Diy crystal chandelier ideas
Fix Up an Antique
If you discover an antique fixture you love—like this lantern-esque piece in the home of design duo Heiberg Cummings—just rewire them and they'll be excellent as new. Source on sites love eBay, Etsy, and 1stdibs (or at your local thrift store!).
Consider Can Lighting
In this stunner of an L.A. home by design collective the Archers, a Le Corbusier-inspired table is lit with simple can overhead lights (definitely on dimmers).
If your table is super-long, consider getting two or more pendant lights to distribute the glow evenly (that way everyone will be capable to see their dinner).
We love this "duet" fixture by Swedish newcomer Hem.
As evidenced by a playful display in this NYC apartment, some pendant lamp pairs glance best when they're hung at diverse heights.
Forego It Altogether
Sconces, floor lamps, even table lamps can do the occupation of overhead pendant and flushmount fixtures—so don't force one if you're not certain you love the glance at every (proof, via Amelie Colombet's apartment).
action-adventure film directed by Steven Spielberg
«Indy 4» redirects here. For the arcade game, see Indy 4 (video game).
For the video game which is labeled as Indy 4, see Indiana Jones and the Fate of Atlantis. For the fourth Indianapolis race, see Indianapolis
Indiana Jones and the Kingdom of the Crystal Skull is a American action-adventure film directed by Steven Spielberg and the fourth installment in the Indiana Jones series. Released nineteen years after the previous film, the film is set in , pitting Indiana Jones (Harrison Ford) against Soviet agents—led by Irina Spalko (Cate Blanchett)—searching for a telepathiccrystal skull.
Jones is aided by his previous lover, Marion Ravenwood (Karen Allen), and her son, Mutt Williams (Shia LaBeouf). Ray Winstone, John Hurt, and Jim Broadbent are also part of the supporting cast.
Screenwriters Jeb Stuart, Jeffrey Boam, Candid Darabont, and Jeff Nathanson wrote drafts before David Koepp’s script satisfied the producers. The filmmakers intended to pay tribute to the science fiction B-movies of the s era. Shooting began on June 18, , at various locations in New Mexico, New Haven, Connecticut, Hawaii, and Fresno, California, as well as on sound stages in Los Angeles.
To maintain aesthetic continuity with the previous films, the crew relied on traditional stunt work instead of computer-generated stunt doubles, and cinematographerJanusz Kamiński studied Douglas Slocombe’s style from the previous films.
The film premiered at the Cannes Film Festival on May 18, , and was released worldwide on May 22, to generally positive reviews with praise for the performances, action scenes, John Williams’ musical score, and the costume design. Criticism, however, focused on the dialogue, storyline, pacing, and overuse of CGI. It was also a financial success love the previous three films in the series, grossing over $ million worldwide, becoming the franchise’s highest-grossing film when not adjusted for inflation, as well as the second-highest-grossing film of A fifth film is scheduled for release on July 9, , with both Spielberg and Ford returning.
- Jim Broadbent as Dean Charles Stanforth, an academic colleague and friend of Jones.
Broadbent’s character stands in for Marcus Brody, whose portrayer, Denholm Elliott, died in  As a tribute to Elliott, the filmmakers put a portrait and a statue on the Marshall College location, and a picture on Jones’ desk, saying he died shortly after Indiana’s father.
- John Hurt as Harold «Ox» Oxley, Mutt’s surrogate dad and an ancient friend of Indiana, whom he lost contact with in Six months prior to the events of the film, he went insane after discovering the crystal skull, which commanded him to return it to Akator. Candid Darabont had suggested Hurt when he was writing the screenplay. The character is inspired by Ben Gunn from Treasure Island. Hurt wanted to read the script before signing on, unlike other cast members who came on «because Steven— you know, ‘God’— was doing it.
And I said, ‘Well, I need to own a little bit of previous knowledge even if God is doing it.’ So they sent a courier over with the script from Los Angeles, gave it to me at three o’clock in the afternoon in London, collected it again at eight o’clock in the evening, and he returned the next day to Los Angeles.»
- Ray Winstone as George «Mac» Michale, a British agent whom Jones worked alongside in World War II, but has now allied with the Russians due to his financial problems.
The character acts as a spin on Sallah and René Belloq – Jones’s friend and nemesis, respectively, in Raiders of the Lost Ark. Spielberg cast Winstone as he found him «one of the most brilliant actors around», having seen Sexy Beast. Winstone tore his hamstring during filming.
