Director Of Better Quotes

By harnessing the power of collective intelligence, boards of directors can make better decisions, drive innovation, and ensure the long-term success of their organizations.

Don't you have anything better to fucking do other than babysit and eventually get killed by some psycho?" "No." Boyd said without hesitation. "I don't.

Well, I just don’t want you to think that this piece of shit is anything other than a pathetic, human defect. Nothing more. Not a monster, not a bogeyman. Nothing but another reason to feel better about yourself. Understand that it’s just a person - not worth devoting any nightmares to.

Other people’s lives seem better than yours because you’re comparing their director’s cuts with your behind the scenes.

In addition to specific areas of expertise, it's crucial to consider the overall balance and diversity of the board. A board with a mix of ages, genders, ethnicities, and professional backgrounds is more likely to bring a wide range of perspectives and experiences to the table, leading to more robust discussions and better decision-making.

Get rid of all the cleaners, rubbish collectors, bus drivers, supermarket checkout staff and secretaries, for example, and society will very quickly grind to a halt. On the other hand, if we woke up one morning to find that all the highly paid advertising executives, management consultants and private equity directors had disappeared, society would go on much as it did before: in a lot of cases, probably quite a bit better. So,

Seeing their cranky old camp director immortalized in stone, wearing a diaper and spewing water from his mouth, made her feel a little better.

It’s shameful that today’s mouthy political expositors aren’t better versed in Orwell. Can you imagine a theatre director who hasn’t studied Shakespeare?

Gods tend to be more interested in prophets, not profits, a-ha." There were some blank looks from his fellow directors. "Didn't quite get that one, old chap," said Stowley. "Prophets, I said, not profits," said Gilt. He waved his hand. "Don't worry yourselves, it will look better written down.

1. Scribbled secret notebooks, and wild typewritten pages, for yr own joy 2. Submissive to everything, open, listening 3. Try never get drunk outside yr own house 4. Be in love with yr life 5. Something that you feel will find its own form 6. Be crazy dumbsaint of the mind 7. Blow as deep as you want to blow 8. Write what you want bottomless from bottom of the mind 9. The unspeakable visions of the individual 10. No time for poetry but exactly what is 11. Visionary tics shivering in the chest 12. In tranced fixation dreaming upon object before you 13. Remove literary, grammatical and syntactical inhibition 14. Like Proust be an old teahead of time 15. Telling the true story of the world in interior monolog 16. The jewel center of interest is the eye within the eye 17. Write in recollection and amazement for yourself 18. Work from pithy middle eye out, swimming in language sea 19. Accept loss forever 20. Believe in the holy contour of life 21. Struggle to sketch the flow that already exists intact in mind 22. Dont think of words when you stop but to see picture better 23. Keep track of every day the date emblazoned in yr morning 24. No fear or shame in the dignity of yr experience, language & knowledge 25. Write for the world to read and see yr exact pictures of it 26. Bookmovie is the movie in words, the visual American form 27. In praise of Character in the Bleak inhuman Loneliness 28. Composing wild, undisciplined, pure, coming in from under, crazier the better 29. You're a Genius all the time 30. Writer-Director of Earthly movies Sponsored & Angeled in Heaven

I had this guy’s file pulled this morning, along with the rest of your neighbors. His name is Desperado.” Pause. A few seconds passed. He was waiting for my reaction. “Did you say Desperado?” I couldn’t stop the snort of laughter that bubbled to the surface. “Yeah,” the Director confirmed. “He changed his name when he turned eighteen. It was Melvin.” I was still laughing. “’Cause Desperado is so much better than Melvin.

People said this crop of youth was weak, but we knew differently. We knew they were so strong -- so much stronger than us, and equipped with better weapons, more effective tactics. They brought us to our knees with their softness, their consistent demand for the consideration of their feelings -- the way they could change all we thought would stay the same for the rest of our lives, be it stripping naked for male directors in undergraduate productions of The Bacchae, ignoring racist statements in supposedly great works of literature, or working for less when others were paid more. They had changed all that we hadn't been able to, and our defense was to call them soft.

Fear, hydra-headed fear, which is rampant in all of us, is a hang-over from lower forms of life. We are straddling two worlds, the one from which we have emerged and the one towards which we are heading. This is the deepest meaning of the word human, that we are a link, a bridge, a promise. It is in us that the life process is being carried to fulfillment. We have a tremendous responsibility, and it is the gravity of that which awakens our fears. We know that if we do not move forward, if we do not realize our potential being, we shall relapse, sputter out, and drag the world down with us. We carry Heaven and Hell within us; we are the cosmogonic builders. We have choice—and all creation is our range. For some it a terrifying prospect. It would be better, think they, if Heaven were above and Hell below—anywhere outside, but not within. But that comfort has been knocked from under us. There are no places to go to, either for reward or punishment. The place is always here and now, in your own person and according to your own fancy. The world is exactly what you picture it to be, always, every instant. It is impossible to shift the scenery about and pretend that you will enjoy another, a different act. The setting is permanent, changing with the mind and heart, not according to the dictates of an invisible stage director. You are the author, director and actor all in one: the drama is always going to be your own life, not some one else’s. A beautiful, terrible, ineluctable drama, like a suit made of your own skin. Would you want it otherwise? Could you invent a better drama?

Racial inequity and injustice, and gender inequity, are systemic problems that impede businesses from achieving their greater potential in the global marketplace; in the meantime, society suffers as well. Readers will learn how companies and their boards, together with nonprofits and governments, can drive prosperity by centering equity and sustainability.

Your head wants you to do something for a better future. Your heart wants you to do what you like in the present. They are like two directors of a company. If they are on the same page (what you enjoy doing in present is also good for your future), the company flourishes. They come on the same page when the auditor or observer of the company (your soul) is aware.

We're the creators, directors, and stars of our own movies, so you better hurry the hell up and write yourself a damn juicy script because you can't return your tickets when those closing credits start rolling!

Even though I was appointed by the White House to be executive director of the U.S. Department of Agriculture’s agency in charge of the 2010 United States Dietary Guidelines, and even though I am a past president of the Society for Nutrition Education and Behavior, I still don’t think most nutrition education is very effective. People know that an apple is better for them than a Snickers bar, but . . . they eat the Snickers bar anyway.

What in the world do our clothes say about us when we put them on?" Rose said. "There's no real dignity in any of these costumes. If I'm a maid, I do what the owner of the house tells me to do. If I'm a nurse, I do whatever the doctor tells me to do. What are we as women, other than barnacles that attach themselves to higher life forms in some pathetic attempt to clean up messes? Tidy up what men have left behind - make the world a lovelier, better place for men. I would like to play a part in which I don't have a superior." The director told Rose that she should save her philosophical speculations until after work because they were causing the male actors to lose their erections.

Adam Kuambiana umerudi nyumbani ulikotoka, ukiongozwa na imani na mwanga wa wale uliowapenda na kuwapoteza. Hatuwezi kukumbuka kwamba umetutoka bila kukumbuka kwamba uliishi, na kwamba maisha yako yalitupa kumbukumbu nzuri tusizoweza kuzisahau haraka. Jumanne, siku ya kuuaga mwili uliokuwa ukitumiwa na wewe, wengine watasema Kwa heri lakini mimi nitasema Asante! Asante kwa sababu ya kipaji chako. Asante kwa sababu ya kujitahidi kwa kadiri ya uwezo wako wote, kutoa sauti kwa wale wote waliokuwa hawawezi kusikika. Asante kwa sababu ya kuacha dunia katika hali nzuri kuliko ulivyoikuta wakati ukiingia, na Asante kwa sababu ya maisha yako. Tukiendelea kuomboleza kifo cha Adam Kuambiana hapa duniani, wengine wanasherehekea kukutana naye huko mbinguni. Mchungaji wa uhai wa wote Mungu wa mbinguni ailaze roho yake mahali pema peponi: Yeye ni mwandishi wa hadithi ya maisha yetu na ndiye aliyeandika ukurasa wa mwisho wa hadithi ya Adam.

a study of Fortune 500 companies from research organization Catalyst found that those with the highest representation of women on their boards of directors performed significantly better than those with the lowest representation of women.

Sebastian Thrun, previously the director of the Stanford Artificial Intelligence Laboratory, and now the head of Google’s autonomous car lab, feels the benefits will be significant. “There are nearly 50 million auto accidents worldwide each year, with over 1.2 million needless deaths. AI applications such as automatic breaking or lane guidance will keep drivers from injuring themselves when falling asleep at the wheel. This is where artificial intelligence can help save lives every day.

After the curtain had fallen, a raucous display of malice had erupted from the gallery, and the ensuing scene, a quarter of an hour in which Hr'y's friends close to the stage attempted to applaud over the hoots and jeers of callous roughs in the shadows - a spectacle that culminated with the play's nervous director appearing on stage to quickly apologize for the production - is one of the better documented episodes in the many biographies of Hr'y's life. What's worth revisiting is the way he described it once he mustered the courage to put it all in a letter. The play had never really had a chance, he wrote. His 'extremely human' effort was met by a mob that responded with 'roars (like those of a cage of beasts at some infernal 'Zoo')

Evolution has been working toward optimizing the human genome for 3.85 billion years,” says NIH director Francis Collins, who is not an atheist. “Do we really think that some small group of human genome tinkerers could do better without all sorts of unintended consequences?

