Describes motivation process for creativity with emphasis on intrinsic motivation by Corey K Katir

Water damage restoration provider advises property owners to monitor and address moisture concerns on their…

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Mold removal provider offers a glimpse into the world of mold and the effect it can have on the average…

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Service provider offers tips to guard against flood based water damage as severe weather season gets underway.

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Water damage provider warns against the influx of salvage title vehicles as the result of severe weather.

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Mold removal provider provides water damage and mold remediation services nationwide.

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Mold removal provider suggests quality mold remediation will improve indoor air quality.

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The last major film personally produced by Jack L. Warner at the studio that still carries his and his brothers’ names — it was released after the last surviving Warner soldA the lotA to Seven Arts — “Camelot” carries a special resonance for Hollywood buffs, in addition to the original Broadway musical being permanently linked with the brief, shining presidency of John F. Kennedy in the public’s mind.

A commercial and critical disappointment when it was released in 1967, Joshua Logan’s adaptation — recently newly upgraded to a great-looking Blu-ray special edition — now seems at least as appealing as George Cukor’s “My Fair Lady,” the other Lerner and Lowe stage musical produced by J.L. that won Oscar Best Picture’s award three years earlier (the Blu-ray of that one, from longtime owner CBS, looks horrendous).

Logan’s movie took its lumps at the time for replacing the stage Arthur and Guinevere, Richard Burton and Julie Andrews, with Richard Harris and Vanessa Redgrave. But 45 years out, that seems more like a wise choice — and Redgrave has had an enduring off-screen relationship and marriage with Franco Nero, the Italian actor who replaced the bilious Robert Goulet as Lancelot.

Unlike Warners’ 2003 DVD release that amped up the colors, the Blu-ray more faithfully reproduces the original earth-toned pallette of this melancholy romance, superbly carried by the vocals of Harris (who, let us not forget, had a huge pop hit with “MacArthur Park.”

The soundtrack of the three-hour roadshow version sounds great, and there’s a bonus CD with four songs bound into the 36-page Blu-ray book. In addition to features ported over from the DVD, there’s a new 30-minute featurette (in HD) and a commentary track by Stephen Farber.

Continuing to catch up with recent releases, here are some other notable titles that have received Blu-ray upgrades:

“1900” (1977) — Paramount has decided to license Bernardo Bertolucci’s epic covering the turbulent first 45 years of the 20th Century in Italy in a fantastic-looking HD transfer to Olive Films. A seriously great-looking film shot by Vittorio Storaro, this saga of two families has a heavyweight cast including Robert DeNiro, Gerard Depardieu, Donald Sutherland, Burt Lancaster, Dominique Sanda, Alida Valli and Sterling Hayden. Cut to four hours for U.S. release, the Blu-ray presents the full five-hour cut with an English-language track — the Italian actors are dubbed. The making-of featurettes from Paramount’s 2006 release aren’t carried over, but there is a 51-minute 2002 documentary on Bertolucci’s career.

“Buck Privates” (1941) — Abbott and Costello’s first vehicle, a huge hit (grossing $4 million on a reported budget of $180,000) that helped them supplant Deanna Durbin as the studio’s top attraction, looks surprisingly terrific in one of Universal’s official 100th Anniversary restorations, a Blu-ray/DVD combo pack packaged in book format. Like many of their early films, this is a World War II musical, and the big attraction here is The Andrews Sisters singing “Boogie-Woogie Bugle Boy” and “Apple Blossom Time.” When she isn’t being romanced by Lee Bowman and Alan Curtis, USO girl Jane Frazee warbles “I Wish You Were Here.” Bud and Lou join Shemp Howard, among others, for “When Private Brown Becomes A Captain.”

“To Catch a Thief” (1955) — I’ve said it many times before, but films shot in VistaVision and Technicolor make for the most mouth-watering Blu-ray classics.It’s hard to say what looks better — Cary Grant, Grace Kelly or the French Rivera — in this sharp, superlative rendition of Hitchcock’s frothy crime thriller. Copious extras are carried over from the out-of-print Centennial Collection DVD — a line that was discontinued well before Paramount’s actual 100th anniversary this year.