«I hold getting these action parts as I’m getting older,» he remarked. Love John Hurt, Winstone wished to see the script prior to committing to the film. In interviews on British TV Winstone explained that he was only capable to read the script if it was delivered by courier, who waited while he read the script, and returned to the US with the script once Winstone had read it. His reasoning for wanting to read the script was, «If I’m gonna be in it, I desire to be in it.» He gave suggestions to Spielberg, including the thought of Mac pretending to be a double agent. He also stated that once filming was completed he had to return the script, such was the secrecy about the film.
He was later presented with a copy of the script to keep.
- Harrison Ford as Indiana Jones; To prepare for the role, the year-old Ford spent three hours a day at a gym, practiced with the bullwhip for two weeks, and relied on a high-protein diet of fish and vegetables. Ford had kept fit during the series’ hiatus anyway, as he hoped for another film. He performed numerous of his own stunts because stunt technology had become safer since , and he also felt it improved his performance. He argued, «The appeal of Indiana Jones isn’t his youth but his imagination, his resourcefulness.
His physicality is a large part of it, especially the way he gets out of tight situations. But it’s not every hitting people and falling from high places. My ambition in action is to own the audience glance straight in the face of character and not at the back of a capable stuntman’s head. I hope to continue that no matter how ancient I get.» Ford felt his return would also assist American culture be less paranoid about aging (he refused to dye his hair for the role), because of the film’s family appeal: «This is a movie which is geared not to [the young] segment of the demographic, an age-defined segment  We’ve got a grand shot at breaking the movie demographic constraints.» He told Koepp to add more references to his age in the script. Spielberg said Ford was not too ancient to frolic Indiana: «When a guy gets to be that age and he still packs the same punch, and he still runs just as quick and climbs just as high, he’s gonna be breathing a little heavier at the finish of the set piece.
And I felt, ‘Let’s own some enjoyment with that. Let’s not hide that.'» Spielberg recalled the line in Raiders, «It’s not the years, it’s the mileage,» and felt he could not tell the difference between Ford during the shoots for Last Crusade and Kingdom of the Crystal Skull.
- Karen Allen as Marion Ravenwood (under the married name of Marion Williams). Candid Darabont’s script introduced the thought of Marion Ravenwood returning as Indiana’s love interest. Allen was not aware her character was in the script until Spielberg called her in January , saying, «It’s been announced!
We’re gonna make Indiana Jones 4! And guess what? You’re in it!» Ford found Allen «one of the easiest people to work with [he’s] ever known. She’s a completely self-sufficient lady, and that’s part of the character she plays. A lot of her charm and the charm of the character is there. And again, it’s not an age-dependent thing. It has to do with her spirit and her nature.» Allen found Ford easier to work with on this film, in contrast to the first film, where she slowly befriended the private actor.
- Cate Blanchett as Irina Spalko, a villainous Soviet agent.
Screenwriter David Koepp created the character. Candid Marshall said Spalko continued the tradition of Indiana having a love-hate relationship «with every lady he ever comes in contact with». Blanchett had wanted to frolic a villain for a «couple of years», and enjoyed being part of the Indiana Jones legacy as she loved the previous films. Spielberg praised Blanchett as a «master of disguise», and considers her his favorite Indiana Jones villain for coming up with much of Spalko’s characteristics. Spalko’s bob cut was her thought, with the character’s stern looks and behavior recalling Rosa Klebb in From Russia with Love. Blanchett learned to fence for the character, but during filming, Spielberg decided to give Spalko «karate chop» skills. LaBeouf recalled Blanchett was elusive on set, and Ford was surprised when he met her on set exterior of costume.
He noted, «There’s no aspect of her behavior that was not consistent with this bizarre person she’s playing.»
- Shia LaBeouf as Mutt Williams, a motorcycle-riding greaser and Indiana’s sidekick and son. The concept of Indiana Jones having offspring was introduced in The Young Indiana Jones Chronicles, in which Ancient Indy is shown to own a daughter. During development of Kingdom of the Crystal Skull, this thought was incorporated into Candid Darabont’s script, with Indiana and Marion having a year-old daughter.
