Director X Quotes

The director cleared her throat just a few shots in. “Um, so, is there anything you can do about that, Mr Cavendish? This is not an X-rated publication…” James, shameless bastard that he was, seemed completely unfazed. “You’ll just need to shoot me waist up. You were the one who wanted my girlfriend in the shot, putting her hands on me. What did you think was going to happen?

There can be no question that Musk has mastered the art of getting the most out of his employees. Interview three dozen SpaceX engineers and each one of them will have picked up on a managerial nuance that Musk has used to get people to meet his deadlines. One example from Brogan: Where a typical manager may set the deadline for the employee, Musk guides his engineers into taking ownership of their own delivery dates. “He doesn’t say, ‘You have to do this by Friday at two P.M.,’” Brogan said. “He says, ‘I need the impossible done by Friday at two P.M. Can you do it?’ Then, when you say yes, you are not working hard because he told you to. You’re working hard for yourself. It’s a distinction you can feel. You have signed up to do your own work.” And by recruiting hundreds of bright, self-motivated people, SpaceX has maximized the power of the individual. One person putting in a sixteen-hour day ends up being much more effective than two people working eight-hour days together. The individual doesn’t have to hold meetings, reach a consensus, or bring other people up to speed on a project. He just keeps working and working and working. The ideal SpaceX employee is someone like Steve Davis, the director of advanced projects at SpaceX. “He’s been working sixteen hours a day every day for years,” Brogan said. “He gets more done than eleven people working together.

Because I wasn’t allowed to be applauded for it. It had an X rating. It was responsible for letters to the editor at nearly every paper in the country. It was too scandalous, too explicit. It got people excited, and when they felt that way, they had to blame someone, and they blamed me. What else were they going to do? Blame the French director? The French are like that. And they weren’t going to blame the newly redeemed Don Adler.

The only other woman among the dozen or so at the table was Shana Diez, an MIT aeronautics engineer who had worked at SpaceX for fourteen years and, having impressed Musk with her plainspoken competence, was now director of Starship engineering.

So you thereby challenge Spinozist or Nietzschean ethics, which separate movements of being-more from those of being-less, of action and reaction? - Yes , let us dread to sec the reappearance of a whole morality or politics under the cover of these dichotomies, their sages , their militants , their tribunals and their prisons . Where there is intensity, there is a labyrinth, and to fi x the meaning of the passage, of suffering or of joy, is the business of consciousnesses and their directors . It is enough for us that the bar turns in order that unpredictable spirals stream out, it is enough for us that it slows down and stops in order to engender representation and clear thought. Not good and bad intensities , then, but intensity or its decompression. And as has been said and will be said again, both dissimulated together, meaning hidden in emotion, vertigo in reason. Therefore no morality at all, rather a theatrics; no politics, rather a conspiracy.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

Navy Seals Stress Relief Tactics (As printed in O Online Magazine, Sept. 8, 2014) Prep for Battle: Instead of wasting energy by catastrophizing about stressful situations, SEALs spend hours in mental dress rehearsals before springing into action, says Lu Lastra, director of mentorship for Naval Special Warfare and a former SEAL command master chief.  He calls it mental loading and says you can practice it, too.  When your boss calls you into her office, take a few minutes first to run through a handful of likely scenarios and envision yourself navigating each one in the best possible way.  The extra prep can ease anxiety and give you the confidence to react calmly to whatever situation arises. Talk Yourself Up: Positive self-talk is quite possibly the most important skill these warriors learn during their 15-month training, says Lastra.  The most successful SEALs may not have the biggest biceps or the fastest mile, but they know how to turn their negative thoughts around.  Lastra recommends coming up with your own mantra to remind yourself that you’ve got the grit and talent to persevere during tough times. Embrace the Suck: “When the weather is foul and nothing is going right, that’s when I think, now we’re getting someplace!” says Lastra, who encourages recruits to power through the times when they’re freezing, exhausted or discouraged.  Why?  Lastra says, “The, suckiest moments are when most people give up; the resilient ones spot a golden opportunity to surpass their competitors.  It’s one thing to be an excellent athlete when the conditions are perfect,” he says.  “But when the circumstances aren’t so favorable, those who have stronger wills are more likely to rise to victory.” Take a Deep Breath: “Meditation and deep breathing help slow the cognitive process and open us up to our more intuitive thoughts,” says retired SEAL commander Mark Divine, who developed SEALFit, a demanding training program for civilians that incorporates yoga, mindfulness and breathing techniques.  He says some of his fellow SEALs became so tuned-in, they were able to sense the presence of nearby roadside bombs.  Who doesn’t want that kind of Jedi mind power?  A good place to start: Practice what the SEALs call 4 x 4 x 4 breathing.  Inhale deeply for four counts, then exhale for four counts and repeat the cycle for four minutes several times a day.  You’re guaranteed to feel calmer on any battleground. Learn to value yourself, which means to fight for your happiness. ---Ayn Rand

