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So far it is looking very big and very rich. Other locations include Paris, Lisbon and Berlin. It is then on to Australia to wrap at the Village Roadshow studios. The original script has scenes of the Berlin wall coming down in Luxemburgand Love andFear. In The Return, Sukowa plays Martha, a doctor who comes back to her Paris home from Africa with the roots of her personal crisis still very much intact.

Her failed relationship with a journalist, Victor Sarny Frey , and her lost friendship with her former friend Anna Stefania Sandrelli , cause her to reassess her life with the aim of finding some kind of reconciliation with herself and with the world. Von Trotta: TheRetumis a film about love and about friendship. The man in the story is torn between the two women in his life: Martha, who is intellectually much more critical, and Anna, who is very sweet and uncomplicated.

What I want to show is that he has two women he must have: The list of credits on The Return proves that Von Trotta can now command the best in Italian technicians. Though Love and Fear was a step a little further away from her more overtly political modes like The Leaden Years and The Second Awakening of Christa Klages, The Return marks an even greater step towards films which are much more personal and intimate, a new phase in the directing career of Von Trotta. Barbara Sukowa: I prefer to be in political movies.

But on this one I trusted Margarethe, who has changed. When we did The Uaden Years together, she was much more rigid, and here she is very gentle and much more mature. Motion Pictures Guarantors are an international company providing completion bonds for more than motion pictures and television series in North America, Europe, Australia and New Zealand, with budgets in excess of million dollars.

Then, to the surprise and disappointment of many, he n period of aborted projects, he made the critically-acclaimed Western B arbarosa Each Schepisifilm is an entity unto itself seeking and adopting pif directorial style peculiar to die materials.. They are good films, obviously. I wrote the first as an original and adapted the other, so I was right inside both of them. That was a good way to start working. Financially, there was not a lot of room. The Chant ofJimmie Blacksmith cost Si. That took 14 weeks to shoot as it involved a lot of travelling - 10, kms, if I recall.

I remember people angrily raving on about the indecency of spending SI. It was as if we were throwing money away in the Hollywood manner. That was absolute nonsense: It kind of made me laugh It was all to do with an attitude common at that time. A lot of the crew had started in the business at The Film House, and then gone on to CrawTords and the other television production houses.

They made us feel unprofessional and quite shabby. But, as they go through this experience, they will learn. I guess the lesson that came out of that was not to listen to those kind of criticisms. You should concentrate on what you are doing and organize all of the mechanics, like the scheduling, to give yourself the best chance of achieving things creatively. The one good thing was that the crew worked in a free sort of way. Because of that, and because we were essentially on one location, we were able to adjust our schedule for the appalling weather.

But we never could get it; I think we tried four times. Finally, I realized I had to sit down and work out how I could make the scene work in the rain. I then came up with what is one of the best moments in the film, in terms of atmospherics and effectiveness.

It is the scene where Tom Allen [Simon Burke] is leaning over the balcony, looking very sadly into the distance, and Brother Sebastian [Charles McCullum] comes along and has a talk. It is a far better scene than the one I had planned. So exigencies and budgets can force you into what can be great creative decisions. There is also the scene by the riverbank, which was obviously shot in inclement weather. That is one of my most favourite scenes in lighting terms.

There is something beautiful about the lightness of the grass, about the way the trees are spaced, and how the river glistens. They are in. We had the advantage of all living on the location [Werribee Park]. And, because we had no dough, all the interstate cast used to live at our house on weekends. Rhonda [Schepisi], who did all the scheduling with me, and the casting, and had helped get the thing rolling, was also the second assistant director. But of course she was then my wife and when everyone used to come back she would cook meals.

I think our tempers were a little frayed. I think that really helped us to establish the camaraderie that you can see in the film. I remember we got that location after having toured all of N. Rhonda and [art director] Trevor Ling actually talked me into that place. I thought it was too big for the film I had in mind,. Just imagine half the room is missing and you will work more comfortably. Then I went to the Victorian government - this was before Film Victoria had started - and saw one of the ministers.

As this happened only a week before we had to start shooting, I left that place walking three feet off the ground But it was a far, far bigger film than anyone had any idea of, particularly me. And it was on Jimmie Blacksmith that I first came across burgeoning unionism in the Australian film industry. I was also angry at the rumours that were spread about the film. Everybody seemed to want it to fail. That is a disturbing trait in the Australian character: The only reason I mention this is because the otherwise good experience was tinged a little with bitterness.

But I realized very quickly that in those years everything had changed radically, and that I should treat coming back the same as if I were going to Canada or England or France. I had to select a crew here the same way I would in any of those places. There is a system for doing that, and I used it here. To my surprise, I ended up with many of the people I had worked with on Jimmie Blacksmith.

The fact they had been with me before had not worked for them at all. I got great pleasure out of that, because it meant they had gone on and improved themselves; they had built on a good foundation and not taken bad sidetracks or got LEFT: There was a genuine desire to achieve good work, a real adaptability. That was very thrilling for me. The Evil Angels crew was better than any crew I have ever worked with. I did not expect that, at all. And we worked pretty swiftly on Roxanne.

After having made two of the finest Australian films of the s, you moved overseas. Why the change? Both those films cost me a lot of money. We also distributed that ourselves, which cost as much money again. That is a lot of dough and I had to work two shifts of commercials just to keep the money coming in. So, the first reason for going overseas was to get properly paid.

The second was that I wanted to test myself in the international marketplace, to challenge what I had learnt. I also had this funny idea that if I managed to do a couple of successful films in America, and. The first thing I did over there was get one of the top agents, Sam Cohn. He got me a job writing, producing and directing a comedy for Fox.

They had a litde less money in it than I did, but a hell of a lot more rights. I came back to Australia to write the script and I wasjust about to head back to the States with the finished draft when I heard the president of Fox had been marched off the lot. Then Sandy Lieberson, who had helped at Fox with distributing Jimmie Blacksmith, got the job as president. So, two months later, I dutifully got on a plane, script in hand, only to arrive the day that Sandy got fired!