“A Trip to the Moon” (1902) — George Melies’ famous 15-minute short — painstakingly and beautifully restored from a crumbling hand-colored print discovered in Spain in the 1993 and the showpiece of last year’s “Hugo” — gets a spectacular Blu-ray release from Flicker Alley. Besides this seminal Jules Verne knockoff with impressive 110-year-old effects, the limited-edition DVD/Blu-ray combo set includes a fascinating feature-length documentary on the film and its restoration.

“Fort Apache” (1948) — The first part of John Ford’s “cavalry trilogy” (with John Wayne, Henry Fonda and Shirley Temple) gets the best-looking Blu-ray I’ve seen derived from a black-and-white RKO feature from this era. Blacks are crisp and there’s enough of a grain patina to give a film-like experience.

“Chinatown” (1974) — Roman Polanski’s neo noir classic is another high-def upgrade from Paramount’s defunct Centennial Collection line. The film looks great, and the copious extras carried over include a Robert Towne-David Fincher commentary track, as well as an illuminating feature-length documentary on the movie’s historical background.

“A Streetcar Named Desire” (1951) Alex North’s jazzy score is brilliantly represented in this upgrade of Elia Kazan’s taboo-busting adaptation of the Tennesee Williams play, which also highlights Harry Stradling Sr.’s shadowy black-and-white cinematography.

“Pillow Talk” (1959) Another landmark film and another of Universal’s official 100th anniversary restorations. The color levels, which had faded notably for this Eastmancolor title, have been pumped up for its Blu-ray debut — sometimes to garish levels, especially in the many split-screen scenes. Still, it’s hard not to like the first of the Doris Day-Rock Hudson comedies, especially when wolfish Hudson (who was gay in real life) pretends to be gay so Day can “cure” him.

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The Warner Archive CollectionA it taking pre-ordersA forA King Vidor’s “Billy the Kid” (1930), starring Johnny Mack Brown in the title role, Wallace Beery and KayA (“Madam Satan”) Johnson.A Also scheduled for June 5 is WAC’s third volume of Monogram westerns — eight of ‘em made between 1943 and 1951, and all starring Brown.

The TCM Vault CollectionA continues dipping into the Universal catalogue for “The 1930s Rareties Collection,” which offers the very welcome DVD debuts of Eddie Cline’s “Million Dollar Legs” (1932)A starring W.C. Fields and Jack Oakie; Raoul Walsh’s “Artists and Models” (1937) with Jack Benny and Ida Lupino; and Henry Hathaway’s “Souls at Sea” (1937) starring Gary Cooper and George Raft. Rounding out the set is Leo McCarey’s 1934 Mae West vehicle “Belle of the Yukon,” briefly available on DVD from Image back before the end of the last century.

Also due on Aug. 7, from Olive Films, are the Blu-ray debuts of Nicholas Ray’s never-on-DVD “Johnny Guitar” (1954) starring Joan Crawford, Sterling Hayden and Mercedes McCambridge, as well as an upgrade for John Ford’s “Rio Grande” (1950), the first teaming of John Wayne and Maureen O’Hara.

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The press notes for “The Connection,” opening today in a new 35mm restoration at the IFC Center, give the impression that “mainstream” reviews were uniformly negative when the film originally openedA on October 4,A 1962 at the D.W. Griffith — and closed the same day, on orders from the state Board of Regents, whose responsibilities then included film censorship.

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“The filmmakers fight against censorship was audacious, but it came at a very severe price,” according top the notes. “By the time the New York Supreme Court ruled in favor of the film on Oct. 23 at it reopened at the D.W. Griffith on Nov. 7, the mainstream critics had already weighed in — and against ‘The Connection’s’ bold language and storyline. Bosley Crowther of the New York Times wrote that the film offered “a fortright and repulsive observatin of a sleazy, snarling group of narcotic addicts.”

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The film’s new distributor, Milestone Films, incorrectlyA suggestsA that Jonas Mekas of the Village Voice was the movie’s sole advocate, but as my “Film Pick” in today’s print edition points out , the film had at least one mainstream defender. Here’s the full text of Archer Winsten’s Oct. 4, 1962 review in The Post. Incidentally, theA ‘NewA Griffith Theater’ referred toA in the first paragraphA venueA was a short-lived name for aA Times SquareA venueA mostly known as the Bijou, which alternated between film and live theater bookings — not to be confused withA the D.W. Griffith basement cinemaA on E. 59th Street, variously known as the Cine Malibu, the Clearview E. 59th, the ImaginAsian, and currently, Big Cinemas.