There are two kinds of directors; those who have the public in mind when they conceive and make their films and those who don't consider the public at all. For the former, cinema is an art of spectacle; for the latter, it is an individual adventure. There is nothing intrinsically better about one or the other; it's simply a matter of different approaches. For Hitchcock as for Renoir, as for that matter almost all American directors, a film has not succeeded unless it is a success, that is, unless it touches the public that one has had in mind right from the moment of choosing the subject matter to the end of production. While Bresson, Tati, Rossellini, Ray make films their own way and then invite the public to join the "game," Renoir, Clouzot, Hitchcock and Hawks make movies for the public, and ask themselves all the questions they think will interest their audience. Alfred Hitchcock, who is a remarkably intelligent man, formed the habit early--right from the start of his career in England--of predicting each aspect of his films. All his life he has worked to make his own tastes coincide with the public', emphasizing humor in his English period and suspense in his American period. This dosage of humor and suspense has made Hitchcock one of the most commercial directors in the world (his films regularly bring in four times what they cost). It is the strict demands he makes on himself and on his art that have made him a great director.

He was an editor for seven years before directing his first film, and his career stands as an argument for the theory that editors make better directors than cine-matographers do; the cinematographer is seduced by the look of a film, while the editor is faced with the task of making it work as a story.

It is enough for the present,” said the Director. “This is the courtesy of Deep Heaven: that when you mean well, He always takes you to have meant better than you knew. It will not be enough for always. He is very jealous. He will have you for no one but Himself in the end. But for tonight, it is enough.

2014 Maria Helena Semedo, an economist and deputy general director of climate and natural resources at the Food and Agriculture Organization, estimated that we have only about sixty years of farming left at our current rate of topsoil degradation before the soil is untenable for future food production. A sobering estimate.

Dr. Mary Atwater's story was so inspiring. Growing up, Dr. Atwater had a dream to one day be a teacher. But as a black person in the American South during the 1950s, she didn't have many great educational opportunities. It didn't help that she was also a girl, and a girl who loved science, since many believed that science was a subject only for men. Well, like me, she didn't listen to what others said. And also like me, Dr. Atwater had a father, Mr. John C. Monroe, who believed in her dreams and saved money to send her and her siblings to college. She eventually got a PhD in science education with a concentration in chemistry. She was an associate director at New Mexico State University and then taught physical science and chemistry at Fayetteville State University. She later joined the University of Georgia, where she still works as a science education researcher. Along the way, she began writing science books, never knowing that, many years down the road, one of those books would end up in Wimbe, Malawi, and change my life forever. I'd informed Dr. Atwater that the copy of Using Energy I'd borrowed so many times had been stolen (probably by another student hoping to get the same magic), so that day in Washington, she presented me with my own copy, along with the teacher's edition and a special notebook to record my experiments. "Your story confirms my belief in human beings and their abilities to make the world a better place by using science," she told me. "I'm happy that I lived long enough to see that something I wrote could change someone's life. I'm glad I found you." And for sure, I'm also happy to have found Dr. Atwater.

Edward Lasco was on the screened porch of his rented house in a comfortable but not elegant older section of the town where he'd lived for the past fifteen years when his wife, Elise, who six months before had left him and moved to a nearby city to work in a psychiatric hospital, came around the side of the house and stood beside the screen looking in. She had on a business outfit—natural linen suit, knee-high boots, dark glasses with at least three distinguishable colors tiered top to bottom in the lenses—and she carried a slick briefcase, thin and shiny. Her hair was shorter than he'd seen it, styled in a peculiar way so that it seemed it spots to jerk away from her head, to say, "I'm hair, boy, and you'd better believe it." Edward had come outside with a one-pint carton of skim milk and a ninety-nine-cookie package of Oreos and a just-received issue of InfoWorld, and he was entirely content with the prospect of eating his cookies and drinking his milk and reading his magazine, but when he saw Elise he was filled with a sudden, very unpleasant sense that he didn't want to see her. It'd been a good two and a half months since he'd talked to her, and there she was looking like an earnest TV art director's version of the modern businesswoman; it made him feel that his life was fucked, and this was before she'd said a word.

On Listening From a very young age, my parents taught me the most important lesson of my whole life: Listen to everybody before you make up your own mind. When you listen, you learn. You absorb like a sponge. Your life becomes so much better than when you are just trying to be listened to all the time. Steven Spielberg, film director and producer,

Another casualty of Feisal’s return to power was Abdullah Tariki, the general director of petroleum and mineral resources. Tariki is a well-known figure in global oil politics, mostly because in 1960 he cofounded, along with Venezuelan oil minister Juan Perez Alfonso, the Organization of Petroleum Exporting Countries, better known as the OPEC cartel.

Some people find illeism annoying (although it doesn’t bother Daniel Pink). But its existence as a style of speech and narration exemplifies the final step in the regret-reckoning process. Talking about ourselves in the third person is one variety of what social psychologists call “self-distancing.” When we’re beset by negative emotions, including regret, one response is to immerse ourselves in them, to face the negativity by getting up close and personal. But immersion can catch us in an undertow of rumination. A better, more effective, and longer-lasting approach is to move in the opposite direction—not to plunge in, but to zoom out and gaze upon our situation as a detached observer, much as a movie director pulls back the camera. After self-disclosure relieves the burden of carrying a regret, and self-compassion reframes the regret as a human imperfection rather than an incapacitating flaw, self-distancing helps you analyze and strategize—to examine the regret dispassionately without shame or rancor and to extract from it a lesson that can guide your future behavior.

The Heian Period (794–1185) was Japan’s classical era, a time of peace and opulence, when the imperial court in Heian-kyō (“Capital of Peace and Tranquility”: later Kyoto) was the fountainhead of culture, and the arts flourished. Toward the end, however, political power slipped from the aristocracy to the warrior class, the decline of the imperial court led to the decay of the capital, and peace gave way to unrest. This was the part of the Heian Period that interested Akutagawa, who identified it with fin-de-siècle Europe, and he symbolized the decay with the image of the crumbling Rashōmon gate that dominates his story. Director Kurosawa Akira borrowed Akutagawa’s gate and went him one better, picturing it as a truly disintegrating structure, entirely bereft of its Heian lacquer finish, and suggestive of the moral decay against which his characters struggle. His film Rashōmon (1950) was based on two of Akutagawa’s stories, “Rashōmon” and “In a Bamboo Grove.” Both—themselves based on tales from the twelfth century—reach far more skeptical conclusions than the film regarding the dependability of human nature and its potential for good. (Jay Rubin)

The cases of great mathematicians with mental illness have enormous resonance for modern pop writers and filmmakers. This has to do mostly with the writers'/directors' own prejudices and receptivities, which in turn are functions of what you could call our era's particular archetypal template. It goes without saying that these templates change over time. The Mentally Ill Mathematician seems now in some ways to be what the Knight Errant, Mortified Saint, Tortured Artist, and Mad Scientist have been for other eras: sort of our Prometheus, the one who goes to forbidden places and returns with gifts we all can use but he alone pays for. That's probably a bit overblown, at least in some cases. But Cantor fits the template better than most. And the reason for this are a lot more interesting than whatever his problems and symptoms were.

a myth that the church has very successfully used to its advantage. Many people were under the same impression that there are tons of Scientologists in the film and television business and that we all help each other out. The real truth is that while the church would like you to believe it wields a tremendous amount of influence in Hollywood, that is simply not the case. Throughout my career I knew of one minor casting director who was a Scientologist, but other than that, no real movers and shakers. As a matter of fact, I think identifying myself publicly as a Scientologist probably hurt my career more than it helped it as far as perception was concerned. And while some of the courses the church offered provided me with better communication skills to help land roles, the time, money, and effort I invested certainly didn’t outweigh the benefit for me.

This question was fired at me by one Ulf Bronner, an assistant director, in his mid-thirties perhaps, and a strikingly ill-dressed man. Still, he was not dressed as shabbily as the cameramen; through my recent work for and with broadcasting companies I have discovered that they are the scruffiest-looking individuals in any form of employment, outdone only by press photographers. I have no idea why it should be thus, but as far as I can make out press photographers seem to wear the ragged cast-offs of television cameramen. Perhaps they imagine that nobody will ever see them, because after all the camera is in front of their faces. Whenever I come across an unflattering picture of someone in a magazine—they may be grimacing or similar—I frequently wonder what the photographer must have looked like. This Bronner fellow was better dressed than that, but not much.

Solzhenitsyn recounted a party conference in Moscow that ended with a tribute to Stalin. Everyone stood and clapped wildly for three minutes, then four, then five . . . and then no one dared to be the first to stop. After eleven minutes of increasingly stinging palms, a factory director on the platform finally sat down, followed by the rest of the grateful assembly. He was arrested that evening and sent to the gulag for ten years.278

tear. Short and nebbishy, he had a charmingly awkward persona that concealed a big ambition: to establish Condé Nast as the most prestigious magazine company in the world. Within a year of his father’s death in 1979, Si, in rapid succession, bought the most important publishing house in America, Random House, whose imprints included Alfred A. Knopf, the prestige literary house; oversaw the successful start-up of a pioneering health and fitness magazine, Self; and bought and revamped Gentleman’s Quarterly, better known as GQ. And he was always on the lookout for more. Si was the aesthete in the Newhouse family. He combined an eye for business opportunity with a passion for art, design, and high gloss. Intellectually insecure, he relied on the self-confident baron of taste and flair he had inherited from his father’s circle: Alexander Liberman, Condé Nast’s editorial director. Liberman—Russian-born, like Alexey Brodovitch, his

We All Bleed Red We have a confirmed threat against the homeland and I for one am grateful for the Americans sitting in the Army conference room in Fort Stewart, Georgia. The display cubes and screens lets us see different locations, cities, departments of the armed forces. It also allows us to see three commonalities. (1) We are all different. I take such pleasure in seeing the diverse group we call the intelligence community. We are different races, nationalities, and ethnic groups. (2) This brings us to the second commonality…we are all Americans. Yes, we fuss, we have differences of opinions, but we are all Americans. (3) The third and most important commonality is the fact that we all bleed red. We are humankind. These are the bonds that unite us…bond us…make us better beings. I have not mentioned religion because my God allows me to respect other people’s belief. I just ask that as we work through this crisis that we hold dearly on to these three commonalities. The Director of National Intelligence

I am becoming increasingly anxious the other girls might not like me because I am quiet. This has been a theme my whole life. I have been antisocial since puberty, preferring to watch others rather than participate. Or, even better, to get lost in my own thoughts and imagination, crafting made-up scenarios and arguments of which I am both the director and the only audience member. I have been trying to ask questions, but I feel like it is not enough. I create a scenario in my head where they interpret my lack of participation for bitchiness.