However, Spielberg found this too similar to The Lost World: Jurassic Park, so a son was created instead. Koepp credited the character’s creation to Jeff Nathanson and Lucas. Koepp wanted to make Mutt into a nerd, but Lucas refused, explaining he had to resemble Marlon Brando in The Wild One; «he needs to be what Indiana Jones’ dad thought of [him]– the curse returns in the form of his own son– he’s everything a dad can’t stand». LaBeouf was Spielberg’s first choice for the role, having been impressed by his performance in Holes. Excited at the prospect of being in an Indiana Jones film, LaBeouf signed on without reading the script and did not know what character he would play. He worked out and gained fifteen pounds of muscle for the role, and also repeatedly watched the other films to get into character. LaBeouf also watched Blackboard Jungle, Rebel Without a Cause and The Wild One to get into his character’s mindset, copying mannerisms and words from characters in those films, such as the use of a switchblade as a weapon. Lucas also consulted on the greaser glance, joking that LaBeouf was «sent to the American Graffiti school of greaserland.» LaBeouf pulled his rotator cuff when filming his duel with Spalko, which was his first injury in his career, an injury which worsened throughout filming.
He later pulled his groin.
Additionally, Igor Jijikine portrays Colonel Antonin Dovchenko, Spalko’s second-in-command. His character stands in for the heavily built henchmen that Pat Roach played in the three previous films, as Roach died in from throat cancer.Joel Stoffer and Neil Flynn own minor roles as FBI agents interrogating Indiana in a scene following the opening sequence. Alan Dale plays General Ross, who protests his innocence. Andrew Divoff and Pasha D.
Lychnikoff frolic Soviet soldiers. Spielberg cast Russian-speaking actors as Soviet soldiers so their accents would be authentic.Dimitri Diatchenko plays Spalko’s right-hand man who battles Indiana at Marshall College. Diatchenko bulked up to pounds to glance menacing, and his role was originally minor with ten days of filming. When shooting the fight, Ford accidentally hit his chin, and Spielberg liked Diatchenko’s humorous looking reaction, so he expanded his role to three months of filming.Ernie Reyes Jr.
plays a cemetery guard.
Sean Connery turned below an offer to cameo as Henry Jones Sr., as he found retirement too enjoyable. Lucas stated that in hindsight it was excellent that Connery did not briefly appear, as it would disappoint the audience when his character would not join the film’s adventure. Ford joked, «I’m ancient enough to frolic my own dad in this one.» Connery later admitted that his true reason for turning the part below was that it was too little, stating: «It was not that generous a part, worth getting back into the harness and go for.
And they had taken the tale in a diverse line anyway, so the dad of Indy was helpful of really not that significant. I had suggested they kill him in the movie, it would own taken care of it better.» The film addresses Connery’s absence by Indiana implying that both Henry, Sr. and Marcus Brody (played by Denholm Elliott in the previous films, who died in ) died before the film’s events. Connery later stated that he liked the film, describing it as «rather excellent and rather long.»Michael Sheard, who portrayed Adolf Hitler in the third film, expressed interest in appearing in the film, but he died in August 
John Rhys-Davies was asked to reprise his role as Sallah as a guest in the wedding scene.
He turned it below as he felt his character deserved a more substantial role.
Producer Candid Marshall stated in that the film would use traditional stunt work so as to be consistent with the previous films.CGI was used to remove the visible safety wires on the actors when they did their stunts (such as when Indy swings on a lamp with his whip). Timed explosives were used for a scene where Indiana drives a truck through crates. During the take, an explosive failed to detonate and landed in the seat beside Ford. It did not go off and he was not injured.
Spielberg stated before production began that extremely few CGI effects would be used to maintain consistency with the other films.
During filming significantly more CGI work was done than initially anticipated as in numerous cases it proved to be more practical. There ended up being a entire of about CGI shots in the film, with an estimated 30 percent of the film’s shots containing CG matte paintings. Spielberg initially wanted brushstrokes to be visible on the paintings for added consistency with the previous films, but decided against it. The script also required a non-deforested forest for a chase scene, but this would own been unsafe and much CGI work was done to create the forest action sequence. Visual effects supervisorPablo Helman (who worked on Lucas’ Star Wars: Episode I – The Phantom Menace and Star Wars: Episode II – Attack of the Clones as well as Spielberg’s War of the Worlds and Munich) traveled to Brazil and Argentina to photograph elements that were composited into the final images.