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‘Connection’ Bows at the New Griffith

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The importance of “The Connection” at the new D.W. Griffith Theater onA 45th Street is threefold. It rudely pushes at a word-boundry of censorship; it plunges deeply into the contemporary topic of drug addiction; and it demonstrates a technique and artistic integrity somewhere between the incomprehensibility of the far-out and the ugliness of utter realism. With so much to offer, the picture can be excused from the duties of entertainment in the pleasurable sense.

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As you enter Leach’s pad where, in the far-famed play by Jack Gelber, a couple of movie-makers are about to record a group of heroin addicts waiting for their fix, the comparisons between stage and screen begin.

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Warren Finnerty (Leach, with a boil on his neck) seems to be carrying over a little too much theatrically from stage to screen. William Redfiel, the producer of the picture, stammers in a way that doesn’t seem natural. But the natural movement of the camera, and especially the astounding reality of the pad, take effect. And the more relaxed performances of the musicians, and Jerome Raphael as Solly, and Garry Goodrow as Ernie win the day for belief. Before Barbara Winchesgter, the fantastic Sister Salvation, appears with Cowboy (Carl Lee), the man with the stuff, you are a part of the experience whether you like it or not.

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There follow character details and the drama of the fixes, mounting to a climax with the movie-maker’s vomiting and Leach’s approach to death with an overdose.

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Moviemaker Shirley Clarke, displaying commendable courage and a strong stomach, does not pull back from degregation or disgust. Her use of the forbidden word ["s_t"] is peculiarly appropriate, one might even say “moral,” in relationship to this topic. So also is her viewing of repellent details.

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In this sense, “The Connection” must be considered a moralistic tract of extraordinarily strong impact. It strikes to the bowels of the subject, kicking the tender sensibilities of an American audience where it will hurt the most.

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No one is going to be tempted to the use of narcotcics by this film. The romantic fallacy is avoided to an extent seldom met in American films where it is commonplace to find a gangster, war and delinquent youth films preaching their lessons in terms so exciting that youth is tempted despite all the ods. There is no temptation in “The Connection,” not in the prospect, the act, the surroundings, the people.

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Thus we are given the full power of the movie medium, only slightly flawed by limitations of the author, and even less defaced by the comparatively unimportant errors of the director, Shirley Clarke.

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In essence this picture is an act of iconoclastic courage and conviction no men have fought through to this level of exhibition. It has taken a woman to do it, and both she and her picture deserve commendation beyond the call of duty since neither will receive that other reward of box-office riches that accompany pleasant vicarious experiences.

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I arrived in Hollywood a day before the recent TCM Classic Film Festival, just in timeA to watch theA world premiere of “The Avengers” at the El Capitan Theatre on Hollywood Boulevard from the widow of my roomA at theA Hollywood Roosevelt Hotel.

Though the LAPD had the crowd well in hand, the huge, excited throngA reminded me a bit of the horrific climax of John Schlesinger’s “The Day of the Locust,” which is set across the street from the El Capitan at Grauman’s Chinese (the main venue for the TCM Fest) during the 1938 premiere of Cecil B. DeMille’s swashbuckling historical epic “The Buccaneer.”

Perhaps the most corrosive look at Tinseltown ever — the sequence begins with Donald Sutherland stomping singularly obnoxious child star Jackie Earle Haley to death, then himself being lynched on the street and builds to a full-fledged riot — Schlesinger’s unsparing adaptation of Nathaniel West’s novel is currently out of print on DVD (though available from resellers on Amazon).

But the film’s owner, Paramount Picture has licensed “The Buccaneer” (one of a handful of its pre-1950 talkies still owned by the studio), as well as its ill-fated remake, to Olive Films as part of a larger deal for catalogue titles. The earlier film is one of DeMille’s best talkies, made at the height of his powers, while the latter is an unfortunate coda to his career that nevertheless looks great in a new Blu-ray transfer from its VIstaVision negative.