Not knowing what to do, I went to the now third president of Fox And if you happen to like it, well fine. It is like the Public Service: She knew who to ring and what to do. It was not a particularly good time. Meanwhile, I was being touted for a couple of projects. One was a tap dancing film that was going to be done in Chicago, called Partners, which I really liked. Another was Raggedy Man. Iwenttowork on both of them. The musical was still being written, for which I was getting some money, but I was only on a promise with Raggedy Man. I did a lot of writing and research with its writer, Bill Whittliff.

I liked it, it was a definite project and it was called Barbarosa. Then they pulled a swifty on me over Raggedy Man and Ijumped. It wasjust as well as the script went all the way back to where it was and the film that got made stinks. It was sad, actually, because it really could have been a good film. But Bill Whittliff is like that. He has an original vision with certain limitations.

You then take him out of it to a place which he appreciates at the time. But if you let go of the leash, he goes Peow! Everything that I felt was wrong with the script is in the final film. On Barbarosa, I had a maniac of an actor called Gary Busey. He is a great actor, great actor, but an absolute nightmare to deal with. The art form in that picture was getting Gary out of his motor home and onto location so that he could act.

I also had four producers! What this really meant was that I ended up doing the work. Certainly when there was any trouble I did the work. How I knew there was trouble was when I saw my producers driving away from the set, heading for Los Angeles on urgent business! The biggest shock for anybody going to America is the size of everything and the adjustment that takes. For example, an enormous amount of time is demanded of you by the actors, who resent your even looking through the camera.

We soon worked out that there is no way you can get this huge circus moving swiftly. So we set up these little runner units and, while all the big stuffwas back at base, we sent out the small units. That way we managed to get back to working the way we wanted. So I went back to L. But then I learnt how to deal with it.

That was my first Hollywood lesson. I hate ordinary press interviews because it all comes down to what I have been doing. Where was Barbarosa shot? The locations are most striking. I had Preston Aimes, a great, old-time production designer, come in at one stage. Itwas completely wilderness, but because it was a tourist spot there were tarred roads all through it. You could drive your trucks right to where you wanted, step off the road and shoot.

They were also hard to get to, whereas this was so accessible. The other great thing was you could do wide shots at both ends of the day, because of the way that the mountains were structured.

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And as you moved in to do closer work, there was always a direction you could point where you would get great light and good texture on the backgrounds. But these were things American producers don t understand. Whereas we love to talk about light, over there there s absolutely no point talking to anybody about it. Anyway, to convince the producer of the sensibleness of this location, we all jumped in ajet and flew down. When we landed, he got out and he fell to his knees. I have to tell you, the impact of no television on a group of people raised on 26 channels is really something to see.

They are not like Australian crews who will make their own fun at night. These Americans had to make quite some adjustments. It was fun. In many ways, doing a Western as your first American film was a risky undertaking. I agree. But the reason they chose me, which always makes me laugh, is that they thought Jimmie Blacksmith was a great Western. In fact, they even teach that in some of their fjlm schools! A child of some of my friends was going to film school there, and her major thesis was on Jimmie Blacksmith.

So she asked me whether she could talk to me about it. Anyway, that is why I was chosen. In general, Americans wantyour originality, but not for original films. They want it applied to their kind of films. The company I was making it for went broke and Universal took over the distribution, along with a number of other films.

One was The Legend oj the Lone Ranger, which they thought was going to be sensational. But any fool looking at it could have told them, This is a total disaster. Great, huh? You should release it in New York and try and build up a reputation over a two-month period. Let people discover it as a film, then release it everywhere else. So where did they screen it? In Yonkers. The film then broke in the projector and all sorts of other things went wrong. I even had one critic who hated it go back and see it again; I managed to convince him he liked it.

Despite this, Bob Raimey still ignored me and released it the same way they had released Honeysuckle Rose. Work that one out. So, in answer to your question, not only was it dumb to make a Western, itwas dumb to make itwith those people. ButI like the film; I like it a lot. The film has the feeling of being made by people who applied more care and intelligence than the script deserved.

After Barbarosa, which gained you a considerable critical reputation, you went off to do a film that struck many people as an odd choice. I was supposed to do Partners after Barbarosa, but there was a change of management at Lorrimar, where I was doing it. I then tried to get up a number of other projects. One was set in Taiwan and written by James Goldman. Another great project was The Consultant, about a guy who manipulates political images for the media.

It had Roy Scheider, and Jaqueline Bisset as a documentary reporter who gets mixed up in some killings. He shot the script over to me, I read it and then went That is probably right. Then Universal hired a guy who had written a great script for something or other, but he was neither very' intelligent nor hardworking. So we were always behind the eight ball. Norman Jewison, whom I like, also insisted during the audience testing period that certain things be removed.

I think those cuts took away a bit of the edge and some of the explanation. I am not having a shot at Norman. He did what he feltwas right, and I think he was in one respect: You often find this in a good play. The problem with Iceman was that it was always perceived as el cheapo science fiction by the public, who stayed away in droves.

Still, it has had an extraordinary life on video. And if I am getting cheques from video, somebody got rich! I love Plenty. I felt I was able to apply all the things I had learnt beforehand on my other films. The locations are a genuine character in. Plenty was London based. Was it English or American financed? The financing was very complicated. We ended up being financed by R. So it was American money, but an all-English production. Unfortunately, the revitalization only lasted a couple of years. I had enjoyed the play but had a couple of problems with some of it.

I have to tell you, because you may not want to go on with this meeting, and it would be silly of us to do it the other way round. In a couple of cases, he also made me see things another way, which was very helpful. We then realized we were heading in the same direction, and from then on we got on very well. I knew it was a hell of an enterprise, but it was a really intelligent, worthy thing to do.

I felt it could be a bloody good film. The first step was to decide if we should cast Meryl Streep or Kate Nelligan, who had done the play on Broadway. Personally I wanted Meryl, for the reasons of getting more inroads into the character. She was also important in terms of getting the amount of money I believed was necessary to do the film. Kate had the reputation on stage at that time, but Meryl had it on film. Ed Pressman then started running round trying to get the money.

