![]() In 2020, the 28 projectors that illuminate the steps in the outstretched portions of the four pillars will be replaced to reduce the installed power by 80%. In December 2019, the four 2000W projectors that had illuminated the antenna since 1985 were replaced by LED versions that are 10 times less powerful and consume 10 times less energy. The last operation took place in spring 2019.Ĭontrary to popular beliefs, the Tower’s nightly illumination, it’s golden glow, only represents about 4% of the monument’s annual energy expenses. Since that time and every four years, a team of SETE technicians has replaced the 336 projector bulbs that wrap the Eiffel Tower in golden light every evening. Their improved output of light preserves all the beauty of the overall appearance. an energy consumption saving of around 40%. In 2004, they were replaced by projectors with an electrical power of 600 watts as opposed to the previous 1KW, i.e. This is activated upon nightfall by the sensors. The projectors are turned on in under 10 minutes. He is the author of 1984 Publishing’s Ad Nauseam: Newsprint Nightmares from the 1980s, Ad Nauseam II: Newsprint Nightmares from the 1990s & 2000s and Ad Astra: 20 Years of Newspaper Ads for Sci-Fi & Fantasy Films, FAB Press’ FrightFest Guide to Monster Movies and Rue Morgue’s Shark Movie Mania. He also contributes to Rue Morgue, , MovieMaker and Scream, both in print and online, and has written liner notes, directed bonus features and taken part in audio commentaries for Blu-rays and DVDs from Arrow Video, Vinegar Syndrome, Synapse Films, Blue Underground, Garagehouse Pictures and others. He became associate editor in 1990, quickly moved up to managing editor and eventually became editor-in-chief, and was an editor and writer for the previous website. Michael Gingold has been part of the FANGORIA family since 1988, when he began writing for the magazine. You never know what doors it will take you through.” If you have an idea that you feel passionate about, make it. “The funny thing is that I had been sending Sean and John my comedy shorts for years,”he notes, “and they’d always responded with a supportive ‘Good work, keep it up!’ Then I sent them a horror short, and here we are. ![]() Your pick.īeyond that, Dec also sees a positive message in the circumstances behind Countdown’s journey to the screen. ![]() There’s a real story in here about two sisters who have been pushed apart by death and need to come back together.”Įlizabeth Lail, like so many of us, stares at her phone in disbelief. ![]() In the end, I think we have a fun balance of horror, comedy and heart. I also wanted to give the audience a break between scares, using levity to release the tension so that I could build it back up again. “I wanted this movie to be fun in the way that Scream and I Know What You Did Last Summer were fun for me when I was a teenager. Given the backgrounds of its creators, it was inevitable that there would be a humorous component to Countdown, though Dec points out that it serves as leavening in a generally serious scare flick. ![]() “It was every aspiring filmmaker’s dream.”Īnders and Morris are among Countdown’s producing team, along with comedy veteran Robert Simonds. “They wanted to turn it into a feature,” Dec says. He also passed it on to his friends, screenwriter/director Sean Anders (for whom Dec worked as an assistant on Daddy’s Home 2 and Instant Family) and his writing partner John Morris - who told him to immediately take the short off the fest circuit. ![]()
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