The older version wasn’t a Blu-ray candidate without an expensive digital restoration, but the very light vertical scratches that run through much of Olive’s DVD release in no way detract from one of DeMille’s most entertaining films (if one of his least known today, because of very limited TV exposure). Frederic March is in top form (even if his French accent is shaky) in the title role of the French pirate Jean Lafitte, who plundered ships from a base in the bayous south of New Orleans.

The two “Buccaneers” represent fairly rare Hollywood depictions of the War of 1812, whose bicentennial is barely being celebrated in the United States this year (it’s a bigger deal in Canada, which successfully resisted a U.S. military invasion). The 1938 version opens with a brief prologue depicting White House being evacuated (Spring Byington plays Dolly Madison) during the burning of Washington, which is not shown by DeMille.

The sceneA quickly shifts to New Orleans, where the governor (Douglas Dumbrille) orders the arrest of Lafitte, who has coincidentally caught the eye of his daughter (Margot Grahame). But the war and the arrival of Andrew Jackson (obscure character actor Hugh Sothern, who reprised the role a year later in a Warner Bros. Technicolor short, “Old Hickory”) force the governor to give Lafitte a pardon — one of many he received, the opening scroll assures us.

Lafitte volunteers his services to the U.S. as the film vigorously builds toward the Battle of New Orleans. One highlight is Lafitte’s men rowing their way through the Bayous in a green-tinted sequence that shows off Victor Milner’s Oscar-nominated cinematography.

Hungarian singer Francisca Gaal, who returned home after a couple more movies, is prominently billed as the governor’s daughter’s rival for Lafitte, who rescues her from a ship sunk by his rogue colleague Robert Barrat. There are more notable contributions by Russian-born Akim Tamiroff as Lafitte’s top aide and Walter Brennan as Jackson’s rustic aide-de-camp (these two inverterate scene-stealersA share one brief but memorable scene together).

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“The Buccaneer” was such a success that DeMille for years harbored plans to remake it as a musical — so it was excluded from Paramount’s 1956 sale of pre-1950 titles to MCA (now controlled by Universal). DeMille hadA been revisitingA hisA workA since 1918, when he remade hisA very firstA film “The SquawA Man” (co-”picturized”A with Oscar Apfel).A DeMille then turnedA it intoA a talkie in 1930A (the 1914A versionA — considered by many historians the first feature shot in HollywoodA –A and the 1930 edition are available as a double feature from the Warner Archive Collection. Only the final reel of the 1918 remake survives).

Unfortunately, DeMille suffered a heart attack during the making of his biggest hit,A his loose remake ofA “The Ten Commandments” (1956). Failing health forced himA to turn over direction of the “Buccaneer” re-do to his son-in-law Anthony Quinn (who had a supporting role in the ’38 version) and his protege Henry Wilcox as producer.

There’s only one song — delivered by Inger Stevens in Grahame’s old role –A in this versionA madeA “under the personal supervision of” DeMille, who turns up, looking very frail, to deliver a historical lecture by way of a prologue (he died shortly after its release).A The new screenplay, which sometimes plays like a libretto setting up musical numbers that aren’t there — follows the old one reasonably closely, including the crowd-pleasing ending. The major change is that Lafitte’s other woman is now the renegade pirate’s daughter, played by Claire Bloom.

Yul Brenner dons a wig for March’s old role of Lafitte. Andrew Jackson’s part has been beefed up just enough to justify “and also co-starring” billed at the end of the cast list for a heavily made-up Charlton Heston — who reprises the role fromA “The President’s Lady” and mentionsA Jackson’s wife Rachel so often that you almost expect Susan Hayward to showA up in a flashback.A Both are quite good within the film’s limitations.

Quinn, who never directed another film after this expensive box-office failure, lacks DeMille’s showman instincts as a filmmaker, and too much of the film is obviously studio bound.

There are compensations, among them appearances by old-timers like Dumbrille (in a glorified bit part; E.G. Marshall has inherited his role as the governor) and Madame Sul-Te-Wan, as well as a pre-”Bonanza” Lorne Greene as a heavy who tries to organize a lynching of Lafitte until Old Hickory stepsA in.A Still, there areA are some striking widescreen compositions by the main “Ten Commandments”A cinematographer, Loyal Griggs. AndA asA is so often the case,A Technicolor and VistaVision make for a particularlyA handsome-looking Blu-ray.

Richard Widmark is one of the many big-name actors in “How the West Was Won.”