As soon as I smelt he had some of it, he found me on a plane to England, spending. He had to make it work! Such stories would have come from the film done in Vietnam [Saigon: Year of the Cat] and from people like Frederick Forrest, who wanted to ad lib his dialogue. Of course, David wanted his words said in a certain way, as does any great writer. There are rhythms, and motors, and emotional undercurrents in those words. David and I actually spent a lot of time taking Plenty from a stage play and making it a film. There were eight or ten drafts done on that screenplay. I would savage David, he would savage me, then he would go away and make it his own again.

It was a real process. I believe we succeeded in fixing some of the flaws of the play. In fact, during the filming, if there were moments we felt were still not working, we kept talking about them while I shot other stuff. That way we could hopefully fix things before it came time to shoot. But he has a completely original approach, and is really exciting. I also like Paris by Night, but I think I would have done a better job of it. I loved the script and really wanted to do it. I would have done a real film noirwith a lot more bravura in the visuals.

Would you have portrayed the heroine so darkly? He likes that. He is examining the cold bleakness of people. His thing is this English exterior which he wants to penetrate and bust. I would have examined that in another way. There are only two people on stage and it is about boredom and tedium, about life passing by. Many people would direct that in aboooorrrringway, letting you have that same experience. In the production I saw, [director] Mike Nichols made everything compelling and funny and fast. Having said that, I still like Paris by Night. It is a challenging and different experience.

Have you seen Strapless? I like it a lot. It has a wonderful mood about it and a lot of energy. I love Blair Brown, though I think David could have made her look a bit prettier! After the success of Plenty, you moved to comedy with Roxanne. Plenty was a great experience for me, on an intellectual and craft level, as well as a personal one. David and I got on very well. As with all really good people, we found frank exchanges the best way. If you can put aside ego and be frank, you are able to see how your own limitations may have prevented you from seeing something earlier.

You will then see things in a completely different way. I also love his early television work, like Dreams of the Leaving. When he directs, David is a bit like David Mamet: He tries to be original in his cinematic language, and he is learning all the time. Sometimes I I had actually been trying to do comedy for quite a while. Before Iceman, I had been involved with a physical comedy based on Robin Hood, which I was going to do in the style of The Three Musketeers, but hopefully even better. I was really looking forward to that, but it never came to be. In the meantime, I took two writing jobs.

I did an adaptation of the book, Meet Me at the Melba. As well as these, there were two Steve Tesich screenplays, both comedies of tone and character. I got so depressed by this that I actually shot 20 minutes of one of them on videotape. Then two weeks later, when we went in for the final meeting, they changed their minds again.

I think that had to do with Kirk Kerkorian playing round with money, and not the script. So, it seemed as if no one would let me do a comedy. Then a friend of mine, Martha Lattrall, had her agency bought out by I. Suddenly she went from a friend who gave me advice to one of my agents. When I met with Dan, I rather arrogantly gave him my theories on comedy and life and acting. But he seemed to like all that, and my work. Steve Martin also turned out to be a great fan of Plenty, and was looking to take an acting step.

What are we going to do about it? Then the guy who had been resisting me at Columbia left for another job and I was in. Roxannewas a great experience for me and a breakthrough. You see, something happens when you start refining your aesthetics: I saw a good line the other day: I can shoot it with that in mind, just knowing I might do it.

But hold on: Why is it corny? I even did a whole film with just five voices. I used to be very free and experimental, going out and pushing the borders. But as you get into features, there are certain things you get rid of, because everything has to be in the service of the story and the characters. Roxanne opened all those doors for me. It was very strange, because here I was doing a comedy which was forcing me to be far more conventional than I would have liked.

There is always only one place to put the camera, and the minute you plan to have an alternative joke, or you want to drop a line, you are forced into coverage. Against that need to be conservative, I had to fight to adopt a style and keep it in the film. So Roxanne was a very freeing experience for me, and I have had a renewed attitude ever since. If something works, it works. If I moved, I crept.

But now I ask myself: Who says? You must find what the picture needs, then do it. It governs the whole structure of it, crossing as it does to people over the country for comments. I have taken that style even further in The Russia House. One stylistic element common to all your films is the abrupt changing of perspective on people in the landscape. You cut from very wide to very close and even through 90 degrees, which almost no other director does. The opening of Icemanis quite extraordinary in its use of 90 degree cuts. For me, every character who appears in a film, from the very bit part right up, has to have an inner life.

Many times they play things that are not immediately perceivable. And I give them as much information about who they are as I do the main actors. That is part of what gives that sense of community: The perception of you in America must have changed greatly after the success of Roxanne.

Did you feel that? There was a lot of pressure from the good independents, and particularly writers, to do their work, and I still had the possibility of working for the majors. But then Roxanne made money. More than that, it was funny and warm. It could have been just a conventional comedy, but it became more than that.

Roxanne made the studios appreciate my skills more, and it also made money. I am not sure in which order that goes, but I have an idea.

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That is my grammar. Each film is different, as we agree, but there is a basic grammar about cutting on line and shocking scale changes. These are stimulus things: I hate those miserable little 30 degree changes and boring over-the-shoulder stuff. Cut round strongly; go 90 degrees if you want. I like to work with modular-pattern filmmaking. If you find you have a flaw in the development or something, it is actually easier to unplug and shift things around when working this way than if you are using a more conventional system.

That is something I learnt many, many years ago and is partly why I do some of what you mentioned. But it is also more than that. Steve Martin had been tried in other films and not really succeeded, so the fact that he worked so well in Roxanne must have been seen as proof of your abilities as a director. The scene at the beginning of Roxanne, where C. Bales [Steve Martin] comes down the steps with his racket and walks along the path before meeting the two hooris, is almost the classic sequence of Schepisi patterning. Yes it is. Another stylistic element is the sense of community detailed in each picture.

In Roxanne, for example, there is the strong feeling for the town and of the relationships between people. There was a story, a character and a depth beyond the simply comedic approach, and a romance had an emotional storyline. But he might have. Bill Hurt actually expressed it a little differently and I think more accurately. They concentrate on main characters and everyone else is peripheral. After Roxanne, your reputation was at a high with the major studios.

