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When applying for online payday loans with us, we will need the last 60 days of your bank statement either faxed or emailed to us along with a void cheque. These loans are specially designed for bad credit holders who are facing financial troubles before payday. You will obtain totally unsecured loans through us, so you will not have to pledge collateral. So as to avoid the overdue fee and overdue interest, please ensure that you have sufficient funds in your bank account on your loan payment due date. Others want to avoid bounced cheque fees or late payment penalties. Others want to avoid bounced cheque fees or late payment penalties.

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A STORY OF CHILDREN AND FILM


MyCashCow has agreements with third party collections agencies, authorizing them to collect on delinquent accounts. Accounts may be settled for less than the amount actually owing, at the discretion of the collection agency.

In the event that you do not repay us on a loan, you will not be permitted to borrow from us again until such time as you have repaid your outstanding delinquent loan.

In addition, your file, including all delinquency information regarding your delinquent loan, will be sent to a third party collection agency. We only use reputable collection agencies that comply with all prevailing best and lawful collections practices. Any customer who does not repay his or her loan in full by the loan's due date will be considered delinquent and the loan will be classified as non-payed.

In such cases, the customer's file will be sent to a third party collection agency and customer will have this default reported to a credit agency. The customer's credit rating may be negatively impacted. Why would I ever need a payday loan? Payday loans are there for you when you have more month than money. In other words, our clients like to have payday loans available to them when they run out of money and they need a cash advance to bridge the financial gap until their next payday.

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High Approval Rate We know not everybody is the same, we take a unique step for every application. They called this wild idea The Pilgrimage. Mark had consulted the British Tug-of-War Association about how many people it would take to pull a truck of that size, and showed me some figures scribbled on the back of an envelope. Mark was a maths whizz long before he was a world-renowned cinephile, but he was a bit troubled about his calculations. I guess we won't find out until we actually try.

It might be a disaster. I decided then and there that my family — myself, wife Mary Bell and our two sons, then 8 and 12, both film mad — had to become Pilgrims. Mark may have been uncertain about whether he and Tilda could pull off this lunatic scheme, but I had no doubt whatsoever that it would be an once-in-a-lifetime experience for anyone who took the plunge and trusted in their vision.

And so it proved. We met amazing people who came from all over the world. We watched great films. We swam in lochs.

We got eaten by midges. About 50 people pulled the Screen Machine with ease though not me, because I had a bad back. So when I was standing in the Bridge of Allan Co-op last autumn, and Mark called to ask, rather diffidently "I'm sure yous are too busy," he said , if Mary and I would like to produce "A Story of Children and Film," it took me about a second to say yes.

For all his modesty, Mark has a clarity of conviction which makes remarkable things happen, and which delivers enormous rewards for anyone who tags along for the ride. I've learnt not to hesitate if he asks me to do anything. So being giving the chance to help him make his next film was an extraordinary gift. There are some horses or is it a dog, or a cat? I've been in love with films since I was a child when I used to go to my local cinema every Saturday from about the age of 8 or 9 to what was then called a "Cine-Disco" child of the 70's!

The local "Cine-Disco" involved about an hour of music where us kids were allowed up on the main stage to dance about to the music, chat with our mates, eat lots of sweets and learn what it was all about to speak to girls!

Then once the hour of music was over we all returned to the cinema seats and were treated to some cartoons, an old black and white mystery serial that would run on each week and then a main feature. The main feature would invariably be anything that was out at the time like "Star Wars" or "Superman" but more often than not, it would be something by the Children's Film Foundation.

As I got older and into my teens, I was given my first video recorder an old Betamax and I would record virtually any film that was broadcast on TV.

This enabled me to watch the likes of films by Hawks, Hitchcock, Lang, Ford and discover foreign cinema at quite an early age. I was hooked and wanted to learn more, so started reading many books on film too. Outside of my day job, my work in film has begin to develop over the past 10 years or so, to a point now where I am keen for this to be my main vocation.

I have my own archive of films and documentaries on cinema as well as having access to many private film collections around the world and some film archives too. I help many film writers, critics, directors and film lecturers by tracking down titles they are looking for, for research and study purposes. I've known Mark about two years, at first just via email and then our paths crossed in August at Los Angeles airport in the departures lounge.

Whilst at the festival we hung out a few times together, got talking about films generally and gradually got to know a bit more about each another. I expressed that I was not very happy in my current job and Mark very kindly offered to help to see if he could find me something linked more with my strengths and knowledge of film. Towards the end of November I received an email from Mark asking if I would be interested in being a researcher on a new film he was about to start making.

About a week later Mark and I met in Cambridge and spent a few hours discussing the film in more detail and what my role would entail. The next challenge, once I had seen a rough cut of the film towards the end of February, was to then start acquiring the best possible source materials of each of the 53 films that are used in the film. Mark had a few of the titles in his personal collection and the rest I was able to obtain via other means.

By the end there were only a couple of titles that proved difficult to obtain. So it was with A Story of Children and Film. I realised early on in my thinking that, unlike my other films, it would not be about a journey, a road movie, it would be a series of themes.

So I scribbled each childhood theme — shy, secretive, performative, destructive, watching, leaving, adventurer, dreaming, grumpy, scared, loss, limited horizon, daring, class, adult, dog with a bone, alone — on the page, and drew a rough box around each. Then, each time I watched a film, if it had a good scene about one of those themes, I wrote it down in the relevant box.

I noted down the order in which I saw the themes — shyness came first, for example, and destructiveness came last. This, by and large, became the order in which we edited the scenes in the film. When it came to the edit, we chose what I thought were the best examples.

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