Children and adults alike need to experience how rewarding it is to work at the edge of their abilities. Resilience is the product of agency: knowing that what you do can make a difference. Many of us remember what playing team sports, singing in the school choir, or playing in the marching band meant to us, especially if we had coaches or directors who believed in us, pushed us to excel, and taught us we could be better than we thought was possible. The children we reach need this experience. Athletics, playing music, dancing, and theatrical performances all promote agency and community.

There is no one way of seeing. Nor is there a right way of seeing. Yet simply to accept the notion that both the male and the female gaze are equally valid and equally to be valued in cinema (and in life) is to welcome with relief the rise of women directors. Needless to say, there are whole aspects of human experience that women are much better positioned to explore, including friendship between women, anxieties about women’s careers, women’s parenting and aging, women’s social concerns and, as in the work of Kathryn Bigelow, men as seen through women’s eyes. Likewise, though romance may be of equal concern to both sexes, a woman’s perspective will inevitably be different.

What in the world do our clothes say about us when we put them on?” Rose said. “There’s no real dignity in any of these costumes. If I’m a maid, I do what the owner of the house tells me to do. If I’m a nurse, I do whatever the doctor tells me to do. What are we as women, other than barnacles that attach themselves to higher life forms in some pathetic attempt to clean up messes? Tidy up what men have left behind—make the world a lovelier, better place for men. I would like to play a part in which I don’t have a superior.” The director told Rose that she should save her philosophical speculations until after work because they were causing the male actors to lose their erections.

Here then we see philosophy brought to a critical position, since it has to be firmly fixed, notwithstanding that it has nothing to support it in heaven or earth. Here it must show its purity as absolute director of its own laws, not the herald of those which are whispered to it by an implanted sense or who knows what tutelary nature. Although these may be better than nothing, yet they can never afford principles dictated by reason, which must have their source wholly a priori and thence their commanding authority, expecting everything from the supremacy of the the law and due respect for it, nothing from inclination, or else condemning the man to self-contempt and inward abhorrence.

The riots that shook Abadan led many Iranians to rally to the workers' cause, partly out of instinctive sympathy but also because of the grossly unequal terms under which the Anglo-Iranian Oil Company operated. In 1947, for example, the company reported an after-tax profit of £40 million-the equivalent of $112 million dollars-and gave Iran just £7 million. To make matters worse, it never complied with its commitment under the 1933 agreement with Reza Shah to give laborers better pay and more chance for advancement, nor had it built the schools, hospitals, roads, or telephone system it promised. Manucher Farmanfarmaian, who in 1949 became director of Iran's petroleum institute, was appalled by what he found at Abadan:

his administration had just finished “a top-to-bottom review of our strategy” in Afghanistan. Bush laid out renewed aims: “To help the people of that country to defeat the terrorists and establish a stable, moderate, and democratic state that respects the rights of its citizens, governs its territory effectively, and is a reliable ally in this war against extremists and terrorists.” He admitted, “Oh, for some that may seem like an impossible task. But it’s not impossible.”11 In fact, the war on the ground was deteriorating by the month. Its challenges had at last attracted the White House’s attention. Yet the Bush administration’s new strategy remained informed by undue optimism, not least because Afghanistan still looked much better than Iraq. Bush was defensive about the comparison.

Yes,” said the Director. “There is no escape. If it were a virginal rejection of the male, he would allow it. Such souls can bypass the male and go on to meet something far more masculine, higher up, to which they must make a yet deeper surrender. But your trouble has been what old poets called Daungier. We call it Pride. You are offended by the masculine itself: the loud, irruptive, possessive thing—the gold lion, the bearded bull—which breaks through hedges and scatters the little kingdom of your primness as the dwarfs scattered the carefully made bed. The male you could have escaped, for it exists only on the biological level. But the masculine none of us can escape. What is above and beyond all things is so masculine that we are all feminine in relation to it. You had better agree with your adversary quickly.

In 2012 Kurzweil was appointed a director of engineering at Google, and a year later Google launched a sub-company called Calico whose stated mission is ‘to solve death’.26 In 2009 Google appointed another immortality true-believer, Bill Maris, to preside over the Google Ventures investment fund. In a January 2015 interview, Maris said, ‘If you ask me today, is it possible to live to be 500, the answer is yes.’ Maris backs up his brave words with a lot of hard cash. Google Ventures is investing 36 per cent of its $2 billion portfolio in life sciences start-ups, including several ambitious life-extending projects. Using an American football analogy, Maris explained that in the fight against death, ‘We aren’t trying to gain a few yards. We are trying to win the game.’ Why? Because, says Maris, ‘it is better to live than to die’.27

I do not believe in supporting bailouts without strong ramifications. It is a fool’s fantasy to think we can live in a globally connected economy and never have a situation arise where the government prudently steps in to prevent a failure that might lead to catastrophic ramifications. In most cases, I believe it would be much better to let bailed-out companies fail when they have mismanaged themselves, rather than waste taxpayer money propping up greedy idiots who are trying to salvage their own bonuses; however, there are exceptions to almost every rule. The wiser course would be to penalize the CEO or board of directors who drove the company to the brink of failure. The most obvious punishment would be the elimination of any “golden parachutes” or bonuses for the executive and seizure of all company-derived assets, including any attempts to hide company assets in the spouse’s name. When C-level executives come to the realization that managing a company is not a game and that there are serious consequences for their actions, we will see fewer instances of requests for bailouts.

I didn’t want you to apply just because I’m going to be in New York. Or hell, even worse, not apply because I’m going to be there. I was going to tell you in person. And then the scout shows up at the game tonight, and what was I supposed to do? My mom is freaking out; you’re freaking out.” He throws his hands in the air in frustration. “I’ve totally fucked this up.” It hits me then, the truth of the situation. He made his decision about Columbia on his own, and he wanted me to be able to do the same. Of course. Hell, if it hadn’t been for the storm bringing us together like it did, I probably would have turned down NYU rather than risk going off to New York with him, and that’s the truth. I drop my gaze to the ground and take a deep breath, cursing myself for being such an idiot. “No, you haven’t,” I say at last, raising my eyes to meet his confused ones. “Haven’t what?” “Fucked it up.” I take a tentative step toward him. “I get it now. God, Ryder. Why do you have to be so perfect?” “Perfect? I’ve been in love with you for so long now, and I’ve never managed to get it right, not once.” I have to bite my lip to keep from grinning. “News flash--I think you’ve finally got it this time.” His smile makes my heart leap. “Do you have any idea what was going through my head when you first told me about NYU? I couldn’t believe it. It was like…like a gift fell right into my lap. Like winning the lottery. All this time I thought going off to New York would mean leaving you behind. And now--” “Now we both better get in,” I finish for him, though it probably wasn’t what he was going to say. I mean, he’s a shoo-in for Columbia. Perfect grades, high SATs, and a superstar quarterback the likes of which the Ivy League rarely sees. He’s every college admissions director’s dream. But me? If I get into NYU, it’ll be by the skin of my teeth. Because they want geographic diversity or something lame like that. I’m nothing special. “Where will you go if you don’t get into NYU?” he asks. “Where else?” I say. “Ole Miss, with Lucy and Morgan.” “Then Ole Miss is my backup too. Here’s the thing, Jem. I’m going wherever you’re going--whether it’s New York or Oxford. I’m not missing my chance this time.

Thirty-nine-year-old moderately successful Human Resources Director. Interests include regency romances, reality TV, and baking large novelty birthday cakes for other people’s children. Hobbies include drinking Tia Maria and eating Turkish delight in the bath and dining out with her mum and dad. Wanted to be a ballerina but didn’t end up with a ballerina body; however, has been told she is an impressive dirty dancer when drunk. Knows her wine, so please just hand the wine list over. Godmother to nine children, member of two book clubs, Social Club Manager for the Australian Payroll Officers’ Association. Suffers from a severe blushing problem but is not shy and will probably end up better friends with your friends than you, which you’ll find highly irritating after we break up. Has recently become so worried about meeting the love of her life and having children before she reaches menopause that she has cried piteously in the middle of the night. But otherwise is generally quite cheerful and has on at least three separate occasions that she knows of been described as ‘Charming’. Yep, that about summed it up. What a catch.

I get it now. God, Ryder. Why do you have to be so perfect?” “Perfect? I’ve been in love with you for so long now, and I’ve never managed to get it right, not once.” I have to bite my lip to keep from grinning. “News flash--I think you’ve finally got it this time.” His smile makes my heart leap. “Do you have any idea what was going through my head when you first told me about NYU? I couldn’t believe it. It was like…like a gift fell right into my lap. Like winning the lottery. All this time I thought going off to New York would mean leaving you behind. And now--” “Now we both better get in,” I finish for him, though it probably wasn’t what he was going to say. I mean, he’s a shoo-in for Columbia. Perfect grades, high SATs, and a superstar quarterback the likes of which the Ivy League rarely sees. He’s every college admissions director’s dream. But me? If I get into NYU, it’ll be by the skin of my teeth. Because they want geographic diversity or something lame like that. I’m nothing special. “Where will you go if you don’t get into NYU?” he asks. “Where else?” I say. “Ole Miss, with Lucy and Morgan.” “Then Ole Miss is my backup too. Here’s the thing, Jem. I’m going wherever you’re going--whether it’s New York or Oxford. I’m not missing my chance this time.