Industrial Light and Magic then effectively created a virtual forest with a geography love the genuine Amazon.
The appearance of a live alien and flying saucer was in flux. Spielberg wanted the alien to resemble a Grey alien, and also rejected early versions of the saucer that looked «too Close Encounters«. Art director Christian Alzmann said the esthetic was «looking at a lot of older B-movie designs—but trying to make that glance more genuine and gritty to fit in with the Indy universe.» Other reference for the visual effects work included government tapes of nuclear tests, and video reference of genuine prairie dogs shot in p by Nathan Edward Denning.
Spielberg and Janusz Kamiński, who has shot every of the director’s films since ‘s Schindler’s List, reviewed the previous films to study Douglas Slocombe’s style.
«I didn’t desire Janusz to modernize and bring us into the 21st century», Spielberg explained. «I still wanted the film to own a lighting style not dissimilar to the work Doug Slocombe had achieved, which meant that both Janusz and I had to swallow our pride. Janusz had to approximate another cinematographer’s glance, and I had to approximate this younger director’s glance that I thought I had moved away from after almost two decades.» Spielberg also hired production designer Guy Hendrix Dyas after admiring his design work for Superman Returns.
Spielberg did not desire to quick cut action scenes, relying on his script instead for a quick pace, and had confirmed in that he would not shoot the film digitally, a format Lucas had adopted. Lucas felt «it looks love it was shot three years after Last Crusade. The people, the glance of it, everything. You’d never know there was 20 years between shooting.» Kamiński commented upon watching the three films back-to-back, he was amazed how each of them advanced technologically, but were every nevertheless consistent, neither too brightly or darkly lit.
While shooting War of the Worlds in tardy , Spielberg met with stunt coordinator Vic Armstrong, who doubled for Ford in the previous films, to discuss three action sequences he had envisioned. However, Armstrong was filming The Mummy: Tomb of the Dragon Emperor during shooting of Kingdom of the Crystal Skull, so Dan Bradley was hired instead. Bradley and Spielberg used previsualization for every the action scenes, except the motorcycle chase at Marshall College, because that thought was conceived after the animators had left.
Bradley drew traditional storyboards instead, and was given free rein to create dramatic moments, just as Raiders of the Lost Arksecond unit director Michael D. Moore did when filming the truck chase. Spielberg improvised on set, changing the location of Mutt and Spalko’s duel from the ground to on top of vehicles.
The Ark of the Covenant is seen in a broken crate during the Hangar 51 opening sequence. Lucasfilm used the same prop from Raiders of the Lost Ark. Guards were hired to protect the highly sought-after piece of film memorabilia during the day of its use.
A replica of the staff carried by Charlton Heston in The Ten Commandments was also used to populate the set to illustrate the Hangar’s history.
Unlike the previous Indiana Jones films, Spielberg shot the entire film in the United States, stating he did not desire to be away from his family. Shooting began on June 18, , in Deming, New Mexico. An extensive chase scene set at the fictional Marshall College was filmed between June 28 and July 7 at Yale University in New Haven, Connecticut (where Spielberg’s son Theo was studying). To hold in line with the fact the tale takes put in the s, several facades were changed, although signs were put up in between shots to tell the public what the store or restaurant actually was.
Afterwards, they filmed scenes set in the Amazon forest in Hilo, Hawaii until August.Indiana Jones and the Kingdom of the Crystal Skull was the biggest film shot in Hawaii since Waterworld, and was estimated to generate US$22 million to $45 million in the local economy. Because of an approaching hurricane, Spielberg was unable to shoot a fight at a waterfall, so he sent the second unit to film shots of Brazil’s and Argentina’s Iguazu Falls. These were digitally combined into the fight, which was shot at the Universal backlot.
Half the film was scheduled to shoot on five sound stages at Los Angeles:Downey, Sony, Warner Bros., Paramount and Universal. Filming moved to Chandler Field in Fresno, California, substituting for Mexico City International Airport, on October 11,  After shooting aerial shots of Chandler Airport and a DC-3 on the morning of October 12, , filming wrapped. Although he originally found no need for re-shoots after viewing his first cut of the film, Spielberg decided to add an establishing shot filmed on February 29, , in Pasadena, California.
The second draft’s prologue is set in Borneo in , with Indiana proposing to Dr.
