- Someone dressed in expensive rubber fetish gear, with a gas mask covering his head.
- The erotic use of ball gags, duct tape, and an intricate web of knotted rope.
- A submissive wearing a studded collar who is being led around on a leash and forced to eat out of a dog dish.
- A submissive whose wrists and ankles have been tethered to the corners of a four-poster bed as a dominant drips hot wax onto his/her naked body.
- A person who is tied to a whipping post or Saint Andrew's Cross while being brutalized with a whip, paddle, cane, riding crop, or cat o' nine tails.
- Discipline often involves corporal punishment and/or sensory deprivation.
- Discipline can also refer to a hierarchical system of order (how a specific group of people and/or things are set up to work together properly).
- Self discipline can refer to a person's ability to use his will power to follow a prescribed routine (whether it be a diet, schedule, exercise program, or a series of job-related tasks) without wavering from the plan.
- A school discipline can describe a specific work ethic.
- An academic discipline can describe a specific body of knowledge.
On August 3, 2009, thanks largely to Ostroy's efforts, the Adrienne Shelly Garden, which faces 15 Abingdon Square (the building in which Shelly was murdered) was dedicated to her memory. Ostroy was recently quoted as saying:"Those who knew Adrienne knew her as wonderfully funky, spirited, funny, silly, and smart. She believed in spreading love wherever she went. She was a truly kind and beautiful soul, whose infectious smile illuminated everything around her. There was no one else like her.
Adrienne's passion in life was to make movies. She lived for her art; she never compromised her integrity or commitment to her vision. She always strived to help women obtain every opportunity possible to create their mark in film.
It is in the spirit of her passion and vision that The Adrienne Shelly Foundation has been established. We know that Adrienne would like us to do everything possible to help young women pursue their filmmaking dreams, and to assist others in making the same leap from acting to writing and directing as Adrienne had done so successfully.
In carrying out our mission, we've partnered with the industry's finest academic and filmmaking institutions to assist women in this journey with film school scholarships, production grants, finishing funds, and living stipends."
“When Waitress came out and was such a success, a lot of reviews referred to it as Adrienne’s ‘last film.’ So, it’s incredibly gratifying to know that audiences will now get to see another Adrienne Shelly story. When we wrapped, as we thanked everyone, I told the cast and crew how happy and proud Adrienne would’ve been, and that we made a film much in the same way she would have. And she would’ve loved that there were so many of the Waitress crew who came together to make Serious Moonlight. It was a true labor of love for so many people.”
- Louise (Meg Ryan) is a successful Manhattan attorney who is extremely feminine, aggressive, a bit of a control freak, and quite used to getting her way. A compulsive overachiever for whom failure is most definitely not an option, Louise has retained much of her physical beauty during the course of her marriage. Unfortunately, her unbearable narcissism and perfectionism have turned her into a highly successful albeit grandly unrealistic shrew.
- Ian (Timothy Hutton) is Louise's husband, who is planning to leave her after 13 years of marriage and fly to Paris accompanied by the younger and prettier woman with whom he has fallen in love.
- Sara (Kristen Bell) is the love object of Ian's midlife crisis: pert, pretty, and appropriately self-absorbed for her age.
- Todd (Justin Long) is a venal, violent young man from the town near Ian and Louise's country home, who vandalizes their house and proceeds to take Ian, Louise, and Sara hostage. Todd and Louise might also share a nasty little secret.
“We were shooting rather quickly so it wouldn’t be so taxing on him, but Tim was truly amazing. He wanted to be strapped down, even during takes where he didn’t have to be, just so he could be consistent for the other performers. He was very disciplined about staying in the moment, being that guy who’s in this ridiculous situation, so frustrated because he can’t move physically while being forced to change and deal with things emotionally.”
- There she is, using her remarkable aim to throw a flower pot across the room to knock her husband unconscious.
- There she is, demanding that he love her again.
- There she is, begging some trailer trash to keep fondling her tits as she dares Todd to mount her in front of her miserable, cuckolded, bound and gagged husband.
- The play of light and shadow on empty stairways.
- The eerie catacombs beneath the theater.
- The baroque grandeur of the auditorium's furnishings.
- The famous Chagall painting on the auditorium's ceiling.
- The view from the stage when the theatre is empty (as well as during performance).
- The views of Paris from the building's roof (as seen at different hours of the day during different seasons of the year).
- Vacuuming the individual boxes in the auditorium.
- Mopping the lobby's marble floors.
- Following the company's beekeeper to the roof as he empties the hives of their honey.
- Watching dancers and administrators order lunch in the employee cafeteria.
- Visiting the costume shops where ballet tutus are built, shirts are colored, sequins are glued to costumes, and the rat heads for a production of Tchaikovsky's famous Nutcracker are repaired.
- Artistic Director Brigitte Lefevre and chief administrator Olivier Aldeano are seen advising dancers how the company will be negotiating upcoming changes in their retirement plans with the government (both the Paris Opera and the Paris Opera Ballet are on the government payroll). Lefevere is also seen on the phone discussing plans for a memorial service for choreographer Maurice Bejart, who died in 2007.
- A former dancer who retired at 40 and became artistic director in 1995 (she now oversees 154 dancers, as well as 40 administrative and artistic staff members), Lefevre is also seen meeting with a younger dancer who fears that she may be taking on too much responsibility.
- The company's top administrators are seen planning a series of special events for an American tour group consisting of major benefactors. Later, they are seen regaling their guests at a special dinner at their other performance venue, the Opera Bastille.
- A choreographer who is new to the company is seen meeting with Lefevre as they lay a foundation for how they will choose dancers and work together on a new project.
- The company's legal obligations after purchasing the rights to perform a certain ballet are outlined in a long-range planning session (repertoire must be planned three years in advance).
- Paquita choreographed by Pierre Lacotte
- The Nutcracker choreographed by Rudolf Nureyev
- Genus choreographed by Wayne McGregor
- Medea choreographed by Angelin Preljocaj
- The House of Bernarda Alba choreographed by Mats Ek
- Romeo and Juliet choreographed by Sasha Waltz
- Orpheus and Eurydyce choreographed by Pina Bausch
- A dance student's progress from ballet academy to competitions and entry into a corps de ballet (2006's Ballerina, 2009's Only When I Dance).
- An overview of a famous ballet company (Wiseman's 1995 film, Ballet, which focused on American Ballet Theatre; 2005's Ballet Russes).
- The biography of a famous dancer (1964's Plisetskaya Dances, 1979's Alicia Alonso and Ballet Nacional de Cuba, 1989's The Margot Fonteyn Story, 1991's Rudolf Nureyev, 1996's Suzanne Farrell: Elusive Muse, 2007's film about Jock Soto entitled Water Flowing Together, and 2009's film about Li Cunxin entitled Mao's Last Dancer).
- The often wordless language used by choreographers to communicate with dancers.
- A choreographer's eagle-eyed vision as he instructs a dancer how to adjust minute details in the positioning of her body.
- Candid rehearsal shots which capture alternate dancers who are covering a role as they watch from the sidelines and silently move through the same motions.
- The process by a which a dancer constantly hones his artistry and interpretative skills through careful observation, assimilation, and the application of his own intelligence and physical technique.