Where do the biggest movie star of his generation and a revered director (and great actor in his own right) stay when they are visiting someone? Would you believe the local Holiday Inn? Hoping to forge a better connection to Chris, Clint Eastwood and Bradley Cooper came to see me and the rest of the family in early spring of 2014, before they started filming American Sniper. The unpretentiousness of their visit and their genuine goodwill floored me. It was a great omen for the movie. Bubba and I picked them up at the local airport and brought them home; within minutes Bubba had Bradley out in the back playing soccer. Meanwhile, Clint and I talked inside. He reminded me of my grandfather with his courtly manners and gracious ways. He was very funny, with a quiet, quick wit and dry sense of humor. After dinner--it was an oryx Chris had killed shortly before he died--Bradley took Bubba to the Dairy Queen for dessert. Even in small-town Texas, he couldn’t quite get away without being recognized, and when someone asked for his photo, he stepped aside to pose. Bubba folded his arms across his chest and scanned the area much as his dad would have: on overwatch. I guess I didn’t really understand how unusual the situation was until later, when I dropped them off at the Holiday Inn. I watched them walk into the lobby and disappear. That’s Clint Eastwood and Bradley Cooper! Awesome!

Modern culture rejects this belief in a great cosmic plan. We are not actors in any larger-than-life drama. Life has no script, no playwright, no director, no producer – and no meaning. To the best of our scientific understanding, the universe is a blind and purposeless process, full of sound and fury but signifying nothing. During our infinitesimally brief stay on our tiny speck of a planet, we fret and strut this way and that, and then are heard of no more. Since there is no script, and since humans fulfil no role in any great drama, terrible things might befall us and no power will come to save us or give meaning to our suffering. There won’t be a happy ending, or a bad ending, or any ending at all. Things just happen, one after the other. The modern world does not believe in purpose, only in cause. If modernity has a motto, it is ‘shit happens’. On the other hand, if shit just happens, without any binding script or purpose, then humans too are not confined to any predetermined role. We can do anything we want – provided we can find a way. We are constrained by nothing except our own ignorance. Plagues and droughts have no cosmic meaning – but we can eradicate them. Wars are not a necessary evil on the way to a better future – but we can make peace. No paradise awaits us after death – but we can create paradise here on earth and live in it for ever, if we just manage to overcome some technical difficulties.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

Rebecca Wallace-Segall, who teaches creative-writing workshops for kids and teens as director of Writopia Lab in New York City, says that the students who sign up for her classes “are often not the kids who are willing to talk for hours about fashion and celebrity. Those kids are less likely to come, perhaps because they’re less inclined to analyze and dig deep—that’s not their comfort zone. The so-called shy kids are often hungry to brainstorm ideas, deconstruct them, and act on them, and, paradoxically, when they’re allowed to interact this way, they’re not shy at all. They’re connecting with each other, but in a deeper zone, in a place that’s considered boring or tiresome by some of their peers.” And these kids do “come out” when they’re ready; most of the Writopia kids read their works at local bookstores, and a staggering number win prestigious national writing competitions. If your child is prone to overstimulation, then it’s also a good idea for her to pick activities like art or long-distance running, that depend less on performing under pressure. If she’s drawn to activities that require performance, though, you can help her thrive. When I was a kid, I loved figure skating. I could spend hours on the rink, tracing figure eights, spinning happily, or flying through the air. But on the day of my competitions, I was a wreck. I hadn’t slept the night before and would often fall during moves that I had sailed through in practice. At first I believed what people told me—that I had the jitters, just like everybody else. But then I saw a TV interview with the Olympic gold medalist Katarina Witt. She said that pre-competition nerves gave her the adrenaline she needed to win the gold. I knew then that Katarina and I were utterly different creatures, but it took me decades to figure out why. Her nerves were so mild that they simply energized her, while mine were constricting enough to make me choke. At the time, my very supportive mother quizzed the other skating moms about how their own daughters handled pre-competition anxiety, and came back with insights that she hoped would make me feel better. Kristen’s nervous too, she reported. Renée’s mom says she’s scared the night before a competition. But I knew Kristen and Renée well, and I was certain that they weren’t as frightened as I was

I see many so-called conservative commentators, including some faith leaders, focusing on favorable policy initiatives or court appointments to justify their acceptance of this damage, while de-emphasizing the impact of this president on basic norms and ethics. That strikes me as both hypocritical and wrong. The hypocrisy is evident if you simply switch the names and imagine that a President Hillary Clinton had conducted herself in a similar fashion in office. I've said this earlier but it's worth repeating: close your eyes and imagine these same voices if President Hillary Clinton had told the FBI director, 'I hope you will let it go,' about the investigation of a senior aide, or told casual, easily disprovable lies nearly every day and then demanded we believe them. The hypocrisy is so thick as to be almost darkly funny. I say this as someone who has worked in law enforcement for most of my life, and served presidents of both parties. What is happening now is not normal. It is not fake news. It is not okay. Whatever your politics, it is wrong to dismiss the damage to the norms and traditions that have guided the presidency and our public life for decades or, in many cases, since the republic was founded. It is also wrong to stand idly by, or worse, to stay silent when you know better, while a president so brazenly seeks to undermine public confidence in law enforcement institutions that were established to keep our leaders in check...without these checks on our leaders, without those institutions vigorously standing against abuses of power, our country cannot sustain itself as a functioning democracy. I know there are men and women of good conscience in the United States Congress on both sides of the aisle who understand this. But not enough of them are speaking out. They must ask themselves to what, or to whom, they hold a higher loyalty: to partisan interests or to the pillars of democracy? Their silence is complicity - it is a choice - and somewhere deep down they must know that. Policies come and go. Supreme Court justices come and go. But the core of our nation is our commitment to a set of shared values that began with George Washington - to restraint and integrity and balance and transparency and truth. If that slides away from us, only a fool would be consoled by a tax cut or different immigration policy.

He took a breath. He could feel his anxiety fade; he could feel himself returning to who he was. 'But would you sing with me?' Every morning for the past two months, they had been singing with each other in preparation for Duets. In the film, his character and the character's wife led an annual Christmas pageant, and both he and the actress playing his wife would be performing their own vocals. The director had sent him a list of songs to work on, and Jude had been practicing with him: Jude took the melody, and he took the harmony. 'Sure,' Jude said. 'Our usual?' For the past week, they'd been working on 'Adeste Fideles,' which he would have to sing a cappella, and for the past week, he'd been pitching sharp at the exact same point, at 'Venite adoremus,' right in the first stanza. He'd wince every time he did it, hearing the error, and Jude would shake his head at him and keep going, and he'd follow him until the end. 'You're overthinking it,' Jude would say. 'When you go sharp, its because you're concentrating too hard on staying on key; just don't think about it, Willem, and you'll get it.' That morning, though, he felt certain he'd get it right. He gave Jude the bunch of herbs, which he was still holding, and Jude thanked him, pinching its little purple flowers between his fingers to release its perfume. 'I think it's a kind of perilla,' he said, and held his fingers up for Willem to smell. 'Nice,' he said, and they smiled at each other. And so Jude began, and he followed, and he made it through without going sharp. And at the end of the song, just after the last note, Jude immediately began singing the next song on the list, 'For Unto Us a Child Is Born,' and after that, 'Good King Wenceslas,' and again and again, Willem followed. His voice wasn't as full as Jude's, but he could tell in those moments that it was good enough, that it was maybe better than good enough: he could tell it sounded better with Jude's, and he closed his eyes and let himself appreciate it. They were still singing when the doorbell chimed with their breakfast, but as he was standing, Jude put his hand on his wrist, and they remained there, Jude sitting, he standing, until they had sung the last words of the song, and only after they had finished did he go to answer the door. Around him, the room was redolent of the unknown herb he'd found, green and fresh and yet somehow familiar, like something he hadn't known he had liked until it had appeared, suddenly and unexpectedly, in his life.

The key to preventing this is balance. I see the give and take between different constituencies in a business as central to its success. So when I talk about taming the Beast, what I really mean is that keeping its needs balanced with the needs of other, more creative facets of your company will make you stronger. Let me give you an example of what I mean, drawn from the business I know best. In animation, we have many constituencies: story, art, budget, technology, finance, production, marketing, and consumer products. The people within each constituency have priorities that are important—and often opposing. The writer and director want to tell the most affecting story possible; the production designer wants the film to look beautiful; the technical directors want flawless effects; finance wants to keep the budgets within limits; marketing wants a hook that is easily sold to potential viewers; the consumer products people want appealing characters to turn into plush toys and to plaster on lunchboxes and T-shirts; the production managers try to keep everyone happy—and to keep the whole enterprise from spiraling out of control. And so on. Each group is focused on its own needs, which means that no one has a clear view of how their decisions impact other groups; each group is under pressure to perform well, which means achieving stated goals. Particularly in the early months of a project, these goals—which are subgoals, really, in the making of a film—are often easier to articulate and explain than the film itself. But if the director is able to get everything he or she wants, we will likely end up with a film that’s too long. If the marketing people get their way, we will only make a film that mimics those that have already been “proven” to succeed—in other words, familiar to viewers but in all likelihood a creative failure. Each group, then, is trying to do the right thing, but they’re pulling in different directions. If any one of those groups “wins,” we lose. In an unhealthy culture, each group believes that if their objectives trump the goals of the other groups, the company will be better off. In a healthy culture, all constituencies recognize the importance of balancing competing desires—they want to be heard, but they don’t have to win. Their interaction with one another—the push and pull that occurs naturally when talented people are given clear goals—yields the balance we seek. But that only happens if they understand that achieving balance is a central goal of the company.