But instead of trying to consolidate yourself in America, you came to Australia to make a film for Cannon. I want each film to be a challenge and a new experience. I thought it was going to be too hard, and I was right. But [producer] Verity Lambert just drove me mad about it. Fortunately, I was able to do it - and this will sound wrong - on Hollywood terms.

With her name, I was able to get the money to do it properly. Meryl was an enormously helpful collaborator on every level. She gave me the confidence to believe I could do it. I understand now why people 20 years after an event combine characters and cheat on a few things. What they present dramatically can be closer to the truth in an emotional way than if they were strictly hidebound At the same time, there is a strong desire on a personal level to make people conform to an accepted norm.

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Substrate cooperativity in marine luciferases. Mining predicted essential genes of Brugaria malayi for nematode drug targets. Kumar, S. The complete genome of Teredinibacter turnerae T Yang, J. A new family of receptor tyrosine kinases with a venus flytrap binding domain in insects and other invertebrates activated by aminoacids.

Human condensin function is essential for centromeric chromatin assembly and proper sister kinetochore orientation. Single-stranded binding proteins and helicase enhance the activity of prokaryotic argonautes in vitro. What is in your cup of tea? DNA Verity Test to characterize black and green commercial teas. Identification of putative effectors of the Type IV secretion system from the Wolbachia endosymbiont of Brugia malayi. Colorimetric tests for diagnosis of filarial infection and vector surveillance using non-instrumented nucleic acid loop-mediated isothermal amplification NINA-LAMP.

Removing the needle from the haystack: Removing the needle from the haystack Enrichment ofWolbachia endosymbiont transcripts from host nematode RNA by Cappableseq. Zygiel, E. Characterization in vivo and in vitro with a new approach to cleavage site determination. Tzertzinis, G. Targeting the Wolbachia cell division protein FtsZ as a new approach for antifilarial therapy. A Target repurposing approach identifies N-myristoyltransferase as a new candidate drug target in filarial nematodes.

Galvin, B. Asymmetric Wolbachia segregation during early Brugia malayi embryogenesis determines its distribution in adult host tissues. The role of an asymmetrically inherited endosymbiont in robust establishment of host embryonic polarity. Mhashilkar, A. Diagnosis of brugian filariasis by loop-mediated isothermal amplification. Britton, S. Co-evolution between an Endosymbiont and Its Nematode Host: Targeted nanoparticles for imaging incipient pancreatic ductal adenocarcinoma. The Epigenomic Landscape of Prokaryotes. Blow, M. Henderson, I. Mutations in four glycosyl hydrolases reveal a highly coordinated pathway for rhodopsin biosynthesis and N-glycan trimming in Drosophila melanogaster.

Segmentally Variable Genes: A new perspective on adaptation. Identifying protein function - a call for community action. The Wolbachia Genome of Brugia malayi: Endosymbiont Evolution within a Human Pathogenic Nematode. Callahan, S. Characterization of a Zika Virus Isolate from Colombia. Anismrita Lahon, Ravi P. Arya, Alexander R. Kneubehl, Megan B. Vogt, Natalie J. GoldenBraid 2. Development of a universal and simplified ddRAD library preparation approach for SNP discovery and genotyping in angiosperm plants.

Sequence-tagged high-density genetic maps of Zoysia japonica provide insights into genome evolution in Chloridoideae. Protein Splicing Elements and Plants: From Transgene Containment to Protein Purification. Insights into the effects of N-glycosylation on the characteristics of the VC1 domain of the human receptor for advanced glycation end products RAGE secreted by. Selective labeling of proteins with chemical probes in living cells. Novel peptide ligands that bind specifically to mouse embryonic stem cells.

Anti-tumor effects of a novel chimeric peptide on S and H22 xenografts bearing nude mice. Identification of a novel muscle targeting peptide in mdx mice. Tracking of human Y receptors in living cells- A fluorescence approach. Identification of nose-to-brain homing peptide through phage display. Levels of DNA cystosine methylation in the Drosophila genome. Deep within the Filarial Genome: Progress of the Filarial Genome Project. Wolbachia genomes and the many faces of symbiosis.

Anti-Wolbachia drug discovery and development: An aspartate aminotransferase of Wolbachia endobacteria from Onchocerca volvulus is recognized by IgG1 antibodies from residents of endemic areas. The bacterial catalase from filarial DNA preparations derives from common pseudomonad contaminants and not from Wolbachia endosymbionts. Cofactor-independent Phosphoglycerate Mutase is an essential gene in procyclic form Trypanosoma brucei. The Wolbachia endosymbiont of Brugia malayi has an active phosphoglycerate mutase: The Molecular Biology, Immunology and chemotherapy of Wolbachia bacterial endosymbionts of filarial nematodes.

Parasitic Nematodes: In vitro RNA interference and immunofluorescence-based phenotype analysis in a human parasitic nematode, Brugia malayi. In vitro RNA interference and immunofluorescence-based phenotype analysis in a human parasitic nematode , Brugia malayi. Absence of Wolbachia endobacteria in the non-filariid nematodes Angiostrongylus cantonensis and A. An analysis of the humoral immune response of dogs following vaccination with irradiated infective larvae of Dirofilaria immitis. Expression of an Onchocerca volvulus Ov33 homolog in Dirofilaria immitis: Filarial and Wolbachia Genomics.

Scott, A. Filarial and Wolbachia genomics. Morphological and molecular characterization of Onchocerca fasciata Nematoda, Onchocercidae from dromedary camels Camelus dromedarius in Iran. Absense of Wolbachia endobacteria in the human parasitic nematode Dracunculus medinensis and two related Dracunculus species infecting wildlife. Efficient in vitro RNA interference and immunofluorescence-based phenotype analysis in a human parasitic nematode, Brugia malayi.

Lipoprotein biosynthesis as a target for anti- Wolbachia treatment of filarial nematodes. A Concise Synthesis of the Pennsylvania green fluorophore and labeling of intracellular targets with O6-Benzylguanine Derivatives. Fura-2FF-based calcium indicator for protein labeling.