ever. Amen. Thank God for self-help books. No wonder the business is booming. It reminds me of junior high school, where everybody was afraid of the really cool kids because they knew the latest, most potent putdowns, and were not afraid to use them. Dah! But there must be another reason that one of the best-selling books in the history of the world is Men Are From Mars, Women Are From Venus by John Gray. Could it be that our culture is oh so eager for a quick fix? What a relief it must be for some people to think “Oh, that’s why we fight like cats and dogs, it is because he’s from Mars and I am from Venus. I thought it was just because we’re messed up in the head.” Can you imagine Calvin Consumer’s excitement and relief to get the video on “The Secret to her Sexual Satisfaction” with Dr. GraySpot, a picture chart, a big pointer, and an X marking the spot. Could that “G” be for “giggle” rather than Dr. “Graffenberg?” Perhaps we are always looking for the secret, the gold mine, the G-spot because we are afraid of the real G-word: Growth—and the energy it requires of us. I am worried that just becoming more educated or well-read is chopping at the leaves of ignorance but is not cutting at the roots. Take my own example: I used to be a lowly busboy at 12 East Restaurant in Florida. One Christmas Eve the manager fired me for eating on the job. As I slunk away I muttered under my breath, “Scrooge!” Years later, after obtaining a Masters Degree in Psychology and getting a California license to practice psychotherapy, I was fired by the clinical director of a psychiatric institute for being unorthodox. This time I knew just what to say. This time I was much more assertive and articulate. As I left I told the director “You obviously have a narcissistic pseudo-neurotic paranoia of anything that does not fit your myopic Procrustean paradigm.” Thank God for higher education. No wonder colleges are packed. What if there was a language designed not to put down or control each other, but nurture and release each other to grow? What if you could develop a consciousness of expressing your feelings and needs fully and completely without having any intention of blaming, attacking, intimidating, begging, punishing, coercing or disrespecting the other person? What if there was a language that kept us focused in the present, and prevented us from speaking like moralistic mini-gods? There is: The name of one such language is Nonviolent Communication. Marshall Rosenberg’s Nonviolent Communication provides a wealth of simple principles and effective techniques to maintain a laser focus on the human heart and innocent child within the other person, even when they have lost contact with that part of themselves. You know how it is when you are hurt or scared: suddenly you become cold and critical, or aloof and analytical. Would it not be wonderful if someone could see through the mask, and warmly meet your need for understanding or reassurance? What I am presenting are some tools for staying locked onto the other person’s humanness, even when they have become an alien monster. Remember that episode of Star Trek where Captain Kirk was turned into a Klingon, and Bones was freaking out? (I felt sorry for Bones because I’ve had friends turn into Cling-ons too.) But then Spock, in his cool, Vulcan way, performed a mind meld to determine that James T. Kirk was trapped inside the alien form. And finally Scotty was able to put some dilithium crystals into his phaser and destroy the alien cloaking device, freeing the captain from his Klingon form. Oh, how I wish that, in my youth or childhood,

Working on a shoestring, which in my case is more often a matter of circumstance than of choice, never appeared to me as a cornerstone for aesthetics, and Dogme-type stuff just bores me. So it’s rather in order to bring some comfort to young filmmakers in need that I mention these few technical details: The material for La Jetee was created with a Pentax 24x36, and the only “cinema” part (the blinking of the eyes) with an Arriflex 35mm film camera, borrowed for one hour. Sans Soleil was entirely shot with a 16mm Beaulieu silent film camera (not one sync take within the whole film), with 100-foot reels – 2'44" autonomy! –and a small cassette recorder (not even a Walkman; they didn’t exist yet). The only “sophisticated” device – given the time – was the spectre image synthesizer, also borrowed for a few days. This is to say that the basic tools for these two films were literally available to anyone. No silly boasting here, just the conviction that today, with the advent of computer and small DV cameras (unintentional homage to Dziga Vertov), would-be directors need no longer submit their fate to the unpredictability of producers or the arthritis of televisions, and that by following their whims or passions, they perhaps see one day their tinkering elevated to DVD status by honorable men.