Elaine McGregor after defeating pirates. She abandons him at the altar, because the government requests her aid in decoding an alien cylinder (covered in Egyptian, Mayan and Sanskrit symbols) in New Mexico. Indiana pursues her, and battles Russians agents and aliens for the cylinder. The script featured army ants, a rocket sled fight, Indiana surviving an atomic explosion by sealing himself in a fridge, and a climactic battle between the U.S. military and flying saucers. Henry Jones Sr., Short Circular, Sallah, Marion Ravenwood and Willie cameo at Indiana and Elaine’s wedding(s). Indiana is also a previous colonel and was assigned to the O.S.S.
during World War II.
— Indiana Jones and the Saucer Men from Mars script by Jeb Stuart, dated February 20, 
During the tardy s, George Lucas and Steven Spielberg made a deal with Paramount Pictures for five Indiana Jones films. Following the release of Indiana Jones and the Final Crusade, Lucas let the series finish as he felt he could not ponder of a excellent plot device to drive the next installment. He chose instead to produce the television series The Young Indiana Jones Chronicles, which explored the character in his early years. Harrison Ford played Indiana in one episode, narrating his adventures in Chicago.
When Lucas shot Ford’s role in December , he realized the scene opened up the possibility of a film with an older Indiana set in the s. The film could reflect a science fiction s B-movie, with aliens as the plot device. Meanwhile, Spielberg believed he was going to mature as a filmmaker after making the trilogy, and felt his role in any future installments would be relegated to that of producer.
Ford disliked the new angle, telling Lucas, «No way am I being in a Steven Spielberg movie love that.» Spielberg himself, who depicted aliens in Close Encounters of the Third Kind and E.T.
the Extra-Terrestrial, resisted it. Lucas came up with a tale, which Jeb Stuart turned into a script from October to May  (Stuart had previously written The Fugitive, which starred Ford.) Lucas wanted Indiana to get married, which would permit Henry Jones, Sr. to return, expressing concern over whether his son is happy with what he has accomplished.
After he learned that Joseph Stalin was interested in psychic warfare, he decided to own Soviets as the villains and the aliens to own psychic powers. Following Stuart’s next draft, Lucas hired Last Crusade author Jeffrey Boam to record the next three versions, the final of which was completed in March Three months later, Independence Day was released, and Spielberg told Lucas he would not make another alien invasion film. Lucas decided to focus on the Star Wars prequels.
In a interview, Spielberg said that his children constantly asked when he would make the next Indiana Jones film, and that the project would soon be revived. The same year, Ford, Lucas, Spielberg, Candid Marshall and Kathleen Kennedy met during the American Film Institute’s tribute to Ford, and decided they wanted to enjoy the experience of making an Indiana Jones film again.
Spielberg also found returning to the series a respite from his numerous dark films during this period, such as A.I. Artificial Intelligence, Minority Report, and Munich. Lucas convinced Spielberg to use aliens in the plot by saying they were not «extraterrestrials», but «interdimensional», with this concept taking inspiration in the superstring theory. Spielberg and Lucas discussed the central thought of a B-movie involving aliens, and Lucas suggested using the crystal skulls to ground the thought.
Lucas found those artifacts as fascinating as the Ark of the Covenant, and had intended to feature them for a Young Indiana Jones episode before the show’s cancellation.M. Night Shyamalan was hired to record for an intended shoot, but he was overwhelmed writing a sequel to a film he loved love Raiders of the Lost Ark, and claimed it was hard to get Ford, Spielberg and Lucas to focus.Stephen Gaghan and Tom Stoppard were also approached.
Frank Darabont, who wrote various Young Indiana Jones episodes, was hired to record in May  His script, entitled Indiana Jones and the City of Gods, was set in the s, with ex-Nazis pursuing Jones. Spielberg conceived the thought because of genuine life figures such as Juan Perón in Argentina, who protected Nazi war criminals. Darabont claimed Spielberg loved the script, but Lucas had issues with it, and decided to take over writing himself. Lucas and Spielberg acknowledged the s setting could not ignore the Freezing War, and the Soviets were more plausible villains.
Spielberg decided he could not satirize the Nazis after directing Schindler’s List, while Ford noted, «We plum[b] wore the Nazis out.»
Jeff Nathanson met with Spielberg and Lucas in August , and turned in the next drafts in October and November , titled The Atomic Ants. David Koepp continued on from there, giving his script the subtitle Destroyer of Worlds, based on the J.