Comprehensive nucelosome mapping of the human genome in cancer progression. Druliner, B. The uric acid transporter SLC2A9 is a direct target gene of the tumor suppressor p53 contributing to antioxidant defense. Viral oncoproteins target the DNA methyltransferases. BspRI restriction endonuclease: Rasko, T. Purification and characterisation of a novel DNA methyltransferase, M. The other face of restriction: The complex methylome of the human gastric pathogen Helicobacter pylori.

Juliane Krebes, Richard D. Roberts, Jonas Korlach, Sebastian Suerbaum. Clark, T. Highlights of the DNA cutters: Wil A. Loenen, David T. Dryden, Elisabeth A. Raleigh, Geoffrey G. Wilson, and Noreen E. Increasing cleavage specificity and activity of restriction endonuclease KpnI.

A database for DNA restriction and modification: Hydroxymethyluracil modifications enhance the flexibility and hydrophilicity of double-stranded DNA. Blumenthal, Xing Zhang, Xiaodong Cheng. Horton, J. Gregory J. Cantor, Thomas C. Evans Jr. Chromatin particle spectrum analysis: Base modificatons affecting RNA polymerase and reverse transcriptase fidelity. Potapov, V. Bottacini, F. Using high-throughput barcode sequencing to efficiently map connectomes.

Peikon, I. I, Sun, Y. Midon, M. De Masi, F. Characterization of the 5-hydroxymethylcytosine-specific DNA restriction endonucleases. Han, T. DNA recognition by the SwaI restriction endonuclease involves unusual distortion of an 8 base pair A: T-rich target. Perpetuating the homing endonuclease life cycle: Novel m4C modification in type I restriction-modification systems. Denys-Drash syndrome associated WT1 glutamine mutants have altered sequence-preferences and altered responses to epigenetic modifications.

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Engineering Nt. BtsCI and Nb. Expats who brave the traffic at all typically have an apprenticeship of a few weeks or months riding on the back of others' motorbikes to learn the ways of the traffic, before attempting to ride themselves. Extreme caution is advised for short-term visitors. Riding long distance in the countryside can also be harrowing depending on the route you take.

Major roads between cities tend to be narrow despite being major, and full of tour buses hell-bent on speed, passing slow trucks where maybe they shouldn't have tried, and leaving not much room at the edge for motorbikes. That being said, there are many good roads and beautiful sights to be seen with the freedom of your own motorbike.

Shortly after Kon Tum the road enters the mountains close to the Lao border, with majestic scenery quiet and ethnic villages for km, finally emerging back to the lowlands at the world heritage listed Phong Nha caves.

This quiet alternative to the coastal chaos can be taken all the way to Ha Noi. Two main categories of motorbike are available to rent: The ubiquitous Honda Super Cub is a common 4-speed bike that has a semi-automatic gearbox, i.

Trình đơn chuyển hướng

Other models may be fully manual and therefore you must also operate the clutch using your left hand - this takes a lot of skill and it's all too easy to over-rev and pull a wheelie or stall the engine - if you end up with such a bike then practice releasing the clutch gently before hitting the roads!

Dirt bikes are becoming popular for rent in Hanoi, other cities are not yet ready for these beasts. Rental agents tend to steer foreigners toward scooters if available, on the plausible assumption that they don't know how to ride motorbikes that require shifting gears. Motorcycles of cc and above are only legal to ride if you make a connection with a Vietnamese motorcycle club.

Most places you would want to stop at have parking attendants who will issue you a numbered tag and watch over your bike. Sometimes these parking operations are overseen by the establishment you are visiting, and sometimes they are free-lance operations set up in places where a lot of people go. You will usually see rows of bikes lined up parked. Depending on circumstance, you might park the bike yourself, or just take out the key, put it in neutral, and let the staff position it.

In all but rare cases you keep the key. Parking is sometimes free at restaurants and cafes look for "giu xe mien phi". Elsewhere, fees range from 2, to 5, to 10, dong. Traffic police in the cities pull over lots of locals often for reasons that are hard to discern , but conventional wisdom has it that they rarely bother foreigners due to the language barrier. Obeying the traffic laws is nevertheless advisable, especially if you have failed to obtain a Vietnamese license. Cities like Ho Chi Minh and Hanoi have several one way streets, and it is too easy to just steer into them unknowingly as there are limited signs warning you.

Be sure that if you break law, the police who are sneaking just at the right spot, will ask you to pull over and will fine you. They will also threaten to confiscate your bike. The quoted price for the fine is negotiable, and being apologetic and friendly can get you back on road quickly, with a few dollars less in your pockets. It is less likely that they will bully or harasses you.

Helmets are required by law, so if you don't have one already ask your rental agent to provide you with one. Riding without a helmet greatly increases attention from the police. While slowly being supplanted by motorbikes, cyclo pedicabs still roam the streets of Vietnam's cities and towns. They are especially common in scenic smaller, less busy cities like Hue, where it's pleasant to cruise slowly along taking in the sights. Though the ride will be slow, hot and sometimes dangerous, you'll generally need to pay more than for a motorbike for the equivalent distance.

On the plus side, some drivers particularly in the South are very friendly and happy to give you a running commentary on the sights. Cyclo drivers are notoriously mercenary and will always ask for a high price to start with. Sometimes they will also demand more than the agreed price at the end. Japanese tourists, especially women, are most often targeted with this scam since they are more responsive to the threat that the driver will call the police and make trouble for them if they don't pay as demanded. A reasonable price is about 20, dong for up to 2 km 1. You won't get far before that driver or another takes your offer.

Prices for a sight-seeing circuit with intermediate stops are more complex to negotiate and more subject to conflict at the end. If you plan to stop somewhere for any length of time, it's best to settle up with the driver, make no promises, and start fresh later.

Some drivers start with a very low rate to get you into their cycle and then if required to wait for you or otherwise vary the agreed price, bring out a typed up price list of their "standard rates" which are inflated beyond belief. If even slightly unsure ask the driver show you his list of charges. Then negotiate from that point or walk away. To avoid trouble, it's also best to have exact change for the amount you agreed to pay, so if the driver tries to revise the deal, you can just lay your cash on the seat and leave.