Those orthodox Muslims whom I had met, one after another, had urged me to meet and talk with a Dr. Mahmoud Youssef Shawarbi. He was described to me as an eminent, learned Muslim, a University of Cairo graduate, a University of London Ph.D., a lecturer on Islam, a United Nations advisor and the author of many books. He was a full professor of the University of Cairo, on leave from there to be in New York as the Director of the Federation of Islamic Associations in the United States and Canada. Several times, driving in that part of town, I had resisted the impulse to drop in at the F.I.A. building, a brown-stone at 1 Riverside Drive. Then one day Dr. Shawarbi and I were introduced by a newspaperman. He was cordial. He said he had followed me in the press; I said I had been told of him, and we talked for fifteen or twenty minutes. We both had to leave to make appointments we had, when he dropped on me something whose logic never would get out of my head. He said, “No man has believed perfectly until he wishes for his brother what he wishes for himself.

John Della Volpe, the director of polling at the Harvard Kennedy School of Government, spoke to hundreds of young people for his 2022 book, Fight: How Gen Z Is Channeling Their Fear and Passion to Save America. When asked to describe the U.S., he found, young Millennials in the mid-2010s used words like “diverse,” “free,” and “land of abundance.” A few years later, Gen Z’ers instead said “dystopic,” “broken,” and “a bloody mess.

One nice touch about Christy’s discovery was that it happened in Flagstaff, for it was there in 1930 that Pluto had been found in the first place. That seminal event in astronomy was largely to the credit of the astronomer Perdval Lowell. Lowell, who came from one of the oldest and wealthiest Boston families (the one in the famous ditty about Boston being the home of the bean and the cod, where Lowells spoke only to Cabots, while Cabots spoke only to God), endowed the famous observatory that bears his name, but is most indelibly remembered for his belief that Mars was covered with canals built by industrious Martians for purposes of conveying water from polar regions to the dry but productive lands nearer the equator. Lowell’s other abiding conviction was that there existed, somewhere out beyond Neptune, an undiscovered ninth planet dubbed, Planet X. Lowell based this belief on irregularities he detected in the orbits of Uranus and Neptune, and devoted the last years of his life to trying to find the gassy giant he was certain was out there. Unfortunately, he died suddenly in 1916, at least partly exhausted by his quest and the search fell into abeyance while Lowell’s heirs squabbled over his estate. However, in 1929, partly as a way of deflecting attention away from the Mars canal saga (which by now had become a serious embarrassment), the Lowell Observatory directors decided to resume the search and to that end hired a young man from Kansas named Clyde Tombaugh. Tombaugh had no formal training as an astronomer, but he was diligent and he was astute, and after a year’s patient searching he somehow spotted Pluto, a faint point of light in a glittery firmament. It was a miraculous find, and what made it all the more striking was that the observations on which Lowell had predicted the existence of a planet beyond Neptune proved to be comprehensively erroneous. Tombaugh could see at once that the new planet was nothing like the massive gasball Lowell had postulated, but any reservations he or anyone else had about the character of the new planet were soon swept aside in the delirium that attended almost any big news story in that easily excited age. This was the first American-discovered planet and no one was going to be distracted by the thought that it was really just a distant icy dot. It was named Pluto at least partly because the first two letters made a monogram from Lowell’s initials. Lowell was posthumously hailed everywhere as a genius of the first order, and Tombaugh was largely forgotten, except among planetary astronomers, who tend to revere him.

Instead of relying upon moral and religious guidance from a spiritual director or adviser, Eleanor made her own study of theology and formed her own views. Both of these are, of course, entirely consistent with her upbringing under the Dominicans and the intellectual approach to religion which Alfonso X advocates in the Siete Partidas.