Robert Oppenheimerquote. It was changed to Kingdom of the Crystal Skull, as Spielberg found it more inviting a title and actually named the plot device of the crystal skulls. Lucas insisted on the Kingdom part. Koepp’s «bright [title] idea» was Indiana Jones and the Son of Indiana Jones, and Spielberg had also considered having the title name the aliens as The Mysterians, but dropped that when he remembered that was another film’s title. Koepp collaborated with Raiders of the Lost Ark screenwriter Lawrence Kasdan on the film’s «love dialogue.»
Main article: Indiana Jones and the Kingdom of the Crystal Skull (soundtrack)
John Williams began composing the score in October ; ten days of recording sessions wrapped on March 6, , at Sony Pictures Studios. Williams described composing for the Indiana Jones universe again as «like sitting below and finishing a letter that you started 25 years ago».
He reused Indiana’s theme (The Raiders March) and also Marion’s from Raiders of the Lost Ark, and also composed five new motifs for Mutt, Spalko and the skull. Williams gave Mutt’s a swashbuckling feel, and homaged film noir and s B-movies for Spalko and the crystal skull respectively. The movie’s first scene is accompanied by Elvis Presley’s version of «Hound Dog», arguably the biggest hit of the movie’s era, and an RIAA certified 4X Platinum recording. As an in-joke, Williams incorporated a measure and a half of Johannes Brahms’ «Academic Festival Overture» when Indiana and Mutt accident into the library. The soundtrack features a Continuum, an instrument often used for sound effects instead of music. The Concord Music Group released the soundtrack on May 20,  In , LS Scores Media released a finish version of the score on a 2-Disc CD.
In , Indiana Jones and his partner George «Mac» McHale are kidnapped by Soviet agents under Colonel Dr. Irina Spalko, who infiltrate a secret Nevada warehouse labeled «Hangar 51» and force Jones to locate a mummified corpse (implied to come from the Roswell UFO incident, on which he was forced to work). Upon its discovery, Mac reveals he has become a double agent working for the Soviets. After an unsuccessful attempt to retrieve the body and a fight with Spalko’s henchman Dovchenko, Jones escapes to a model town at the Nevada Test Site, minutes before an atomic bomb test.
He takes shelter in a lead-lined refrigerator and is rescued, decontaminated, and interrogated by FBI agents, who suspect him of working for the Soviets. Though freed by the recommendation of General Ross, he ends up put on indefinite leave of absence from Marshall College. His leaving also causes the dean’s resignation to hold Indiana’s occupation at the college.
Jones is approached by greaser Mutt Williams, who tells him Harold Oxley found a crystal skull in Peru and was later kidnapped. Jones tells Mutt about the legend of crystal skulls found in Akator, and Mutt gives Jones a letter from his mom, containing a riddle written by Oxley in an ancient language. KGB agents attempt to capture them, but Jones and Mutt escape and, finding and following the riddle’s meaning, reach Peru.
At the local psychiatric hospital, Oxley’s scribbles on the walls and floor of his cell lead them to the grave of Francisco de Orellana, a Conquistador who searched for Akator. They discover the skull at the grave, with Jones reasoning Oxley had returned it there.
Jones and Mutt are captured by Mac and the Soviets and taken to their camp in the Amazon forest, where they discover Oxley and Mutt’s mom, Marion Ravenwood, who reveals that Mutt is Jones’ son, Henry Jones III. Spalko believes the crystal skull belongs to an alien life form and holds grand psychic power, and finding more skulls in Akator will grant the Soviets the advantage of psychic warfare.
Spalko uses the skull on Jones to enable him to understand Oxley and identify a route to Akator. Jones and his allies attempt to escape, but Marion and Jones get caught in a dry sandpit, and are recaptured by the Soviets. While on their way to Akator, Mac tells Jones he is a CIA double-agent to regain Jones’ believe. Jones and his team fight their way out of the Soviets’ clutches, while Dovchenko is devoured by siafu ants. After surviving three waterfalls in an amphibious vehicle, Jones and Oxley identify a skull-like rock formation that leads them to Akator, unaware that Mac lied about being a CIA agent and has been dropping transceivers to permit the surviving Soviets to track them.
