally and narratively, which is why used effectively, PR is the most effective brand creator around.

Copyright © Anthony Mora 2008

For further information visit:
www.AnthonyMora.com

www.modernlovetheplay.com

Optimus Prime

By now I am sure most of you have seen TRANSFORMERS. I saw it opening weekend at the legendary Fox Theatre in Westwood Village, Los Angeles with a great crowd. My original impression was “Wow, that is a perfect summer popcorn VFX extravaganza” and “Wait a second, did those characters just do anything that made sense?” Although I only watched it for summer popcorn purposes, I had serious problems with the film and finally sat down last night to watch it on DVD again for another go.

There are two sides to TRANSFORMERS. The first side are the Transformers themselves, their story, and the spectacle they serve. They are why people go to the movie in the first place. The other side of Transformers are the human characters. The depiction of humans, and more important the United States, in this film truly deserves examination.

Is this film conservative? Jingoistic? As we follow the Marines and the shadowy government plotline we witness several puzzling comments. How about when the hackers are analyzing the hack and someone says “Is it the Iranians?” “No, this is WAY to smart for the Iranians”. Thank you, Michael Bay, for reminding us that Iranians are primitive and cruel and that we must go to war with them. But what about our other wars going on right now? How about when Jon Voight warns “These are US Marines, losing isn’t an option.” Michael Bay clearly wants this movie to appeal to middle America, but considering the rest of the planet sees this movie and their isn’t a “Foreign Cut”, Bay has happily highlighted all the attributes about America the rest of the world hates.

Why does every black guy a fast-talking moron who still lives with his crotchety mother ? (Tyrese, you’re off the hook) First we see Bernie Mac at his car delearship in the decades most annoying character. He explains his mom lives next to his business and of coarse she gives him a middle finger from her lawn chair. Then we meet Anthony Anderson’s character, who lives at grandma’s house and they have screaming matches as well. Now for the kicker. The black Transformer, Jazz, who break dances and says “Whatup bitches”… well he is the only Autobot that dies. I suppose Michael Bay used all his black friendly storytelling on the BAD BOYS movies.

Now the ending of the film still puzzles me. They find the Allspark being hidden by Sector 7 inside the Hoover Dam next to a frozen Megatron, who came to Earth originally seeking the Allspark. The Marines come up with the brilliant idea to take the Allspark back to the city and hide it. The first brilliant idea. So after a 10 minute drive from the Hoover Dam to downtown Los Angeles, Megatron wakes up inside the Hoover Dam and boy is he pissed. He wanted that Allspark all for himself. So there’s the showdown in downtown Los Angeles… because that’s where they went to hide the Allspark. But now that they’re under attack, they give Shia the allspark to get it on a helicopter and out of the city. Did the audience really just fall for that? Let’s get the plot item and unconvincingly take it to a crowded place for the Transformers to destroy, then we’ll backtrack and have them take the item back to the desert.

So Shia climbs a building to get on a helicopter, brilliant idea again considering helicopters and F16’s are blowing up left and right because 3 of the Decepticons are fucking aerial. Megatron prevents Shia from getting on a helicopter, because he wouldn’t have been able to eat that helicopter and shit it out anyway. Optimus Prime saves Shia and make him promise to put the Allspark in his chest if he’s about to lose to Megatron so he may sacrifice himself and Megatron will never be able to reign supreme. So when the moment comes Optimus yells “Put it in my chest” so Shia puts it in Megatrons chest and he dies instead. Wait, what? Does anyone understand that? If that’s the case, they could have shoved the Allspark in Megatrons chest while they were at the Hoover Dam. Or just given it to him and his evil greed would have assumed that merging with the Allspark wouldn’t kill him but make him supreme.

I understand it is a Michael Bay film. We all know his shtick, we saw TEAM AMERICA and how they used the KILL BILL music for the montage… which Bay used in TRANSFORMERS. Or how TEAM AMERICA pokes fun at Michael Bay dialog by over-dramitically telling a civilian “You’re a soldier now! Get yourself together dammit!”… another line actually used in TRANSFORMERS. I’m a fan of that final battle in the streets. It’s the best Visual Effects and sound design you can get. But I like the plot to stand on its own. I like the characters to not be charicatures. I suppose after all my ranting, my only advice to Mr. Bay is “Michael Bay, you should stick to Michael Bay movies”

For photographers, this is one of the coolest websites I’ve found: Hocus-Focus. It gives you a nice kick in the ass; some motivation to get up and snapping. Weekly exercises provide readers with a unique reason to get out there and practice. Exercises are fun too! The ideas offered up vary from unique ways to capture action shots to visiting a park and learning about light direction. Afterwards, if you post your pictures to a flickr account and tag them (with the specified hocus-focus tag), you can get feedback from others who completed the same exercise or “kick.” Cool in my book. Continue Reading

The Boston Sports Renaissance ended before it started on Sunday February 3rd when Bill Belli-ache and the New England Patriots ran into the tunnels(like bitches) of University of Phoenix Stadium, not to be seen again until training camp. In October, the Boston Red Sox won the world series, the Boston Celtics traded for superstars Kevin Garnett and Ray Allen and Tom Brady, a.k.a.”Golden Boy”, was leading the Patriots to an undefeated season. Even the New England Revolution made it to the MLS championship game. But now that the Patriots lost I think Boston sports are due for a good twenty year drought. The Celtics will choke in the playoffs and the Red Sox will turn into the Red Sux. As for Tom Brady and the Patriots, they will be butt hurt for life(like bitches).