DC at night had a particular savage gleam, red taillights piercing through gloom, dingy alleys bookending martini-lounge hustle-bustle. And yet another realm hovered above in an angelic glow, the eye called to uplit white marble monuments, to rounded domes and thrusting peaks, to glowing penthouses floating above streets as dark as puddles. Everything that rose seemed to be mirrored in descent, the reflecting pool and the cool Potomac like portals to an underworld. Wetzel had read somewhere that Hollywood directors liked to hose down streets to make the asphalt sparkle on film. Washington was like that naturally, a black-ice kind of town – lose focus and you’d slip and break your neck.

Much like GM and GE, Kodak had a fair employment policy in place by the 1960s and had laid out is own Plan for Progress, which included a commitment to “hold discussions with the employment interviewers in the various division to remind them: that “such things as race, creed, color, or national origin” are neither to “help nor hinder in getting a job at Kodak.” Yet for blacks trying to work and move up at the company, these assurances didn’t mesh with their own experiences. Some of this was a consequence of blacks being poorly educated, especially those who had relocated to Rochester from the rural South. In the company’s eyes, the simply weren’t qualified. “We don’t grow many peanuts in Eastman Kodak,” Monroe Dill, Kodak’s industrial relations director said in 1963, adding that the company would start to recruit more from all-black colleges so as to not keep “discriminating by omission.” But there was also plenty of discrimination by commission, as individual Kodak managers used their discretion to hire whomever they liked and cast off whomever they didn’t. “They would say it blatant, like, 'We don't have any colored jobs,"" recalled Clarence Ingram, who served as general manager of the Rochester Business Opportunities Corporation, an entity formed after the '64 riots to support minority businesses. "They would tell you that." Apparently, they told a lot of blacks that. In 1964, only about 600 African Americans worked for Kodak in Rochester. less than 2 percent of the 33,000 employees based there. Determined to remedy this was FIGHT, which was led by Franklin Delano Roosevelt Florence, the thirty-one-year-old pastor of the Reynolds Street Church of Christ, a stocky, hard-charging, charismatic man, who called Malcolm X a friend. On September 2, 1966, a delegation of sixteen from FIGHT walked into Kodak's executive suite. Florence, sporting a Black Power button in his lapel, said he wanted to see "the top man." Before he knew it, the minister and his retinue were sitting in front of three top men: Kodak chairman Albert Chapman, president William Vaughn, and executive vice president Louis Eilers. Florence told them about the harshness of life in Rochester's black ghetto and said he wanted Kodak to start a training program for people who normally wouldn't be recruited into the company. Florence braced himself, expecting Kodak to resist. But Vaughn listened carefully and then asked Florence to submit a more specific proposal. Two weeks later, he did. Calling FIGHT " the only mass based organization of poor people and near poor people in the Rochester area," Florence requested that Kodak train 500 to 600 men and women over eighteen months. FIGHT also wanted direct involvement in the process; the group would "recruit and counsel trainees and offer advice, consultation, and assistance.

de la Capilla Real. 8. f. — Composición musical. La música de esta ópera es de tal autor. 9. f. — Colección de papeles en que están escritas las composiciones musicales. En este escritorio se guarda la música de la capilla. 10. f. — Sonido grato al oído. La música del viento entre las ramas. La música del agua del arroyo. 11. f. — Ruido desagradable. 12. f. — música celestial. III. música armónica música armónica. Tb. música harmónica, p. us. 1. Sustantivo f. — música vocal. IV. música celestial música celestial. 1. Sustantivo f. — Palabras elegantes y promesas vanas y que no tienen sustancia ni utilidad. V. música harmónica música harmónica. V.~ armónica VI. música instrumental música instrumental. 1. Sustantivo f. — música compuesta solo para instrumentos. VII. música ligera música ligera. 1. Sustantivo f. — música muy melodiosa y pegadiza, que se capta y recuerda más fácilmente que otras. VIII. música llana música llana. 1. Sustantivo f. — canto gregoriano. IX. música mensurable música mensurable. 1. Sustantivo f. — canto de órgano. X. música ratonera música ratonera. 1. Sustantivo f. — música mala, o producida por malas voces o instrumentos desafinados. XI. música rítmica música rítmica. 1. Sustantivo f. — música en la que prima el elemento rítmico. XII. música vocal música vocal. 1. Sustantivo f. — música compuesta para voces, solas o acompañadas de instrumentos. XIII. música y acompañamiento música y acompañamiento. 1. Sustantivo f. — Gente de menor calidad en un concurso, a distinción de la primera o principal. XIV. músico mayor músico mayor. 1. Sustantivo m. — Director de una banda militar. XV. con buena música se viene con buena música se viene. 1. Expresión expr. — U. para reprobar a quien pide una impertinencia o algo que no da gusto a la persona de quien se solicita. XVI. con la música a otra parte con la música a otra parte. 1. Expresión expr. — U. para despedir y reprender a quien viene a incomodar o con impertinencias. Vete con la música a otra parte. XVII. dar música a un sordo dar música a un sordo. 1. Locución loc. verb. — Trabajar en vano para persuadir a