Jones’ team evade the city’s guardians, acquire access to the temple, and discover it filled with artifacts from numerous ancient civilizations, identifying the aliens as extra-dimensional «archaeologists» studying the diverse cultures of Ground. They discover and enter a chamber containing thirteen crystal skeletons, one missing its skull. Spalko arrives and presents the skull to its skeleton, whereupon the aliens reanimate and telepathically offer a reward in ancient Mayan through Oxley. Spalko immediately demands to know everything and the aliens transfer their knowledge into her mind.
A portal to their dimension becomes activated, and the other remaining Soviets are drawn into it. As Jones, Marion, Mutt, and Oxley (who has regained his sanity) escape, the thirteen beings fuse into one, and in the process of receiving the overwhelming knowledge, Spalko is disintegrated and sucked into the portal. Mac is sucked in too after he willingly lets go of Jones’ whip. Jones’ team escape and watch as the city crumbles, revealing a flying saucer rising from under the ground and vanishing into the «space between spaces», while the hollow in the valley floor left by its departure is flooded by the waters of the Amazon.
The following year, Jones is reinstated at Marshall College and made an associate dean, and he and Marion are married.
Plastic Spoon Lamp
In this video I give you a tutorial on how to make this affordable and beautiful Chandelier. This Chandelier will bling and glance grand in any room in your home (Dressing room/ Closet , Bedroom, Bath room, Office) and will only cost you about $ Items from Dollar Tree, Amazon and Joann’s fabric.
Materials you need: 12 inch wreath frame, 6 inch wreath frame, faux crystals, transparent cord/string, hanging lnks from basket, silver metallic spray paint, pliers, a boiling glue gun and glue sticks, and you are ready to start.
First thing I will do is grab my 12 inch wreath frame and remove the first and final hoop that are held together by the little wires.
I took my pliers and pulled them open. Only take these two out take the smaller hoop and remove one more hoop for a entire of 3 in descending sizes.
Grab the transparent cord and the boiling glue gun for the next step. It will be used to link the smaller hoop to the next tier. Also own a pair of scissors handy to cut the cord. First crisscross the string inside the hoop love this.
Then, cut four inch strings and attached the tiers to one another using the boiling glue gun. Now glue the hanging chain to the chandelier so it will own a nice moving result.
Begin adding the crystals after you spray the metal links and the hoops with the metallic spray.
Start at the bottom tier and work your way up. First add crystals to the crisscross and then continue with the outer ring.
Choose the quantity of crystal strings that you like.
I love this project so much. It is simple but at the same time somewhat challenging and so rewarding!
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There was a time in his life when my husband wouldve balked at the thought of a crystal chandelier in a closet.
He wouldve said that it doesnt make any sense chandeliers are for dining rooms! and why dont you just use one of those nice boob lights?
(He wouldnt own known the term boob light at that time either, but if he had, he wouldve happily enjoyed any occasion to use it.)
I consider it a grand and mighty achievement that, almost nine years into marriage, he didnt even blink when I told him I wanted a fancy chandelier in my closet makeover.
His only response was, Okay, desire to attempt to make one?
BAM. Brainwashing mission complete.
After one chandelier attempt fail, we emerged victorious with this guy:
It every started when I found these crystal ball chandeliers at Horchow.
I liked them, but I wanted something a little more gold and a little less FIFTEEN HUNDRED DOLLARS.
This Marmont Pendant from Serena and Lily was much closer, but I still wanted a little more bling, and there was just no way a $ closet light fixture was happening in this house.
My little chandy came out to a measly little $60, and is full-on BLINGIN CRYSTAL.
I thought and thought for a endless time about how we could make a crystal ball love that.
How would you string crystals through metal love that without knowing anything about welding? My conclusion: uhhhh, beats me.
Remember my DIY capiz shell chandelier?
Its made from a capiz shell tea light holder which we rigged up to the ceiling. (See how here.)
So I went off hunting for another tea light holder that looked love the crystal balls and found these guys:
YESSSS!! I loved them, so I ordered one sight-unseen, with fingers tightly crossed that it would work out. Not-exactly-a-spoiler-alert: it did.
Step 3: Hang it
Before we did this step, we spray-painted the previously-white ceiling canopy with gold spray paint. Thread the lamp cord through the hole in the middle of the canopy, and hook the gold chain (included with the crystal ball) onto the canopy as well.
Then you wire it up just love any other light fixture and screw the canopy onto the ceiling.