Devon Franklin Oprah: One of the things that you say that really struck me is that if we look at our life as a movie and God as the director of our movie, then we use our faith to help propel us forward in trusting in the director, correct? Devon Franklin: Yes. Absolutely. Because what I realized is that sometimes we, in the most difficult times in our story, we begin to lose faith. Oprah: And start to think we’re in control of things. But all it takes is one wrong turn and we quickly remember that’s just not true. Here is what I love. You say: “The truth is, you and I are in control of only two things: how we prepare for what might happen, and how we respond to what just happened. The moment when things actually do happen belongs to God.” Devon: Amen. Oprah: Brilliant. Brilliant. Devon: It’s true. Because what happens is, the moments when things happen in our life, we don’t control. In a moment, life can change for the better or what in the moment may seem for the worse. So our job is to prepare. Oprah: Prepare for only two things. Devon: That’s right. Oprah: Prepare for what might happen. And then how we respond to what has happened. Devon: That’s right. Because so many times what keeps us in that valley of depression, what keeps us in that valley of frustration, is our response to a moment and not recognizing that it is exactly that. It’s a moment. It’s one scene of your movie. And what makes a great movie are scenes that are put together of great conflict. Oprah: Okay. You also say: “The key is remembering your story. The spiritual journey parallels the steps involved in bringing a movie from the initial idea to theatrical release.” Devon: Yes. Oprah: So you start with the kernel of an idea, a process known as development and production. And development begins when you have the first vision of what you can be, correct? Devon: Exactly. You can’t write a movie unless you know what the movie is supposed to be about. That’s what development is. Sometimes we get so frustrated in our lives, but we have to go back and say, “Wait a minute. Do I understand what the big idea of my life is supposed to be?” If my life is a story, then I have to know the point of my story. And sometimes what happens when we start developing a movie, the producers may have one vision of what the movie is supposed to be and the studio has another version and then the movie becomes nothing because there’s no clarity. So with our life, we have to have clarity of what we’re supposed to do. What do we believe we’re called to do in this life? And then that way it gives our whole development process more shape.

The translucent, golden punch tastes velvety, voluptuous and not off-puttingly milky. Under its influence, I stage a party for my heroines in my imagination, and in my flat. It's less like the glowering encounter I imagined between Cathy Earnshaw and Flora Poste, and more like the riotous bash in Breakfast at Tiffany's. Not everyone is going to like milk punch. So there are also dirty martinis, and bagels and baklava, and my mother's masafan, Iraqi marzipan. The Little Mermaid is in the bath, with her tail still on, singing because she never did give up her soaring voice. Anne Shirley and Jo March are having a furious argument about plot versus character, gesticulating with ink-stained hands. Scarlett is in the living room, her skirts taking up half the space, trying to show Lizzy how to bat her eyelashes. Lizzy is laughing her head off ut Scarlett has acquired a sense of humour, and doesn't mind a bit. Melanie is talking book with Esther Greenwood, who has brought her baby and also the proofs of her first poetry collection. Franny and Zooey have rolled back the rug and are doing a soft shoe shuffle in rhinestone hats. Lucy Honeychurch is hammering out some Beethoven (in this scenario I have a piano. A ground piano. Well, why not?) Marjorie Morningstar is gossiping about directors with Pauline and Posy Fossil. They've come straight from the shows they're in, till in stage make-up and full of stories. Petrova, in a leather aviator jacket, goggles pushed back, a chic scarf knotted around her neck, is telling the thrilling story of her latest flight and how she fixed an engine fault in mid-air. Mira, in her paint-stained jeans and poncho, is listening, fascinated, asking a thousand questions. Mildred has been persuaded to drink a tiny glass of sherry, then another tiny glass, then another and now she and Lolly are doing a wild, strange dance in the hallway, stamping their feet, their hair flying wild and electric. Lolly's cakes, in the shape of patriarchs she hates, are going down a treat. The Dolls from the Valley are telling Flora some truly scandalous and unrepeatable stories, and she is firmly advising them to get rid of their men and find worthier paramours. Celie is modelling trousers of her own design and taking orders from the Lace women; Judy is giving her a ten-point plan on how to expand her business to an international market. She is quite drunk but nevertheless the plan seems quite coherent, even if it is punctuated by her bellowing 'More leopard print, more leopard print!' Cathy looks tumultuous and on the edge of violent weeping and just as I think she's going to storm out or trash my flat, Jane arrives, late, with an unexpected guest. Cathy turns in anticipation: is it Heathcliff? Once I would have joined her but now I'm glad it isn't him. It's a better surprise. It's Emily's hawk. Hero or Nero. Jane's found him at last, and has him on her arm, perched on her glove; small for a bird of prey, he is dashing and patrician looking, brown and white, observing the room with dark, flinty eyes. When Cathy sees him, she looks at Jane and smiles. And in the kitchen is a heroine I probably should have had when I was four and sitting on my parents' carpet, wishing it would fly. In the kitchen is Scheherazade.

In the early 1680s, at just about the time that Edmond Halley and his friends Christopher Wren and Robert Hooke were settling down in a London coffee house and embarking on the casual wager that would result eventually in Isaac Newton’s Principia, Hemy Cavendish’s weighing of the Earth, and many of the other inspired and commendable undertakings that have occupied us for much of the past four hundred pages, a rather less desirable milestone was being passed on the island of Mauritius, far out in the Indian Ocean some eight hundred miles off the east coast of Madagascar. There, some forgotten sailor or sailor’s pet was harrying to death the last of the dodos, the famously flightless bird whose dim but trusting nature and lack of leggy zip made it a rather irresistible target for bored young tars on shore leave. Millions of years of peaceful isolation had not prepared it for the erratic and deeply unnerving behavior of human beings. We don’t know precisely the circumstances, or even year, attending the last moments of the last dodo, so we don’t know which arrived first a world that contained a Principia or one that had no dodos, but we do know that they happened at more or less the same time. You would be hard pressed, I would submit to find a better pairing of occurrences to illustrate the divine and felonious nature of the human being-a species of organism that is capable of unpicking the deepest secrets of the heavens while at the same time pounding into extinction, for no purpose at all, a creature that never did us any harm and wasn’t even remotely capable of understanding what we were doing to it as we did it. Indeed, dodos were so spectacularly short on insight it is reported, that if you wished to find all the dodos in a vicinity you had only to catch one and set it to squawking, and all the others would waddle along to see what was up. The indignities to the poor dodo didn’t end quite there. In 1755, some seventy years after the last dodo’s death, the director of the Ashmolean Museum in Oxford decided that the institution’s stuffed dodo was becoming unpleasantly musty and ordered it tossed on a bonfire. This was a surprising decision as it was by this time the only dodo in existence, stuffed or otherwise. A passing employee, aghast tried to rescue the bird but could save only its head and part of one limb. As a result of this and other departures from common sense, we are not now entirely sure what a living dodo was like. We possess much less information than most people suppose-a handful of crude descriptions by "unscientific voyagers, three or four oil paintings, and a few scattered osseous fragments," in the somewhat aggrieved words of the nineteenth century naturalist H. E. Strickland. As Strickland wistfully observed, we have more physical evidence of some ancient sea monsters and lumbering saurapods than we do of a bird that lived into modern times and required nothing of us to survive except our absence. So what is known of the dodo is this: it lived on Mauritius, was plump but not tasty, and was the biggest-ever member of the pigeon family, though by quite what margin is unknown as its weight was never accurately recorded. Extrapolations from Strickland’s "osseous fragments" and the Ashmolean’s modest remains show that it was a little over two and a half feet tall and about the same distance from beak tip to backside. Being flightless, it nested on the ground, leaving its eggs and chicks tragically easy prey for pigs, dogs, and monkeys brought to the island by outsiders. It was probably extinct by 1683 and was most certainly gone by 1693. Beyond that we know almost nothing except of course that we will not see its like again. We know nothing of its reproductive habits and diet, where it ranged, what sounds it made in tranquility or alarm. We don’t possess a single dodo egg. From beginning to end our acquaintance with animate dodos lasted just seventy years.

The best parents, the best teachers, the best coaches, the best bosses feel best when their people become better than them.

The 50-inch TCL Roku TV balances picture quality and value for money. And this is also what happens when America’s top TV brand and the world’s most popular streaming services content instantly and from one single place. You have everything on the Roku from live TV to game console or if you wish choose from over 1500 streaming channels. This is also the widest selection any smart TV has ever had. Find that perfect movie or TV show easily across top streaming channels by title, actor or director with the acclaimed Roku ‘Search’ feature. On the Roku, you will find more than 200,000 streaming movies and shows that you can choose from. The Remote is simple and puts control into the users’ hands and lets you instantly choose your preferred content from anywhere. Use the Roku Mobile app on your smartphone or tablet to control your Roku TV. Cast your personal media, videos and photos and even music to the big screen. With a 120 Hz refresh rate, the TV displays images at 1080p. It has a built-in wireless and not one, but three HDMI ports that provide a high definition multimedia interface. Wired calls the TCL Roku TV ‘The First Smart TV worth using’. The TCL TV has a Roku box built into it. It is a smart TV that includes the Roku operating system, which is also the favorite OS for most users. The OS is considered as one of the best compared to all the other products and definitely better than any other smart TVs. Recently, the Roku TV was displayed at the prestigious CES 2018 with a brand new OS. We all know a lot about Roku and there are lots of Roku fans across the United States. The recently released series of Roku OS 8 comes with some new and improved features. All Roku TVs have a ‘Tuner’ input that enables you to plug into an antenna and look for channels. In the new Roku TV, the ‘Tuner’ input is available on the Home screen itself; which makes it very easy to navigate to it without fumbling Once you select the ‘Tuner’ input it takes you to the last tuned channel You will also get a preview of what is playing right now The Roku OS 8 also comes with a Smart Guide where you will get a 14-day preview of what is available on all the channels that the Roku TV has scanned for Scroll through the Smart Guide to find out your next programming on the list The experience is fluid with no judder or lag; users will be able to scan through the Smart Guide very easily All you have to do is use the HD antenna and the Roku TV will pop up all the entertainment information In addition to the Smart Guide, there is also a new feature called ‘More Ways to Watch’ Anytime Roku identifies a content that is on the Smart Guide, which is also available on other Roku channels it is marked with a ‘*’. This indicates that there are more ways to watch a single programming content You also don’t have to wait to watch your favorite programming Wherever you see the ‘*’at any time on the Smart Guide, hit the ‘Ok’ button on your remote and watch it on another Roku channel instantly The pricing for the channel or programming is also displayed If you have a Roku set top box that is connected to a different TV (other than the Roku), there is a new feature in the ‘Search’ where Roku will tell you the channel on which a particular programming is available with the precise timing. The Roku OS 8 has already been pushed out to all the players and TVs. The same OS 8 version is available for Roku Set top boxes as well. If any problem in Roku setup, please call us @+1-877-302-5260

Lord Valentia famously observed that it was better that ‘India be ruled from a palace than a counting house’; but it was this spendthrift use of Company funds that more than anything gradually eroded Wellesley’s support among the Company Directors,

Literature strengthens our imagination. If we all have the tools to try to imagine a better world, we’re already halfway there.” #DailyNews: @nationalbook executive director Lisa Lucas @likaluca ) is confident about the future of reading.