You will be missing a big part of Vietnamese life if you do not spend some time on a boat. Do be careful though because many boats, although seaworthy, are not designed to first world standards. An example is the ferry from Phu Quoc to the mainland. This ferry has one tiny entrance for all passengers to board. When full, which it usually is, there are approximately people on board. In the event of an accident, the chance of everyone getting out of the boat fast enough would be very small.

The idea of an emergency exit does not exist there. Ha Long Bay is a famous destination for one- to three-day boat trips among its scenic limestone islands. The problem is that all the boats seem to visit the same places - and with high prices, poor quality boats and service real value is hard to come by. If there is rain, mist or low cloud, you may not see much. Try to pick a clear day. Dozens of small family-operated boats ply the river in Hue taking visitors to the imperial tombs southwest of the city. This journey is long because the boats are slow, taking about 4 hours or so to make the journey in one direction.

In Central Vietnam northeast monsoon season limits many sea boat tours during the months Sep-Feb; other parts of Vietnam seem less affected. A minute hydrofoil boat operates from Saigon to the seaside resort of Vung Tau for about , dong each way, the fastest way to reach the beach from the city. River tours are perhaps the most interesting.

A day-long boat trip forms the core of almost any tour of the Mekong region. Metered taxis are available in Vietnam's larger cities. However, be wary of common taxi scams, such as drivers refusing to use the meter and quoting ridiculous fares, or rigged meters than jump at ridiculous rates. To minimise your chances of falling for a scam, try to learn to recognise the reputable large taxi companies are the city you are in.

Be aware of fake taxis impersonating those companies though, usually identifiable with logos that are slightly off, of lower quality or with the wrong phone numbers. Drivers working for those companies are also required to wear a uniform while on duty, so a driver not in uniform is a dead giveaway of an impersonator. Drivers generally do not speak English, so be sure to have your hotel write down the names of your destinations in Vietnamese to show the driver.

The official language of Vietnam is Vietnamese. Vietnamese is a tonal language that uses a change in pitch to inflect different meanings, and this can make it difficult to master. Travellers may still be surprised to learn that the basic grammar is pretty simple. Verbs are static regardless of the past or future and parts of speech are pretty straightforward. The major difficulties lie in the pronunciation of the various tones and some of the sounds.

Vietnamese consists of four main dialects: While the Hanoi dialect is taken as the "standard" and widely used in broadcasting, there is no de facto standard in the educational system. Northerners naturally think that southern accent is for "hai lua" country folk and will always recommend you to stick to the northern accent, but the choice of accents should depend on where you plan to live. If you are working in Saigon, the economic centre of Vietnam, the southern accent is what you will hear every day.

Vietnamese uses the latin alphabet, and the spelling accurately reflects the pronunciation. However, the pronunciation of the letters is often different from that in English. Although Chinese characters are no longer used to write Vietnamese, the Vietnamese lexicon continues to be heavily influenced by the Chinese language. Any knowledge of the Chinese language will make it much easier to learn Vietnamese.

Vietnamese is also full of French and English loanwords. Although the Vietnamese people appreciate any effort to learn their language, most seldom experience foreign accents. Consequently, learners may find it frustrating that no one can understand what they try to say. Staff in hotels and children tend to have a more tolerant ear for foreign accents and it is not unheard of for children to effectively help translate your badly pronounced Vietnamese into authentic Vietnamese for adults.

The more remote parts of the country are also home to many ethnic minorities who speak various languages belonging to the Mon-Khmer, Tai-Kadai and Austronesian language families. Most younger Vietnamese learn English in school, but proficiency is generally poor. However, most hotel and airline staff will know enough English to communicate. Younger upper and middle class Vietnamese generally have a basic grasp of English. Road directional signs are generally bilingual in Vietnamese and English.

Chủ nhà giải vô địch bóng đá thế giới

As a result of its colonial legacy, educated senior citizens are able to speak French. However, English has supplanted French as the foreign language of choice among the younger generations. In the big cities, some of the big international luxury hotel chains will have staff who can speak other foreign languages such as Mandarin, Japanese, or Korean. At the more popular tourist sites, such Hanoi's Temple of Literature, guides conduct tours in a number of foreign languages, including German, French, Spanish, Mandarin, Korean or Japanese.

Vietnam will show you sides of Asia that you've dreamed of. Lush rice fields at the bottom of stunningly gorgeous highlands, colourful water markets on the streams of the Mekong Delta and the endless bustling city life of Hanoi, where anything from school kids to fridges and huge piles of vegetables are transported on the back of countless motorcycles. Although Vietnam's huge cities are rapidly transforming into modern Asian metropolises, traditional culture is never far away.

Head to Hoi An with its Venice-like canals and beautiful old town for some top sightseeing. Enjoy the old port , wander through its endless winding alleys and take a pick from its countless fine restaurants and shops, or relax on the beach. Once a fishermen's village, this town's now well-protected by preservation laws and has turned into a major hot spot for visitors. Hanoi is of course the summit of Asian city life. It's an incredible myriad of ancient traditions, old and modern architecture, sounds, smells, bustling commerce and famously crazy traffic.

It's chaotic and enchanting at once - a great place to discover both ancient and contemporary Vietnam. Nowhere are contrasts between old and new more ubiquitous and alive than here, where you'll find ancient pagodas and traditional street life at the feet of giant skyscrapers.

Also well worth visiting is the former imperial town of Hue , with its beautiful Citadel and the Tombs of the Emperors along the Perfume River. Few countries are blessed with landscapes as captivating as those of Vietnam. For many travellers, the country's awe-inspiring limestone scenery, perfect beaches, islands, mountain ranges, rice fields and lakes are its greatest treasures. One of Vietnam's top attractions, Ha Long Bay , boasts thousands of limestone pillars and islands topped with dense jungle vegetation.

Among the bustling port life, you'll find floating fishermen's villages, caves, and island lakes. Neighbouring Lan Ha Bay is as spectacular, but less busy. Head to Sa Pa and the Muong Hoa valley to get take in the views of local rice fields against a background of bamboo forests. Also in the north is Tam Coc near Ninh Binh. This area is famous for its karst scenery, rice fields, and caves and is best explored by hired boat. Phu Quoc , off the Cambodian coast, is the largest island in the country.

