You appear to be using a small screen. Low-Income Home Energy Assistance (LIHEAP) LIHEAP uses federal funds to help local, low-income residents pay their home energy bills. LIHEAP funds are distributed as available. Learn more at benefits.gov or your local community action agency. Low-Income Weatherization Program SCE&G supports local community action agencies and the Governor's Office of Economic Opportunity to help customers improve the energy efficiency of their homes. Typical improvements include caulking, weather-stripping, painting, insulating and replacing doors and windows. Eligible families must meet the federal government standards of a low-income household. See related programs at hhs.gov. Project Share Project Share provides assistance to low-income, handicapped and elderly customers for their electric and natural gas service. SCE&G customers, employees and retirees generously fund the program. The Governor's Office of Economic Opportunity, through community action agencies, administers the program.

To receive assistance, contact your local community action agency. Want to help your neighbors in time of need? Donate to Project Share. United Way - 211 United Way's 211 service connects people with important community services. Call 211 if you need help with training, food, housing, employment, affordable housing options, counseling and more. Arctic Cat 300 Atv Oil Change Enfield Memorial Park, Browning St, Clearview SA 5085, AustraliaScreen Door Slider Panel With Push-Down Knob Opener Forming part of an ongoing masterplan for the redevelopment and extension of a significant cemetery, a new precinct was created within the Enfield Memorial Park Cemetery, housing a new Mausoleum. Moen Faucet Replacement Parts Lowes

A series of carefully and rigorously detailed and intimate courtyard spaces surround two new external structures providing spaces for 184 premium crypts, connected by a new linear axis boulevard running from an existing building previously created as part of the original masterplan. A bold, folded and cantilevered roof form sits atop a heavy granite clad base of each of the new structures, with a soft sculptural pattern formed with negative joints that diminishes to a fine edge at the roof’s extents. The new roof forms provide shade and shelter from the weather without detracting from the monumentality of the crypts and their pattern of vigil lights and vases, allowing also for a column free ceremony space in the space between and around the structures. Solid black walls at the ends of the ‘tandem’ crypts are left blank for the addition of future relief artwork yet to be commissioned. A serene reflection pond, detailed flush with the adjacent pavements, is located in what will become the centre of the main courtyard in the future expansion of the site.

Bands of honed and sandblasted pavements align with the joints and corners of the granite crypts. Formal landscaping is carefully placed to define and reinforce the structure of the new courtyards and highlight the solemn yet celebratory nature of the site. A new Entry Pavilion provides a formal and structured gateway entry and exit point for the Mausoleum. This will help to define the Mausoleum precinct, with its own design and detailing language, further reinforcing its sense of place and arrival. Materials include local sandstone on the walls facing the old Mausoleum Building, internationally-sourced granite and black ceramic tiles to the crypts, and a grid of honed and sandblasted concrete pavements and washed-aggregate concrete slabs.The requested URL /ncccc2016/?register was not found on this server.What does James Wan want? “I think he’d love to do a romantic comedy,” said the actor Patrick Wilson. “He’s deeply romantic — which might be hard to believe for people who don’t know him.”

Or who have seen his movies. And been scared out of their wits.In 2004, Mr. Wan’s breakthrough, “Saw,” made its debut at the Sundance Film Festival, ushering in the torture-porn era and a franchise that has produced six sequels. In 2011, he and his longtime writing partner, Leigh Whannell, shifted gears, creating the subtly creepy “Insidious,” starting yet another franchise, the fourth installment of which is to be released next year.Mr. Wan also somehow found time to drift into someone else’s series — “The Fast and the Furious” — directing the well-reviewed “Furious 7” (2015), now ranked sixth in history at the global box office.On June 10, “The Conjuring 2” materializes in theaters, the second creepfest directed by Mr. Wan inspired by the psychic investigators Lorraine and Ed Warren (the real-life couple associated with the case behind “The Amityville Horror”). Will the series continue? Will ghouls keep jumping out of James Wan’s closets?“I kind of joke that creating franchises is a lot like directing pilot episodes of TV series,” Mr. Wan said by Skype from Los Angeles.

