Next, Chris is warned about the temple by an amicable drunk. The pleasant-enough alky is more amused by Chris's interest than he is concerned. Then Chris and the gang go to a village near the temple, and stay overnight in a dark, secluded hotel. But they only arrive after an old man tries to warn Chris that a priest at the temple had a problem with his eyes after he saw some messed-up stuff at the temple.
Chris doesn't understand what the crazy area man means by cupping two small oranges as he plaintively refers to eyeballs. Chris is a bit slow on the uptake, but this local guy is also admittedly not very convincing.
At this point, "Temple" is only dull and misconceived. The characters' basic three-way relationship—Kate's got a secret, James is jealous, and Chris is maybe? In fact, so much time is spent setting up this laborious trip to the temple that when the first ghost finally shows up, you realize that you know nothing about these characters, or why director Michael Barrett and screenwriter Simon Barrett find them interesting.
For starters, Michael—who makes his directorial debut here after working on a couple dozen films as a cinematographer—never seems to know how to film his actors in relation to each other. There's one scene where Chris, positioned in the right extreme foreground of a shot, asks a petrified geriatric, lurking in the upper-right corner of the camera's frame, for help.
The older gentleman, quickly, and in one unbroken take, backs up and out of view. The effect is unintentionally comical: all it took for this guy to moon-walk out of the film was for Chris to say hi. In addition to the seismic protection , which is the principal reason for the temple renovation, many other improvements and changes to the temple and its surroundings are being made.
As we make these significant changes for the future, many historic elements are being impacted. It was impossible to know whether the murals could be preserved during such a move.
They were originally painted directly on lath and plaster walls, which had been repaired and repainted many times because of water damage and other deterioration. Further, the change to a film presentation meant that the rooms would be reconfigured. Many other historic features of the building have also been photographed, documented, replicated and in some cases, architecturally salvaged.
We look forward to the day when the renovation is complete and we can welcome friends from around the world to tour the temple prior to its dedication, and then for members to once again worship in this beautiful house of the Lord. As announced in April of , the Manti Temple is also scheduled to be renovated and renewed as part of our effort to preserve and extend the life of our pioneer-era temples.
Beginning later this year, the Manti Temple will begin a multi-year renovation that will include mechanical updates and other changes to prepare the temple to serve for generations. Similar to the changes in the Salt Lake Temple, the progressive room-to-room presentation by live actors will transition to single-room presentations by film. The murals will also be photographed, documented, and removed.
The historic staircases in the Manti Temple and Salt Lake Temple are being preserved during the renovations. The artwork in the Manti Temple includes murals painted by Minerva Teichert, which are valued not only for their beauty, but also as a treasured remembrance of the faith, talent and dedication of the artist.
The Teichert murals in the Manti Temple were originally painted on canvas, which was adhered to the plaster walls. We are seeking the advice of international experts in the field of art preservation during this process. With each of these temples, there is a desire to ensure that the learning and experience are similar for all who come to the temple from anywhere in the world. The same ordinances, covenants and authority are available in every temple, and will now be presented in the same way, and now in more than 80 languages.
The historic pioneer-era temples have been a blessing to the Latter-day Saints for more than years, and we know that with the updates and renovations now announced or underway they will continue to serve their sacred purpose for generations to come. This decision allows for greater capacity and more temple ordinances, making it possible to hold more sessions each day. We stop for a private lunch at Sala Kdei, a traditional wooden house on the shores of the royal bathing pond of Sra Srang.
This area was used as the unit base for the Tomb Raider crew, which numbered as many as people on the busier days. After lunch, we travel to Angkor Wat, the mother of all temples and the location for some key scenes from Tomb Raider, when Angelina Jolie arrives in a floating village in front of the temple.
She exits the village and enters the temple to meet a holy monk who heals her damaged arm and lends her a phone. Angkor Wat was also the setting for the final scenes of In the Mood for Love, the classic love story from Wong Kar-wai, in which he pays homage to Roman Holiday. Who knows how many more films will be shot at the temples of Angkor in the years to come, but one thing is for sure it will remain on the radar of leading directors thanks to the bounty of iconic images on offer here.
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