THE SECOND CITY MANAGES to accomplish three things to accelerate its performers’ growth: (1) it gives them rapid feedback; (2) it depersonalizes the feedback; and (3) it lowers the stakes and pressure, so students take risks that force them to improve. For the first year, Leonard explains, The Second City’s goal is to get students used to anticipating negative feedback and to get them out of their own heads. This is about building confidence and creating a “safe” environment in which it’s OK to screw up. Then, second-year classes ratchet up the feedback, putting actors in a succession of situations where they will fail small in front of live crowds. It’s one thing for your coactor or director to tell you a joke is funny, but it’s entirely another to hear the pins drop when a live audience disagrees. Or conversely to hear wild cackling from the crowd at something that may have seemed like a bad idea on paper. Every laugh or lack thereof becomes a data point that the actors can use to better themselves. By embracing all these tiny failures, there is no actual failure.* In contrast, a typical acting class might spend an entire semester building up to a single performance. Students practice together in class, but they don’t know if the audience will like their show until the final day. And if the audience hates it, there’s nothing students can do.

John Oldfield, managing director of the WASH Advocacy Initiative, which is dedicated to solving global water challenges, explains it this way: “The best way to control population is through increasing child survival, educating girls, and making knowledge about and availability of birth control ubiquitous. By far the most important of these is increasing child survival.

Books and movies are such different entities that I feel it’s best to leave casting to the casting directors. They have a far better idea of what they’re doing than I would.

Will they achieve a uniformity in censorship methods among the various regimes?” “Not uniformity. They will create a system in which the methods support and balance one another in turn....” The Director General invites you to examine the planisphere hanging on the wall. The varied color scheme indicates: the countries where all books are systematically confiscated; the countries where only books published or approved by the State may circulate; the countries where existing censorship is crude, approximate, and unpredictable; the countries where the censorship is subtle, informed, sensitive to implications and allusions, managed by meticulous and sly intellectuals; the countries where there are two networks of dissemination: one legal and one clandestine; the countries where there is no censorship because there are no books, but there are many potential readers; the countries where there are no books and nobody complains about their absence; the countries, finally, in which every day books are produced for all tastes and all ideas, amid general indifference. “Nobody these days holds the written word in such high esteem as police states do,” Arkadian Porphyrich says. “What statistic allows one to identify the nations where literature enjoys true consideration better than the sums appropriated for controlling it and suppressing it? Where it is the object of such attentions, literature gains an extraordinary authority, inconceivable in countries where it is allowed to vegetate as an innocuous pastime, without risks. To be sure, repression must also allow an occasional breathing space, must close an eye every now and then, alternate indulgence with abuse, with a certain unpredictability in its caprices; otherwise, if nothing more remains to be repressed, the whole system rusts and wears down. Let’s be frank: every regime, even the most authoritarian, survives in a situation of unstable equilibrium, whereby it needs to justify constantly the existence of its repressive apparatus, therefore of something to repress. The wish to write things that irk the established authorities is one of the elements necessary to maintain this equilibrium. Therefore, by a secret treaty with the countries whose social regime is opposed to ours, we have created a common organization, with which you have intelligently agreed to collaborate, to export the books banned here and import the books banned there.” “This would seem to imply that the books banned here are allowed there, and vice versa....” “Not on your life. The books banned here are superbanned there, and the books banned there are ultrabanned here. But from exporting to the adversary regime one’s own banned books and from importing theirs, each regime derives at least two important advantages: it encourages the opponents of the hostile regime and it establishes a useful exchange of experience between the police services.” “The

The worst film of a good director is better than the best film of a bad director.

The director shook his head. “The world would be a better place if people stopped voting for folksy candidates they could have a beer with and started voting for people smarter than they are.” Peters

Professional help for those suffering with their mental health is now only a key stroke away, thanks to a new online directory. BALLARAT, VIC - Website truecounsellor.com.au is one of the only online catalogues of mental health services in Australia, allowing people to source, and instantly reach out for help - all from their computer. Website truecounsellor.com.au is one of the only online catalogues of mental health services in Australia, allowing people to source, and instantly reach out for help - all from their computer. Launched in 2015, the website allows people to simply search professionals nearby and review their profile, background, specialisations and fees. Once they have selected a professional, they can immediately connect with them via phone, Skype or instant message to book an appointment. Website founder Luciano Devoto was keen to establish the online directory after experiencing his own struggles. “As a person who has suffered from bullying, as well as depression, I know how hard it can be to reach out for help,” he said. “TrueCounsellor aims to make it easier for people to share their concerns safely and privately with experienced mental health professionals” The website boasts a large number of qualified and experienced counsellors, psychotherapists, psychologists, couples’ therapists and other mental health practitioners in various suburbs across Australia. “What makes TrueCounsellor exciting is that we are the only directory offering mental health professionals the opportunity to promote their services for free,” Luciano said. “We believe that by making it easy for these professionals to list their practices, we create real value for the public as they are able to find the right support.” The website also offers extensive advice about conditions like depression and anxiety, along with information about common stressors including debt, relationship issues and career worries. Watersedge Counselling director Colleen Morris, who is part of the online directory, said the website was a vital resource. “Finding a mental healthcare professional that you consider to be safe, trustworthy, empathetic and effective can often be challenging and at times, a confusing process,” she said. “Websites like TrueCounsellor make this task less confusing by allowing consumers to make a more informed choice that suits their need.” To find a mental health expert or for more information, visit truecounsellor.com.au About TrueCounsellor TrueCounsellor is Australia’s online directory of mental health professionals. Our mission is to help people experiencing emotional challenges discover a better and happier version of themselves. TrueCounsellor gives people access to a large number of qualified and experienced counsellors, psychotherapists, psychologists, couples therapists and other mental health practitioners across Australia. Visitors can review profiles and learn about the practitioner’s background, specialisations and fees in order to make the best decision when booking an appointment! In addition to offer a comprehensive list of qualified and experienced mental health professionals, TrueCounsellor has detailed information on mental health issues and types of therapy available. For more information, visit truecounsellor.com.au

I’ve been pressing for more data for a couple of months now, and I will continue to do so. Data related to violent crime and homicides. Data related to officer-involved shootings. Data related to altercations with the citizens we serve, and attacks against law enforcement officers. The good news is after a few months of discussions, law enforcement leaders see it as I do and I am optimistic we will get our country the data we need to better understand crime and policing.

These are not just complex criminal issues; they are complex social issues, as old as our country. We need better information to make better decisions. We need everyone working together to find solutions, armed with facts.

About 41 percent of mothers are primary breadwinners and earn the majority of their family’s income. Another 23 percent of mothers are co-breadwinners, contributing at least a quarter of the family’s earnings.30 The number of women supporting families on their own is increasing quickly; between 1973 and 2006, the proportion of families headed by a single mother grew from one in ten to one in five.31 These numbers are dramatically higher in Hispanic and African-American families. Twenty-seven percent of Latino children and 51 percent of African-American children are being raised by a single mother.32 Our country lags considerably behind others in efforts to help parents take care of their children and stay in the workforce. Of all the industrialized nations in the world, the United States is the only one without a paid maternity leave policy.33 As Ellen Bravo, director of the Family Values @ Work consortium, observed, most “women are not thinking about ‘having it all,’ they’re worried about losing it all—their jobs, their children’s health, their families’ financial stability—because of the regular conflicts that arise between being a good employee and a responsible parent.”34 For many men, the fundamental assumption is that they can have both a successful professional life and a fulfilling personal life. For many women, the assumption is that trying to do both is difficult at best and impossible at worst. Women are surrounded by headlines and stories warning them that they cannot be committed to both their families and careers. They are told over and over again that they have to choose, because if they try to do too much, they’ll be harried and unhappy. Framing the issue as “work-life balance”—as if the two were diametrically opposed—practically ensures work will lose out. Who would ever choose work over life? The good news is that not only can women have both families and careers, they can thrive while doing so. In 2009, Sharon Meers and Joanna Strober published Getting to 50/50, a comprehensive review of governmental, social science, and original research that led them to conclude that children, parents, and marriages can all flourish when both parents have full careers. The data plainly reveal that sharing financial and child-care responsibilities leads to less guilty moms, more involved dads, and thriving children.35 Professor Rosalind Chait Barnett of Brandeis University did a comprehensive review of studies on work-life balance and found that women who participate in multiple roles actually have lower levels of anxiety and higher levels of mental well-being.36 Employed women reap rewards including greater financial security, more stable marriages, better health, and, in general, increased life satisfaction.37 It may not be as dramatic or funny to make a movie about a woman who loves both her job and her family, but that would be a better reflection of reality. We need more portrayals of women as competent professionals and happy mothers—or even happy professionals and competent mothers. The current negative images may make us laugh, but they also make women unnecessarily fearful by presenting life’s challenges as insurmountable. Our culture remains baffled: I don’t know how she does it. Fear is at the root of so many of the barriers that women face. Fear of not being liked. Fear of making the wrong choice. Fear of drawing negative attention. Fear of overreaching. Fear of being judged. Fear of failure. And the holy trinity of fear: the fear of being a bad mother/wife/daughter.