(Im being purposely vague and not saying specifically how to wire a light into your houses electrical system because if youre not already comfortable hanging light fixtures, you should probably just hire an electrician.
Electricity kills people, and Id love you to stick around. I ponder we own a excellent thing going.)
I extra-love the light it blings everywhere. My closet is so well-lit and I beautiful much dont leave it except by force.
But the genuine miracle here is that Andy believes crystal chandeliers in the closet are a excellent and normal thing. *Victorious fist-pump!*
Own you ever made a chandelier? Did you ponder I hand-wired every those little crystals myself? Aint nobody got time, yo.
P.S.: Check out every our other DIY light fixtures correct here!
Step 2: Add the bulb
These little crystal balls own a tiny door in the side that opens, resembling a tiny super-glam liberace version of a death star.
Its extremely convenient for adding the bulb.
You just open that little door, thread the finish of the lamp cord through the top of the ball by the handle, and tug it taut, then add your bulb.
AAAAAAND you just wired a chandelier. Just love that.
Step 1: Wire the socket
Follow the directions on whatever socket you bought. This is how we did ours. Thread your lamp cord through the top of the socket, then divide the finish of the cord with a wire stripper. Wrap one wire around one of the silver screws and the other wire around the gold screw, then tighten the screws below with a screwdriver.
It should glance love this when youre done:
If you'd love to jazz up a fixture you already own .
Customize the Lampshade
A reflective material inside the shade will assist cast light back below toward the table, Groves points out, while perforated shades will turn any bulb into a twinkly light (if that's your prerogative). "Textured fabrics love raw silk will add a beautiful warmth and shadow to a room," he says, but should you require a more directional cast "an opaque shade wouldn’t give you a lot of glow in the room, but would put more on the table." Just because a fixture has shades you're not into doesn't mean it's the finish of the line. Swap them out!
If you're ill of the typical dining room glance .
Consider Less Traditional Fixtures
From paper lanterns to pendant lights, the options certainly don't stop at chandeliers. Groves suggests creating a constellation effect by hanging a group of lights, or by placing a floor lamp placed beside the table rather than mounting a fixture at every. Maybe you're devoted to crystal (understandable, Groves says, as "it's been around for hundreds of years for excellent reason"), in which case consider a more modern shape fashioned from the traditional material.
How to Install Dining Room Lighting
When hanging a pendant or a chandelier .
Take Care to Hang It at the Correct Height
Too high and a pendant lamp might glance stuck to the ceiling, constricted; too low and you won't be capable to see your guests around it. Somewhere in between is just correct, so step back and consider it at various lengths before settling on one. "When you’re seated, you don’t desire [the fixture] to be in your face—the same way everyone gets annoyed when flowers are in the way," Groves says.
If you're into geometric lines . . .
Get Creative with the Cord
When hanging a pendant lamp with a extremely simple silhouette, feel free to get creative with the cord: Zig-zag it from wall to wall around a corner, tack it in swags along the ceiling, or loop it over a hook on the wall.
To soften overly bright overheads .
Add a Dimmer
Designer Sam Allen feels strongly about the worth of a dimmer switch: "If your dining room chandelier is not hooked up to a dimmer, call an electrician correct now. I mean it. Don't even finish reading this—call your electrician first." With the simple pressing of a lever or turning of a knob, dimmers permit you to control the brightness of the bulbs, which is particularly significant if you're dealing with often-harsh overhead lighting. "To me, chandeliers should mimic candlelight," says Groves—and that warm, dim glow is possible if you just install dimmers.
Plus, they're available in both modern and traditional silhouettes that will add considerably more charm to the walls than those plastic switch plates you hate anyway.
To make the room multifunctional . . .
Supplement the Lighting Solution You Choose
If you finish up with nice, warm candlelight over the table, you might need to add sconces or downlights to supplement the glow when the room is used for anything other than an intimate dinner. (Dining room tables are extremely excellent for DIY projects, we'd love to note).
If you're a fanatic about light quality .
Be Selective with the Bulbs You Use
Warm light, cool light, bright light—you can get exactly the brightness level you desire with the correct bulb. For lots of ambiance, attempt vintage-inspired filament bulbs. If it's more a specific shape and style you're after for an exposed-bulb fixture, attempt decorative bulbs.
DIY Recycled TetraBox Lamp
Designed byEd Chew