Sunday’s big draw at the festival — hundreds of people lined up outside the Cinerama Dome on Sunset Boulevard before 8 a.m. — was a rare showing of “How the West Was Won” in its original format, which required five projectionists to show three synchronized prints on the enormous screen, plus a separate soundtrack.

I saw “How the West Was Won” during its run at magnificent, long-gone Loews Triboro in Astoria, Queens, where it was shown on a composite 35mm print derived from its three original negatives.

“HTWWW” was the second and last narrative feature shot in Cinerama (following “The Wonderful World of the Brothers Grimm”) following a series of travelogues. It was a cumbersome way to shoot movies and soon gave way to single-negative Ultra-Panavision, marketed as Cinerama on movies like “It’s A Mad, Mad, Mad World” and “The Greatest Story Ever Told.”

Cinerama is great for photographing scenery — there are lots of aerial shots — and big action sequences. The film’s highlights are a cattle stampede and a train robbery/crash.

The actors are, for the most part, confined to the center panel, and there are no closeups and no real two-shots in the very wide images.

The whole film is designed to disguise the lines dividing the three projected images using set design and trees, which often makes for awkward compositions and limits how actors can move within the frame.

James Stewart and Henry Fonda, both playing trappers (they have no scenes together) fare best.

But the hokey dialogue in this sub-Ferberesque multi-generational yarn does no favors to Debbie Reynolds, Gregory Peck, Richard Widmark or George Peppard (though the latter does do a great imitation of Stewart, who plays his father though they oddly have no scenes together).

The worst part of “HTWW” — aside from an epilogue showing 1960s western freeways — is the relatively brief civil war segment helmed by John Ford, featuring an embarrassingly bad John Wayne and Harry Morgan as Generals Sherman and Grant. (Henry Hathaway directed another segment, but the bulk of the film was helmed by George Marshall).

Raymond Massey has a prominently billed nonspeaking bit as young Abraham Lincoln (both he and Fonda had played Abe in 1939). He’s one of many veteran character actors on view — it’s not often you get Agnes Moorehead, Thelma Ritter, Andy Devine, Walter Brennan and Karl Malden in the same movie.

Another highlight of the festival’s final day was a new MoMA restoration of Clara Bow’s penultimate movie — the rowdy and randy pre-code “Call Me Savage” (1933). It would make a great DVD double feature for TCM’s Vault Collection along with Bow’s last film, “Hoop-La” (also 1933) — another restoration co-funded by the network that premiered here last year.

I ended my stay in Hollywood with a screening of “The Thief of Bagdad” starring Douglas Fairbanks Jr. at the Egyptian Theater — where the film had its premiere in 1924 — with a score performed live by the Mont Alto Motion Picture Orchestra. This new digital restoration commissioned by the Cohen Media Group will be released on Blu-ray later this year.

Ben Mankiewicz, who hosted the screening, announced that the TCM Classic Film Festival is now officially an annual event.

Warners’ new 60th anniversary digital restoration of “Singin’ in the Rain” had its world premiere Saturday night at Grauman’s Chinese, and it’s a richly detailed, vibrantly colored knockout. The musical numbers sound better than they ever have before.

Even the film’s elaborate optical effects — often the most challenging thing for restorers — look fantastic. And the beloved classic itself makes this year’s Oscar winner, “The Artist,” look like a puny achievement by comparison.

“Singin’ ” will be showing again at the Smithsonian’s Museum of American History in July and is premiering on Blu-ray before the end of the year.

Robert Osborne had a chat with Debbie Reynolds before the film, and she had the audience in stitches with her mildly salty humors, including references to her “t—s.”

I interviewed Ms. Reynolds before the festival, but she told a story about the film’s production I had never heard or read before.

A ladder is a prominent prop in the “You Were Meant For Me” number and Reynolds said that during rehearsals, she sat on the ladder chewing gum (“I hadn’t discovered wine yet,” she cracked to a huge laugh).

She said that when time came to shoot the number, she took the gum out of her mouth and affixed it to the ladder. But when Kelly’s head brushed next to the ladder while he was dancing, the gum “stuck to his [toupee] and took it off. He was mad at me for a year after that.”

I began Saturday with another film written by Betty Comden and Adolph Green, Morton DaCosta’s hilarious “Auntie Mame” (1958), at the Egyptian Theatre.