After a time I saw what I believed, at the time, to be a radio relay station located out on a desolate sand spit near Villa Bens. It was only later that I found out that it was Castelo de Tarfaya, a small fortification on the North African coast. Tarfaya was occupied by the British in 1882, when they established a trading post, called Casa del Mar. It is now considered the Southern part of Morocco. In the early ‘20s, the French pioneering aviation company, Aéropostale, built a landing strip in this desert, for its mail delivery service. By 1925 their route was extended to Dakar, where the mail was transferred onto steam ships bound for Brazil. A monument now stands in Tarfaya, to honor the air carrier and its pilots as well as the French aviator and author Antoine Marie Jean-Baptiste Roger, comte de Saint-Exupéry better known as Antoine de Saint-Exupéry. As a newly acclaimed author in the literary world. “Night Flight,” or “Vol de nuit,” was the first of Saint-Exupéry’s literary works and won him the prix Femina, a French literary prize created in 1904. The novel was based on his experiences as an early mail pilot and the director of the “Aeroposta Argentina airline,” in South America. Antoine is also known for his narrative “The Little Prince” and his aviation writings, including the lyrical 1939 “Wind, Sand and Stars” which is Saint-Exupéry’s 1939, memoir of his experiences as a postal pilot. It tells how on the week following Christmas in 1935, he and his mechanic amazingly survived a crash in the Sahara desert. The two men suffered dehydration in the extreme desert heat before a local Bedouin, riding his camel, discovered them “just in the nick of time,” to save their lives. His biographies divulge numerous affairs, most notably with the Frenchwoman Hélène de Vogüé, known as “Nelly” and referred to as “Madame de B.

Henrietta Swan Leavitt worked as a human "computer" in the late 1800s. Her job was to count stars at the Harvard College Observatory, which had taken on the ambitious task of cataloging every star in the sky. The work demanded painstaking manual inspection of photographic plates to pin down the stars' position, color, and brightness. Edward Pickering, the director of the observatory, recruited men to do the job, only to be frustrated by their "lack of concentration and failure to pay attention to detail." Convinced that women could do a better job, he fired the men and hired a team of women, who were nicknamed "Pickering's Harem." Not only did Pickering get a more diligent team of workers, he paid them only about half as much as he paid the men. And he did not have to worry about the women wanting to make their own observations, for (as at Mount Wilson) they were not allowed to use the telescopes. It was as part of this team of desk-bound computers that Leavitt discovered something extraordinary.

In Walked Jim September 2013: Entering his first morning staff meeting as FBI director, Jim Comey loped to the head of the table, put down his briefing books, and lowered his six-foot-eight-inch, shirtsleeved self into a huge leather chair. He leaned the chair so far back on its hind legs that he lay practically flat, testing gravity. Then he sat up, stretched like a big cat, pushed the briefing books to the side, and said, as if he were talking to a friend, I don’t want to talk about these today. I’d rather talk about some other things first. He talked about how effective leaders immediately make their expectations clear and proceeded to do just that for us. Said he would expect us to love our jobs, expect us to take care of ourselves … I remember less of what he said than the easygoing way he spoke and the absolute clarity of his day-one priority: building relationships with each member of his senior team. Comey continually reminded the FBI leadership that strong relationships with one another were critical to the institution’s functioning. One day, after we reviewed the briefing books, he said, Okay, now I want to go around the room, and I want you all to say one thing about yourselves that no one else here knows about you. One hard-ass from the criminal division stunned the room to silence when he said, My wife and I, we really love Disney characters, and all our vacation time we spend in the Magic Kingdom. Another guy, formerly a member of the hostage-rescue team, who carefully tended his persona as a dead-eyed meathead—I thought his aesthetic tastes ran the gamut from YouTube videos of snipers in Afghanistan to YouTube videos of Bigfoot sightings—turned out to be an art lover. I really like the old masters, he said, but my favorite is abstract expressionism. This hokey parlor game had the effect Comey intended. It gave people an opportunity to be interesting and funny with colleagues in a way that most had rarely been before. Years later, I remember it like yesterday. That was Jim’s effect on almost everyone he worked with. I observed how he treated people. Tell me your story, he would say, then listen as if there were only the two of you in the whole world. You were, of course, being carefully assessed at the same time that you were being appreciated and accepted. He once told me that people’s responses to that opening helped him gauge their ability to communicate. Over the next few years I would sit in on hundreds of meetings with him. All kinds of individuals and organizations would come to Comey with their issues. No matter how hostile they were when they walked in the door, they would always walk out on a cloud of Comey goodness. Sometimes, after the door had closed, he would look at me and say, That was a mess. Jim has the same judgmental impulse that everyone has. He is complicated, with many different sides, and he is so good at showing his best side—which is better than most people’s—that his bad side, which is not as bad as most people’s, can seem more shocking on the rare moments when it flashes to the surface.

My philosophy was “Get it done.” Get the basics in there and, after that, tweak it and make it better; think about how to generate nuances that would enhance the show. I knew that doing nuances right away was like building a house and putting the couches and the curtains in before laying the foundation. This was literally how my directing career began. I was doing well, but I still felt I was getting other people’s laughs, not my own.

Sometimes it’s not just the hours we worry about wasting but also the scraps of time that get lost in between—the countless minutes spent on bitsy chores, answering emails, replying to texts, waiting for other people. “Time confetti,” a term coined by the director of the Better Life Lab at New America, Brigid Schulte, describes how time is scattered about our days, resulting in the minutes spent on seemingly insignificant actions adding up to a multicolored mound of “wasted time.

I went into the bar and sank into a leather bar seat packed with down. Glasses tinkled gently, lights glowed softly, there were quiet voices whispering of love, or ten per cent, or whatever they whisper about in a place like that. A tall fine-looking man in a gray suit cut by an angel suddenly stood up from a small table by the wall and walked over to the bar and started to curse one of the barmen. He cursed him in a loud clear voice for a long minute, calling him about nine names that are not usually mentioned by tall fine-looking men in well cut gray suits. Everybody stopped talking and looked at him quietly. His voice cut through the muted rhumba music like a shovel through snow. The barman stood perfectly still, looking at the man. The barman had curly hair and a clear warm skin and wide-set careful eyes. He didn’t move or speak. The tall man stopped talking and stalked out of the bar. Everybody watched him out except the barman. The barman moved slowly along the bar to the end where I sat and stood looking away from me, with nothing in his face but pallor. Then he turned to me and said: “Yes, sir?” “I want to talk to a fellow named Eddie Prue.” “So?” “He works here,” I said. “Works here doing what?” His voice was perfectly level and as dry as dry sand. “I understand he’s the guy that walks behind the boss. If you know what I mean.” “Oh. Eddie Prue.” He moved one lip slowly over the other and made small tight circles on the bar with his bar cloth. “Your name?” “Marlowe.” “Marlowe. Drink while waiting?” “A dry martini will do.” “A martini. Dry. Veddy, veddy dry.” “Okay.” “Will you eat it with a spoon or a knife and fork?” “Cut it in strips,” I said. “I’ll just nibble it.” “On your way to school,” he said. “Should I put the olive in a bag for you?” “Sock me on the nose with it,” I said. “If it will make you feel any better.” “Thank you, sir,” he said. “A dry martini.” He took three steps away from me and then came back and leaned across the bar and said: “I made a mistake in a drink. The gentleman was telling me about it.” “I heard him.” “He was telling me about it as gentlemen tell you about things like that. As big shot directors like to point out to you your little errors. And you heard him.” “Yeah,” I said, wondering how long this was going to go on. “He made himself heard—the gentleman did. So I come over here and practically insult you.” “I got the idea,” I said. He held up one of his fingers and looked at it thoughtfully. “Just like that,” he said. “A perfect stranger.” “It’s my big brown eyes,” I said. “They have that gentle look.” “Thanks, chum,” he said, and quietly went away. I saw him talking into a phone at the end of the bar. Then I saw him working with a shaker. When he came back with the drink he was all right again.

The expiring Bush administration was divided between those “who saw Pakistan as totally lost,” as the State Department’s David Gordon put it, and those “who had the view that they’re complicit, but there’s a chance this could turn out better.

Children and adults alike need to experience how rewarding it is to work at the edge of their abilities. Resilience is the product of agency: knowing that what you do can make a difference. Many of us remember what playing team sports, singing in the school choir, or playing in the marching band meant to us, especially if we had coaches or directors who believed in us, pushed us to excel, and taught us we could be better than we thought was possible. The children we reach need this experience.

By producing its merchandise in Europe, Zara spent about 15 percent more on labor than its rivals did by manufacturing in low-cost labor markets.11 But the slightly higher manufacturing cost was more than offset by other benefits. Mike Shearwood, managing director of Zara UK, explained why: “The extra margin is superior because there is no wastage, no markdowns, and no problem of getting a collection wrong.

The likes of you and I cannot “give” to the federal government, as under the Federal Acquisition Regulations this is considered to be a risk for exerting undue influence. But the CDC has established a nonprofit “CDC Foundation.” According to the CDC’s own website [419]: Established by Congress as an independent, nonprofit organization, the CDC Foundation is the sole entity authorized by Congress to mobilize philanthropic partners and private-sector resources to support CDC’s critical health protection mission. Likewise, the NIH has established the “Foundation for the National Institutes of Health,” currently headed by CEO Dr. Julie Gerberding (formerly CDC director, then president of Merck Vaccines, then chief patient officer and executive vice president, Population Health & Sustainability at Merck and Company—where she had responsibility for Merck’s ESG score compliance). Dr. Gerberding’s career provides a case history illustrating the ties between the administrative state and corporate America.