Its delightful palm-lined beaches and tropical forests can compete with any in the world. Most famous in the south is of course the Mekong Delta. It's a lush, green region and the source of half of Vietnam's agricultural produce. It offers scenic views of the rivers and rices fields as far as the eye can see. Here, natural landscapes and culture go hand in hand as life revolves around the water. The Mekong streams are a major means of transportation and host floating markets.

Some best picks in terms of natural wonders can be found in the country's national parks. For wildlife, try Cuc Phuong National Park. For better insight in Vietnam's ancient traditions, culture and history, visit one of the many museums, some with truly excellent collections. Although not exactly neutral in tone, there are English labels. The HCMC Museum is in a building worth seeing on its own, and gives a nice overview of the city's history. For a broader history collection, try the fine History Museum , which has artefacts from several Vietnamese cultures on display.

In Hanoi , the Vietnam Museum of Ethnology is an excellent place to dive into the life of the country's tribal people. In the centre of town is the Fine Arts Museum has all kinds of arts on display, from high-quality wood and stone carvings to fabulous ceramics and textiles. Descriptions in English. Motorbiking is popular with locals and tourists alike. Given that motorbikes are the main mode of transport in Vietnam, they can give a particularly authentic view of travelling through the country. Renting or buying a bike is possible in many cities. Also consider Motorbike adventure tours , which involve being guided on multi-day drives to remote regions of the country.

Most tours include accommodation, petrol, helmets, drivers and entry tickets to local places of interest. Guides usually speak good English or French and offer customised tours if desired. Motorbike Sightseeing Tours are similar but have a more local range specific to one city or area and can focus on food, shopping or sightseeing. Trekking is an ideal way to enjoy and experience beautiful nature of Vietnam, from the yellow farmers' terraces in harvesting season of the north, to the off-the-beaten-path Central Highlands, or the frenetic activity of the Mekong Delta in the south.

If you know how to play, this can be an opportunity to befriend the locals. As the name suggests, the pieces are played by humans dressed in traditional Vietnamese costumes, usually with 16 teenage boys on one side and 16 teenage girls on the other, and a choreographed traditional martial arts fight between the two pieces always ensues whenever a piece is captured. Exchange rates fluctuate. Current rates for these and other currencies are available from XE. Wikivoyage articles will use dong to denote the currency. It is difficult to find or exchange outside Vietnam, with some notable exceptions such as Singapore or Bangkok; if you don't come from either of those places, you should change money on arrival and try to get rid of any leftovers before leaving the country.

Continuing inflation and a series of devaluations continues to steadily push down the value of the dong. Notes are available in denominations of , , 1,, 2,, 5,, 10,, 20,, 50,, ,, , and , dong. In , coins were also introduced in denominations of , , 1,, 2, and 5, dong, although these are rarely seen. According to Vietnamese laws, foreign currency can be easily changed into dong but not vice versa. Exchanging dong is quite a complicated procedure requiring some time and patience.

In order to change dong into another currency, show your ID and your ticket as a confirmation of leaving Vietnam. These documents will be photocopied by the bank employees. Then, fill out a form stating the sum, purpose of the exchange and destination country. Not all Vietnamese banks perform exchange of dong, but Vietcombank is one that does. Prices are widely advertised in U. It is also easier to bargain with dong, especially since dollar prices are already rounded.

If paying with dollars, bills in less than perfect condition may be rejected. Official exchange counters however, e. In addition to banks and official exchange counters, you can exchange most hard currencies Sterling, Yen, Swiss Francs, Euro etc. This is illegal, but enforcement is minimal. For credit card payments, there is usually a 1. So, cash may be advantageous for large transactions. If you choose to carry cash, the best rates and least bureaucracy are to be found in jewellery shops. Most don't advertise this service, just ask. Traveller cheques of well known companies are widely accepted, but usually a small fee is charged.

Fees might also be the only thing that would keep you from getting cash advances on Visa- or MasterCard at most banks. Through both ways you can also get hold of U. There are mentions in some popular travel books about Vietcombank not charging any commission fees to cash American Express travellers cheques. However, this is no longer true. ATMs are common and can be found in most cities and every tourist destination. They will accept a selection of credit and bank-cards, including Visa, MasterCard, Maestro or Cirrus and several other systems.

In the following a list of the major banks providing ATMs, their withdrawal limits and fees. There are branches of money transfer companies like Western Union, but this is always one of the more expensive ways to get money. However, it's better for larger amounts. On most land borders connecting to Cambodia, China and Laos there are freelance money changers to take care of your financial leftovers, but be assured they'll get the better of you if you don't know the going rate.

In Hanoi airport, there are no money exchange establishments once you finish your immigration, so exchange your dong before you enter the departure hall unless you plan to shop. Foreign visitors may claim a VAT refund provided they make the purchase at a participating shop, and leave the country through specific ports of exit. Tipping is not expected in Vietnam with the exception of bellhops in high-end hotels, and the Vietnamese themselves don't do it, though tips will not be refused if offered.

Some establishments which are used to serving Western tourists have come to expect tips, though it is still perfectly acceptable not to tip. In any case, the price quoted to you is often many times what locals will pay, so tipping can be considered unnecessary in most circumstances. To avoid paying an involuntary tip when a taxi driver claims he doesn't have small change always try to carry small denominations.

As you travel about, you will find there are clusters of shops all selling similar goods, such as 20 sewing machine shops together, then 30 hardware shops all together, motorcycle repair shops in the same block. Prices are competitive. Be wary of watch shops selling original authentic fakes. Other fake watches are available but not as cheap as other surrounding countries. Pirated software is oddly, very hard to find and not sold openly. The local post office will strictly not allow them to be posted abroad. Overcharging has long been an issue in Vietnam tourism, and it is an issue both for foreigners and for Vietnamese people whose accents identify them as being from another region.