Author Maya Angelou has worked with some exceptional political leaders from Martin Luther King, Jr and Malcolm X to Bill Clinton and Barack Obama. In a podcast on courage and creativity for the Harvard Business Review in 2013, she said of leadership: ‘A leader sees greatness in other people. He nor she can be much of a leader if all she sees is herself.’ I can agree with this, having worked for six years with Jane Kendall, worldwide director of strategy and innovation at Saatchi & Saatchi. She sees greatness in others. A more selfless C it would be difficult to find in any organisation. Kendall has the Henry Ford secret of success: the ability to get the other person’s point of view and see things from that person’s angle as well as from your own.

In 1975 Carley sent a fake X-ray of a red wolf skull to the FWS’s Southeast regional director, who was toying with the idea of using his region for red wolf reintroduction if captive breeding succeeded. Where the animal’s brain should have been, Carley placed gears and keys. In typical veiled humor, he wrote: “On the basis of the attached X-ray, we feel we are rapidly approaching the time when we can say, without fear of contradiction, that we truly understand what makes these wolves tick!

On Stage was a groundbreaking dramatic series capping the radio careers of Cathy and Elliott Lewis. It came in what might have been a watershed era but was instead radio’s last hurrah. The Lewises reached the crest as the ship began to sink, though in a strange way it was a time of peace. The war with television had been lost in a single season, and the big money had gone, as it always does, with the winner. What was left on radio fell into several broad categories, none ruled by money as they had been in the old days. Agencies and producers still had radio budgets, but the tide had irrevocably turned. The end of big-time radio had for its best artists a liberating effect. “I can do things now that I wouldn’t dare to do two or three years ago,” said Elliott Lewis in Newsweek in mid-1953. As producer-director of Suspense, he had just aired a two-part adaptation of Shakespeare’s Othello, which would have been unthinkable for the thrill show in 1945. Network people paid less attention, and if money was tighter, there was no lack of talent to prove it. People still wanted to work in radio: they remained because it was a dear first love, terminally ill and soon to disappear. Jack Benny and Jack Webb were still on the air; Gunsmoke was in its first year, and just ahead were more frugal but extremely creative shows—X-Minus One, Frontier Gentleman, and The CBS Radio Workshop. These were produced and enacted by people who loved what they were doing: some would mourn its final loss so deeply that they spoke of it reluctantly even two decades later. It was in this time that the Lewises produced On Stage, by some accounts the best radio anthology ever heard.

Musk still tended to drive the young engineers mad with his work demands and blunt criticism. “I remember being in a meeting once brainstorming about a new product—a new-car site,” said Doris Downes, the creative director at Zip2. “Someone complained about a technical change that we wanted being impossible. Elon turned and said, ‘I don’t really give a damn what you think,’ and walked out of the meeting. For Elon, the word no does not exist, and he expects that attitude from everyone around him.” Periodically, Musk let loose on the more senior executives as well. “You would see people come out of the meetings with this disgusted look on their face,” Mohr, the salesman, said. “You don’t get to where Elon is now by always being a nice guy, and he was just so driven and sure of himself.

Luke Montaine occupies the position of Director, Chief Executive & Financial Officer for Roadman Investments Corp., Chief Executive Officer & Director at Ord Mountain Resources Corp., Chief Operating Officer at Brand X Lifestyle Corp., Vice President-Finance & Associate at Element & Associates and Head-Corporate Development at West Mining Corp.

Musk took to the Mars Society right away and joined its board of directors. He donated another $100,000 to fund a research station in the desert as well. Musk’s