The interview is designed in a way that allows the asylum seeker to speak freely, but also lets the IND ask critical questions if necessary.
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Afterwards, the asylum seeker is sent a report of the interview. Together with their lawyer, they may send the IND corrections or additions. You can find more information on eligibility for asylum on the IND website. If the IND establishes that an asylum seeker needs protection, they will be given an asylum residence permit. Asylum seekers who do not require protection must return to their country of origin. Asylum seekers whose application is denied may apply to the district court for review of the IND's decision. They are often allowed to remain in the Netherlands while their case is being considered.
If an asylum seeker comes from a country on the list of safe countries of origin , or already enjoys protection in another EU member state, their application can be declared manifestly unfounded in an accelerated asylum procedure. In such cases the asylum seeker is not given time for rest and preparation and is interviewed immediately.
At this interview the asylum seeker can explain why they would not be safe in their country of origin. But their arguments must be more convincing than for asylum seekers from countries that are not on the list. Rights and obligations of asylum seekers in Ireland People applying for international protection in Ireland have certain legal rights.
They also have important obligations. Find out about these rights and obligations. If you do not get a declaration as a refugee This document describes the appeals process in the event that you do not get a declaration as a refugee. Withdrawing from the international protection process This document describes the procedures you should follow if you are withdrawing your application for international protection or your appeal in the event of refusal of international protection.
Eurodac system The Eurodac system was established by the European Union for the comparison of fingerprints of asylum applicants and illegal immigrants.
Assessment and examination of applications for international protection in Ireland An outline of how applications for international protection in Ireland are assessed and examined. But the term is a hell of a lot more congenial than what came before. And it's been great. I mean, we own a genre.
Like an old Hollywood studio, or maybe more like B-movie maestro Roger Corman, The Asylum repeatedly draws its crew from a small, tight-knit group. If you can deal with the craziness and you don't screw up, you're usually invited back Alexander Yellen, Atlantic Rim 's year-old director of photography, has shot twenty-five films for the studio—more feature experience than a lot of Hollywood DPs get in a lifetime.
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And now he's directing, too. One night early on in filming, he got stoned with Treach and the two decided the movie needed a huge Predator -style gun. When asked why he'd go out-of-pocket for a prop on someone else's film, he just grins and says, "I thought it would look fucking cool. Hard to believe, but there's a human inside that robot.
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The Asylum also takes risks on new talent in front of the camera. Of course, the more seasoned cast members have their own reasons for signing on. Treach says he's here because he loves to act. He's been doing it since 's Juice, when he was 22 and still just a roadie for Queen Latifah. Treach makes a lot more money touring—he still plays shows a year—but prefers being on a movie set.
Especially one like the Atlantic Rim 's, where everyone bonds over the chaos and he's not sitting in a trailer all day. Well, there are no trailers. That said, Treach isn't here for free. On occasion the company will up the money for a bigger name—like when it cast Ving Rhames in the Syfy original Zombie Apocalypse —but in general it focuses on, as Rimawi says, "people we can reasonably get. Ideally each of the names they cast in an Asylum film will appeal to a different audience.
Except Graham Greene may himself be one of those haters, since he keeps ducking me and GQ 's photographer. First he says he'll meet with us once the first day's shoot is over. Then he says he'll sit down after his four days on set have wrapped.
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When I try to approach Greene after his final scene, he turns to a crew member and says loudly, "Tell those GQ guys to fuck off and leave me alone. Or maybe he's just annoyed that, as he grumbled earlier, the most recent script revise seems like it was "written by a can of spaghetti.
When you do something like this, you're in an ensemble. We're in robots, so you can't see our faces as much. Perhaps the biggest surprise of The Asylum's success is just how global demand is for its movies. Roughly half the money for every Asylum film budget comes from international sales—Europe, China, the Middle East—and those happen at the American Film Market.
It's where independent producers like The Asylum gather to unload product on distributors from every country on earth. Silent but Deadly! Right now it's October , five months before Atlantic Rim even starts filming, and it's here that The Asylum will sell the international rights to the mockbuster to guys like Gerald Scheffer, a candid, middle-aged buyer from Holland. Sitting across from Rimawi and Bales in their suite, he says, "We have a problem," his thick Flemish accent making the statement sound even more ominous.
Scheffer, one of The Asylum's key European distributors, has bought scores of titles from the studio over the years, and now he's playing hardball.
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He's heard it before. Scheffer is his sixtieth meeting this week, including ten with Chinese buyers. This is one of the first acting roles for female lead Jackie Moore, an ex—lingerie model: "I keep asking for more makeup and less clothing, and they give me less makeup and more clothing. Scheffer flips through the Asylum catalog, pausing on Atlantic Rim.
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Right below the movie's tagline—"Aliens Invade! Mankind Fights Back! Pacific Rim. Even though Atlantic Rim needs to be shot in four months and released in eight, at this moment there is no script, no writer, no director. It's these CGI creations that get mentioned most in those one-star reviews.
While the real-deal Battleship had more than digital modelers, animators, and renderers working on its still lame alien invaders, The Asylum's entire visual effects team consists of fifteen people in two cramped rooms, and they're usually working on six movies at once. So perhaps the fairest way to put it is this: The aliens in American Warships might have blown away theatrical audiences ten years ago. From certain angles, anyway. After all of his nitpicking, it's clear Scheffer was just looking for some negotiating leverage. He ends up buying nineteen Asylum films, including Nazi movies, zombie movies, and a movie in which the Nazis turn into zombies.
God bless Amsterdam. He also buys all of The Asylum's mockbusters, including Atlantic Rim. Five months later, the cast and crew in Pensacola wrap their final weekend of shooting. This morning is an unseasonably cold fifty-six degrees. The upside is that the public beach where the second unit is shooting a battle scene is deserted. The downside is that of the twenty extras who RSVP'd—most learned about the gig on Craigslist—only ten have shown up. And the guys who did aren't Seal Team 6.
One soldier looks to be about 65 years old. A retired combat officer keeps reminding the guys how to be somewhat realistic fake grunts. Don't point your gun at anyone in front of you!
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