It can happen anywhere on anything from a hotel room, a ride in a taxi, coffee, a meal, clothing, or basic grocery stuff. A friendly local who spent 30 minutes talking with you may also feel like overcharging you on anything. Vietnamese hold a diverse view on this issue, and the practice also varies somewhat from region to region, but in general it is more common in Vietnam than other neighbouring countries to see it socially acceptable to overcharge foreigners. They may argue inflated prices are still cheap and they may blame the cheap cost of living which attracts a lot of backpackers with bare-bone budgets.

According to this school of thought, if tourists complain about it, it's because they're stingy. Rich tourists should not have a problem being overcharged. In general, in the south, while vendors have no qualms overcharging an ignorant foreigner, they will generally allow you to bargain prices down to the local price if you know what it is and insist on it. On the other hand, vendors in the north tend to hold more strongly onto the belief that foreigners should be overcharged, and they will usually refuse to sell items to you unless you agree to pay the grossly inflated foreigner price.

The good news is that standard prices are much more common than in the early s. You will absolutely spoil your trip if you assume that everyone is cheating you. Just try to be smart. In a restaurant, learn some names of common dishes in Vietnamese, insist that you need to read the Vietnamese menu, and compare it. If owners argue that the portion of dishes in the English menu is different, it's definitely a scam so move to another place. Learn some Vietnamese numbers and try to see how much a local pays a vendor.

Also try basic bargaining tactics: Think how much it is back home, ask for big discount and walk away, pretending that the price isn't right. Many products tend to be standardized and compare more. Try to be as clear as possible on the agreed price. You may agree 20, dong with a "xe om" driver for a specific trip, but at the end he may claim you are due 40, dong.

Then you pay 20, dong, smile and say goodbye, because you have a good memory. Shopping in supermarkets self-service grocery stores, with prices of goods posted on shelves, and check-out lanes with cash registers is much less common in Vietnam than in most European and North American countries, or even in China or Thailand.

As of , most grocery shopping still happens in traditional street markets. A few supermarkets exist in Hanoi and other major cities, but they are primarily places to shop for imported groceries European, American, Japanese, or Korean products , as well as local "luxury" brands.

Consumer staples, such as fresh produce, even when they are sold in a supermarket, may be considerably more expensive than in a traditional street market. As of July this is changing. The Thai supermarket chain Big C and the Korean Lotte Mart have opened branches in a number of major cities and sell a similar range of groceries, clothing items and household goods as you would find in Thailand or Malaysia. Traditional street and covered markets still thrive alongside these supermarket chains - much as they do in Thailand for example.

Vietnam is cheap by most standards. Food is at the very core of Vietnamese culture: Special dishes are prepared and served with great care for every birth, marriage and death, and the anniversaries of ancestors' deaths. More business deals are struck over dinner tables than over boardroom tables, and when friends get together, they eat together. Preparing food and eating together remains the focus of family life. Vietnamese cuisine varies slightly from region to region, with many regions having their own specialties.

Generally, northern Vietnamese cuisine is known for being subtle, central Vietnamese cuisine is known for being spicy, while southern Vietnamese cuisine is known for being sweet. At the same time, the Vietnamese are surprisingly modest about their cuisine. High-end restaurants tend to serve "Asian-fusion" cuisine, with elements of Thai, Japanese, Chinese, and occasionally French mixed in.

The most authentic Vietnamese food is found at street side "restaurants" A collection of plastic outdoor furniture placed on the footpath , with most walk-in restaurants being mainly for tourists. Distinct regional styles exist -- northern, central, and southern, each with unique dishes. Central style is perhaps the most celebrated, with dishes such as mi quang wheat noodles with herbs, pork, and shrimp , banh canh cua crab soup with thick rice noodles and bun bo Hue beef soup with herbs and noodles.

Try taking home a bottle of fish sauce, and using it instead of salt in almost any savoury dish -- you will be pleasantly surprised with the results. In rural and regional areas it is usually safest to eat the locally grown types of food as these are usually bought each day from the market. It is not uncommon that after you have ordered your meal a young child of the family will be seen running out the back towards the nearest market to purchase the items.

It is very common for menus to be up to pages. These will include all types of Vietnamese food, plus some token Western food, possibly some Chinese-style ribs and maybe a pad Thai as well. It is generally best to stick with the specialty of the area as this food will be the freshest and also the best-prepared. As in other South East Asian countries, the menu is often more an indication of what a restaurant can cook and not all items may be available at any given time. In restaurants it is common practice for the wait staff to place a plastic packet stamped with the restaurant's name containing a moist towelette on your table.

They are not free. They cost between 2,, dong. If you open it, you will be charged for it. Also, peanuts or other nuts will be offered to you while you are browsing the menu. Those are not free, either. If you eat any, you will be charged. Vegetarian food is quite easy to find anywhere in Vietnam due in large part to the Buddhist influence. These restaurants will run from upscale to street stall. Any Vietnamese dish with meat can be made vegetarian with the addition of fake meats.

Besides the Buddhist influence of two vegetarian days a month, Cao Dai people eat vegetarian for 16 days, and followers of the Quan Yin sect eat vegan daily. Look for any sign that says Com Chay or simply remember the phrase An Chay. Coffee , baguettes , and pastries were originally introduced by the French colonisers, but all three have been localised and remain popular. They are delicious and should be enjoyed at least once during a visit. Most pastry shops serve a variety of sweets and quick foods. Vietnamese waters are in danger of collapse from over-fishing. Nevertheless, for the moment if you like seafood , you may find bliss in Vietnam.

The ultimate seafood experience may be travelling to a seaside village or beach resort area in the south to try the local seafood restaurants that serve shrimp, crab, and locally-caught fish. Follow the locals to a good restaurant. The food will still be swimming when you order it, it will be well-prepared, very affordable by Western standards, and served in friendly surroundings often with spectacular views.

All Vietnamese restaurants are controlled by the government, and some are fully owned by the government. Most restaurants' hours are Some open at In hour restaurants, there will be two prices. Prices are normal from For example, rice usually costs 10, dong, but if you order after This policy is government-mandated, to discourage people from eating late. Some dishes are not served after Drinking in a Vietnamese bar is a great experience. One of the interesting things is that during the day, it is almost impossible to see a bar anywhere.

Once the sun goes down though, dozens appear on the streets out of nowhere. Watch out for ice in drinks.