“You set a look and feel and kind of pass it on.”Mr. Wan, 39, born in Malaysia and raised in Australia, directed only the original “Saw”; he produced the rest. He handed off the directorial reins on “Insidious” to Mr. Whannell after Chapter 2. While he is set to direct the highly anticipated “Aquaman” (the only thing he would say about movie is that it was “a work in progress”), others directed the “Conjuring” spinoff “Annabelle” and its sequel. He will be a producer on “Mortal Kombat.”The “Conjuring” universe, he said, is different. “I guess I wanted to make sure no one screwed it up,” he said. “Or if anyone did, it would be me.” Based on the notorious Enfield Haunting in Britain in the late ’70s, “The Conjuring 2” concerns a single mother (Frances O’Connor), her four children and their modest North London home, which becomes possessed by demons. Mr. Wilson and Vera Farmiga reprise their roles as the Warrens in a film that has Warner Bros. muscle behind it, and as such, advances Mr. Wan’s goal: restoring horror films to the status they enjoyed in the ’70s and ’80s.

“Ask anyone,” he said, “and they’ll tell you that most of the good horror films made in the U.S. are indie films. You might get ‘The Ring’ or ‘The Others,’ but most are independently produced.” With “The Conjuring 2,” he said, “I really wanted to try and bring the kind of respect back to studio horror filmmaking — ‘Jaws,’ ‘The Exorcist,’ ‘Poltergeist,’ ‘The Amityville Horror,’ these were big studio films. Real movies with real budgets.” (For the record, Mr. Wan expressed no interest in romantic comedy.)Mr. Wilson, who has done two “Insidious” films and two “Conjuring” movies, appreciates the difference between making a $1.5 million film (“Insidious”) and a $20 million film (“The Conjuring”).“The difference of having three and half or four weeks and having eight or 10 is unbelievable,” he said. “To have the studio’s support and a budget 20 or 30 times more than the smaller-budget films? It’s not about the paycheck;

James wants all the toys, and I say that in a respectful way. It’s nice to see James leading that charge.”For all the dread Mr. Wan generates onscreen, he seems to inspire loyalty through energy and mirth.“I would work with James Wan for eternity and into eternity’s afterlife,” Ms. Farmiga said via email. “Bottom line, he is a wizard-virtuoso, a master craftsman, AND IT IS FUN.” She added that he is “kind and funny and caring to boot and laughs at all my jokes. I was extremely disappointed in him for not choosing me for Dwayne Johnson’s role in ‘F7.’” Mr. Wan’s technical crew moves with him from project to project (even “Furious 7”), including his regular editor, Kirk M. Morri, and, significantly, the sound designer Joe Dzuban and composer Joseph Bishara. “I’ve always said if I had to pinpoint what’s more important in a scary movie, the soundscape or the visuals, I’d pick the sound,” Mr. Wan said. “I reference movies like ‘Paranormal Activity,’ ‘Blair Witch,’ movies that don’t have a lot of whiz-bang visuals because they couldn’t afford to shoot whiz-bang visuals.

But it’s the sound design that creates tension and atmosphere.”Mr. Bishara said their process is as unconventional as the way Mr. Wan shoots his films, with their unnerving wide shots and disquieting angles. “How we arrive at something could be a response to a color, or a shot, or a description of a scene,” Mr. Bishara said. “And it grows from there. It seems James and I talk a lot more about ideas — on ‘Insidious,’ for instance, we talked a whole lot more about astral projection than we did music and sound.”Mr. Dzuban said the postproduction process brings out Mr. Wan’s passion. The director can work till 4 or 5 a.m., he added: “We put in really long hours on this last one, and we were working with classic mixers, guys who worked on ‘Empire Strikes Back,’ ‘Raiders of the Lost Ark.’ These guys are pushing retirement. And they’re getting tired. It’s like midnight, and James is just hitting his stride. He’s just waking up. And he wants to push, push, push.”

Mr. Wan is among the more prominent and powerful Asians in Hollywood filmmaking. “Personally, and among those I know, he is valued, and just by his own success,” said Chris Tashima, a Japanese-American actor (“Under the Blood Red Sun”). “He pushes the meter in terms of diversity.”Many found “Furious 7” and its enormous box office a solid argument against traditional Hollywood attitudes about diversity in casting, even if that casting was based on a model established by six previous movies. Mr. Wan said he was of two minds. “I want whoever is best for my movie, which means it could be anyone,” he said. “If you’re great, I want to work with you. “But growing up, there were hardly any male Asian actors in Hollywood I could look up to, other than Bruce Lee. And how long ago was that? It’s a little embarrassing. So it will depend on my project – in ‘Conjuring 2’ I had to stay true to the people in the story. But now that I’m in a position of more power, it’s something that I’m very mindful of.”