The likes of you and I cannot “give” to the federal government, as under the Federal Acquisition Regulations this is considered to be a risk for exerting undue influence. But the CDC has established a nonprofit “CDC Foundation.” According to the CDC’s own website [419]: Established by Congress as an independent, nonprofit organization, the CDC Foundation is the sole entity authorized by Congress to mobilize philanthropic partners and private-sector resources to support CDC’s critical health protection mission. Likewise, the NIH has established the “Foundation for the National Institutes of Health,” currently headed by CEO Dr. Julie Gerberding (formerly CDC director, then president of Merck Vaccines, then chief patient officer and executive vice president, Population Health & Sustainability at Merck and Company—where she had responsibility for Merck’s ESG score compliance). Dr. Gerberding’s career provides a case history illustrating the ties between the administrative state and corporate America. These congressionally chartered nonprofit organizations provide a vehicle whereby the medical-pharmaceutical complex can funnel money into the NIH and CDC to influence both research agendas and policies.

So you memorize your brief script, and when you walk back through the door you will be wherever you are next needed: the restaurant bathroom, or the museum gift shop where your friend is waiting to meet you, or perhaps a bustling sidewalk where you are to be spotted arm in arm with another Actor. For the Beneficiaries, the back sides of all doors are constructed just before they enter; for the Actors, all the doors of the world are our portal into and out of this waiting room. We don’t know how the Directors dynamically construct the world, much less for what purpose. We are only told that our obligation here as Actors will eventually end, and then we will move on to a better place. You may decide you’re not willing to uphold this continuous lie to the Beneficiaries. You may yell into the Directors’ intercom that you won’t be their deceitful stool pigeon. This is a typical reaction. But very quickly you will relent and play your part earnestly. We don’t know much about the Directors, only that they are clever enough to get us to do something we don’t want to do.

Travel makes or breaks all sorts of relationships: familial, sexual, platonic. We were now acutely aware that we'd only spent a few hours together up until this point. But the more we got to know each other, realising that we could entertain each other in a bog for three, then four hours, the better the situation seemed. I learned a lot about what it meant to be a good traveller that night. Yes, it's important to check train timetables and glance at details of public holidays. But a really good traveller? That's someone who can cheer you up when it all goes to shit. To travel is to invite chaos into your life. And if you're with someone who can't help you laugh when you're facing a twelve-hour journey fighting with your rucksack for space in a bog, well, you didn't pack the right stuff. I came to love and relish solo travel, but trav-elling with a carefully-chosen friend has so many advantages. Experiences that are shit, tiresome or downright scary on your own can be magically spun into comedy gold, or a charming vignette, if you have the right co-star for this mini-melodrama. As well as having a co-star, and a co-director, you also have an audience. And having an audience, and being accountable to someone, makes all human beings behave a little bit better. We want the camera to love us, baby.

The high priest Caiaphas alludes to this mechanism when he says, "It is better that one man die and that the whole nation not perish." The four accounts of the Crucifix-ion thus enable us to witness the unfolding of the working of the single victim mechanism. The sequence of events, as I have already said, resembles numerous analogous phenomena whose director and producer is Satan. The

Organized political power backed by coercive weapons is the source of both property and productivity: first of all in the cultivation of the land, using sunpower, and then at later stages in every other mode of production. Mechanical productivity, linked to widening markets, spell profit; and without the dynamic stimulus of profit-that is, money power-the system could not so rapidly expand. This perhaps explains why cruder forms of the megamachine, which favored the military caste rather than the merchant and industrial producer, and relied on tribute and pillage, remained static, and in the end unproductive and unprofitable to the point of repeated bankruptcy. Finally, no less an integral part of the power system is publicity (prestige, panache), through which the merely human directors of the power complex-the military, bureaucratic, industrial, and scientific elite-are inflated to more than human dimensions in order better to maintain authority.

here is something strange. Between the fatwa and the present, religious killers have murdered just one Western artist – the Dutch director Theo van Gogh, assassinated in 2004 for making a film with the Somali feminist Ayaan Hirsi Ali. Yet in the same period Western culture changed, and not for the better.

The book sensitively deals with dilemma of a Muslim woman trapped between orthodox relatives and the western society with different ethos. The defence by Daniel of Nadia and her dilemma is apt and nuanced. The novel captures different shades of attitudes in the west regarding Islam. IT points to the need for more dialogue and better understanding. Irfan Engineer, Director, Centre for Study of Society and Secularism, Mumbai

In The New Biographical Dictionary of Film, David Thomson argues that Brennan should have won awards for even better performances in To Have and Have Not (1944), My Darling Clementine (1946), Red River (1948), The Far Country (1955), and Rio Bravo (1959). Thomson counts no less than twenty-eight high caliber Brennan performances in still more films, including These Three (1936), Fury (1936), Meet John Doe (1941), and Bad Day At Black Rock (1955). Brennan worked with Hollywood’s greatest directors—John Ford, Howard Hawks, William Wyler, King Vidor, and Fritz Lang—while also starring in Jean Renoir’s Hollywood directorial debut, Swamp Water (1941). To discuss Brennan’s greatest performances is also to comment on the work of Gary Cooper, Henry Fonda, Dana Andrews, Spencer Tracy, John Wayne, Humphrey Bogart, Lauren Bacall, Anne Baxter, Barbara Stanwyck, Lana Turner, Linda Darnell, Ginger Rogers, Loretta Young, and many other stars.

on an outdoor set, he watched a donkey braying at all the wrong moments, angering the sound technicians, who could not get the animal to perform on cue. (Walter loved to tell this story, and of course it got better every time he told it.) “I can bray,” said Brennan, buttonholing the director. So he brayed, and both the director and the donkey were delighted. “How much?” Walter asked the director. “Ten bucks,” came the reply. “Not enough,” the actor responded. But that was the pay scale, the director said. “Then I don’t bray,” Walter rejoined. “Tell you what,” the desperate director offered, “you bray for the ten-spot, and tomorrow come around and I’ll give you a bit part. You can collect twenty-five on that.” So it was that Walter Brennan brayed himself into motion pictures. Or as he liked to put it, “I got into pictures by making a jackass of myself.” True story? True enough, I suspect, because it was often said of Walter that he knew the value of a dollar and knew how to make himself useful. He also saved money by having his one pair of pants pressed every day by a friendly wardrobe man. Ruth liked to reminisce about washing Walter’s one shirt, putting it out on the line to dry, and then getting up at 4:00 am to iron it.

Much of Brennan’s early work was on the Universal Pictures lot, including Spangles (November 7, 1926), in which he plays a lunch counterman. More importantly, he was able to watch, for the first time, the great Cecil B. DeMille in action. A decade later the director would award Brennan one of his best roles in The Buccaneer. Although Universal made high quality films using important filmmakers like DeMille, it was better known as a producer of “programmers,” cheap action films with lots of thrills. Established in 1912, Universal was the oldest studio, and, as film historian Thomas Schatz puts it, “a world unto itself, a self-contained municipality devoted exclusively to making motion pictures. There were restaurants and shops and even a police force.” Universal had factory-size production facilities, including a shooting stage sixty-five feet by three hundred feet. There was no better place for Walter Brennan to get work and learn his trade in every kind of genre film.

Jean Renoir, working on his first American picture, created beautiful, lush shots of the Georgia swamp, although much of the film was made in the studio. But Brennan remembered the cottonmouths and was grateful that he had a double in scenes with snakes, since one of the reptiles (they were not defanged) bit one of the trainers. Like other cast members, Brennan found Renoir “wonderful.” “Oh, what a gentleman,” he recalled. “Oh, I just loved the guy. He was so gentle and nice.” During one take, Walter turned to the director and said, “How was that, Gene?” Renoir said, “[I]t was good. I liked it. I have tears in my eyes.” Walter said, “Oh, I thought it was lousy.” A perplexed Renoir, whose understanding of English was imperfect, called for an interpreter. When he agreed to let Brennan do the scene again, he had to admit the retake was better.

January 15: Fox holds a press party for Yves Montand, who has been cast (at Arthur Miller’s suggestion) to replace Gregory Peck in Let’s Make Love. Marilyn seems in better health and ready to work. Group photographs are taken of Miller, Simone Signoret (Montand’s wife), Montand, Marilyn, and Frankie Vaughan, a popular British singer, and Milton Berle, who also appears in Let’s Make Love. Marilyn is photographed with producer Buddy Adler, gossip columnist Dorothy Kilgallen, and director George Cukor. Marilyn and Miller join Montand and Signoret for dinner. The couples occupy adjoining bungalows in the Beverly Hills Hotel.

It wasn’t until I finished directing Monsters, Inc. that I realized failure is a healthy part of the process,” he told me. “Throughout the making of that film, I took it personally—I believed my mistakes were personal shortcomings, and if I were only a better director I wouldn’t make them.” To this day, he says, “I tend to flood and freeze up if I’m feeling overwhelmed. When this happens, it’s usually because I feel like the world is crashing down and all is lost. One trick I’ve learned is to force myself to make a list of what’s actually wrong. Usually, soon into making the list, I find I can group most of the issues into two or three larger all-encompassing problems. So it’s really not all that bad. Having a finite list of problems is much better than having an illogical feeling that everything is wrong.

Sir Josiah Stamp, Director of the Bank of England (1928) claimed: “Banking was conceived in iniquity and was born in sin. The bankers own the earth. Take it away from them, but leave them the power to create money, and with the flick of the pen they will create enough deposits to buy it back again. However, take it away from them, and all the great fortunes like mine will disappear and they ought to disappear, for this would be a happier and better world to live in. But, if you wish to remain the slaves of bankers and pay the cost of your own slavery, let them continue to create money.