Introduced by designer Todd Oldham, who said he had “memorized” it, this was shown in a very nice archival print from 35mm.

“Auntie Mame” was shot in Technirama, a short lived process similar to VistaVision that yields incredibly detailed prints. Perfect for a movie that’s a riot of bright colors, with the set design, costumes and Rosalind Russell’s title character all delightfully over the top.

I also watched a 35mm archival print of Ernst Lubitsch’s incomparable “Trouble in Paris” in one of the smaller at the Chinese multiplex.

I caught about half an hour of the silent comedy “Girl Shy” — introduced by my pal Leonard Maltin and Suzanne Lloyd, Harold’s granddaughter and superbly accompanied by Robert Israel’s orchestra — but regrettably had to leave early to make sure I had a good seat for “Singin’ in the Rain,” which sold out the Chinese.

There was a mad rush of people leaving an earlier showing of “Casablanca” at the Chinese, rushing down Hollywood Boulevard to secure a place in line.

If anything, the TCM Classic Film Festival has been demonstrating showing that showing classic films both on traditional 35mm and the newer digital DCP format can peacefully, and fruitfully co-exist.

Most of the films shown on the huge main screen at the historic Grauman’s Chinese have been in DCP — the format of choice for major studio restorations — and they’ve look exceedingly great.

On Friday morning I saw an eye-popping new DCP of Stanley Donen’s “Funny Face” featuring the most vivid color renditions I’ve ever seen for this VistaVision title.

Not specifically billed as a restoration, this Paramount-owned title derived from a VistaVision original doesn’t have the razor-sharp images more typical of Warners’ restorations, which are so detailed that the sets sometimes look like sets and you can see the actors’ makeup.

Featuring the softer, more traditional look of three-strip Technicolor prints, this new edition of “Funny Face” will be showing this summer at Film Forum and will presumably be issued on Blu-ray sometime in 2012.

Before the film, Robert Osborne did a brief interview with Donen, who observed that “nothing is easy to do” when making a movie. A birthday cake with a piano-key motif was wheeled out and the audience joined in singing “Happy Birthday” for the director’s 88th birthday.

Friday night at the Chinese, I saw another key VistaVision title, Hitchcock’s “Vertigo” projected digitally for the first time. Though the transfer was apparently taken from Robert Harris’ 1996 restoration, I thought it looked better than its 70mm presentation on film at the Ziegfeld from 16 years ago. Kim Novak’s closeups are utterly heart-stopping, and the digital version enhances the film’s textures like that red flocked wallpaper in Ernie’s restaurant. Like “Funny Face” it had sufficient grain for a film-like experience.

For the first time, it’s possible to notice that James Stewart is wearing almost as much makeup as Kim Novak in this movie. Somehow this works in “Vertigo,” which has never seemed as dream-like to me — and I’ve seen it many times since my first viewing, during its original theatrical run in 1958, when I was eight. Still can’t figure out how Scotty gets down from the roof in the first scene, though.

Novak, who did an extended Q & A with Osborne earlier Friday that will be aired on TCM in the future, briefly appeared before the movie. She confessed she was uncomfortable wearing Edith Head’s iconic gray suit in the film, but that “it worked for the character.” Paraphrasing the saleswoman in the showroom scene, she said that Hitchcock “certainly knew what he wanted!”

Presumably “Vertigo,” which has been controlled by Universal since the mid-1980s, will be hitting Blu-ray in the near future.

Over at the historic Egyptian Theater a couple of blocks down Hollywood Boulevard (and at TCM Classic Film Festival screenings at smaller auditoriums at the Chinese complex) 35mm reigns. I saw an archival print of Howard Hawks’ “Bringing Up Baby” from MoMA with an audience that laughed pretty much nonstop.

In the afternoon, John Carpenter introduced a Universal 35mm vault print of James Whale’s “Frankenstein” in the afternoon. Like “Bringing Up Baby,” it was filled with heavy grain, blemishes — and a bit of jitter here and there — that it no way distracted from audience enjoyment.

It rained much of the day Friday in Hollywood — and the cool weather was more like NYC than California — but that didn’t dampen the spirits of the enthusiastic crowds, who came from all over the United States and the world for this special festival.

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