Professionals Movie Quotes

A movie: tells the story; of a person(s); in the pursuit of an Objective(s); in the face of Opposition(s); with someone to talk to; with an underlying theme, in a clearly defined genre; with an emotionally satisfying resolution. Does yours?

In the business people with expertise, experience and evidence will make more profitable decisions than people with instinct, intuition and imagination.

Outside of my professional life, I have known many couples over the years who had passion and electricity between them and who treated each other well. But unfortunately there is wide acceptance in our society of the unhealthy notion that passion and aggression are interwoven and that cruel verbal exchanges and bomblike explosions are the price you pay for a relationship that is exciting, deep, and sexy. Popular romantic movies and soap operas sometimes reinforce this image.

A professional who doesn't deliver as committed is not just lazy, he is a liar.

A true professional not only follows but loves the processes, policies and principles set by his profession.

A powerful process automatically takes care of progress, productivity and profits.

Jokes and movies, comic books and professional wrestling, television shows and news programs—they all present dramatic interpretations of facts and fiction in the format of a narrative for the same reason we put chairs in cars.

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—

Outside of my professional life, I have known many couples over the years who had passion and electricity between them and who treated each other well. But unfortunately there is wide acceptance in our society of the unhealthy notion that passion and aggression are interwoven and that cruel verbal exchanges and bomblike explosions are the price you pay for a relationship that is exciting, deep, and sexy. Popular romantic movies and soap operas sometimes reinforce this image. Most

I've always wanted to be a journalist, but what am I going to do? Write articles about which movie star had the fat sucked from her ass and injected into her face? Which professional athlete just confessed to shooting steroids? The last celebrity baby names?" Cara lowered both brows in frustration. "Who cares?

When Rin Tin Tin first became famous, most dogs in the world would not sit down when asked. Dogs performed duties: they herded sheep, they barked at strangers, they did what dogs do naturally, and people learned to interpret and make use of how they behaved. The idea of a dog's being obedient for the sake of good manners was unheard of. When dogs lived outside, as they usually did on farms and ranches, the etiquette required of them was minimal. But by the 1930s, Americans were leaving farms and moving into urban and suburban areas, bringing dogs along as pets and sharing living quarters with them. At the time, the principles of behavior were still mostly a mystery -- Ivan Pavlov's explication of conditional reflexes, on which much training is based, wasn't even published in an English translation until 1927. If dogs needed to be taught how to behave, people had to be trained to train their dogs. The idea that an ordinary person -- not a dog professional -- could train his own pet was a new idea, which is partly why Rin Tin Tin's performances in movies and onstage were looked upon as extraordinary.

The purpose of a profession is to fulfil the personal wishes of a prospect.

Every waitress had a group of guys who mistook professional courtesy for a personal relationship. She’d never liked it, but she’d thought she understood it. As far as she could tell, men didn’t have close friendships, not like women did, but they still had that human need for connection. Every movie and TV show and magazine article told them it was their job to go out and grab what they wanted at the same time it told them that women were theirs for the taking.

Look in it,' he said, smiling slightly, as you do when you have given someone a present which you know will please him and he is unwrapping it before your eyes. I opened it. In the folder I found four 8×10 glossy photos, obviously professionally done; they looked like the kind of stills that the publicity departments of movie studios put out. The photos showed a Greek vase, on it a painting of a male figure who we recognized as Hermes. Twined around the vase the double helix confronted us, done in red glaze against a black background. The DNA molecule. There could be no mistake. 'Twenty-three or -four hundred years ago,' Fat said. 'Not the picture but the krater, the pottery.' 'A pot,' I said. 'I saw it in a museum in Athens. It's authentic. Thats not a matter of my own opinion; I'm not qualified to judge such matters; it's authenticity has been established by the museum authorities. I talked with one of them. He hadn't realized what the design shows; he was very interested when I discussed it with him. This form of vase, the krater, was the shape later used as the baptismal font. That was one of the Greek words that came into my head in March 1974, the word “krater”. I heard it connected with another Greek word: “poros”. The words “poros krater” essentially mean “limestone font”. ' There could be no doubt; the design, predating Christianity, was Crick and Watson's double helix model at which they had arrived after so many wrong guesses, so much trial-and-error work. Here it was, faithfully reproduced. 'Well?' I said. 'The so-called intertwined snakes of the caduceus. Originally the caduceus, which is still the symbol of medicine was the staff of- not Hermes-but-' Fat paused, his eyes bright. 'Of Asklepios. It has a very specific meaning, besides that of wisdom, which the snakes allude to; it shows that the bearer is a sacred person and not to be molested...which is why Hermes the messenger of the gods, carried it.' None of us said anything for a time. Kevin started to utter something sarcastic, something in his dry, witty way, but he did not; he only sat without speaking. Examining the 8×10 glossies, Ginger said, 'How lovely!' 'The greatest physician in all human history,' Fat said to her. 'Asklepios, the founder of Greek medicine. The Roman Emperor Julian-known to us as Julian the Apostate because he renounced Christianity-conside​red Asklepios as God or a god; Julian worshipped him. If that worship had continued, the entire history of the Western world would have basically changed

As artists and professionals it is our obligation to enact our own internal revolution, a private insurrection inside our own skulls. In this uprising we free ourselves from the tyranny of consumer culture. We overthrow the programming of advertising, movies, video games, magazines, TV, and MTV by which we have been hypnotized from the cradle. We unplug ourselves from the grid by recognizing that we will never cure our restlessness by contributing our disposable income to the bottom line of Bullshit, Inc., but only by doing our work.

Wanting All Husband, it's fine the way your mind performs Like a circus, sharp As a sword somebody has To swallow, rough as a bear, Complicated as a family of jugglers, Brave as a sequined trapeze Artist, the only boy I ever met Who could beat me in argument Was why I married you, isn't it, And you have beaten me, I've beaten you, We are old polished hands. Or was it your body, I forget, maybe I foresaw the thousands on thousands Of times we have made love Together, mostly meat And potatoes love, but sometimes Higher than wine, Better than medicine. How lately you bite, you baby, How angels record and number Each gesture, and sketch Our spinal columns like professionals. Husband, it's fine how we cook Dinners together while drinking, How we get drunk, how We gossip, work at our desks, dig in the garden, Go to the movies, tell The children to clear the bloody table, How we fit like puzzle pieces. The mind and body satisfy Like windows and furniture in a house. The windows are large, the furniture solid. What more do I want then, why Do I prowl the basement, why Do I reach for your inside Self as you shut it Like a trunkful of treasures? Wait, I cry, as the lid slams on my fingers.

It is important to stress that, in America at least, no matter how small and how badly off a particular stigmatized category is, the viewpoint of its members is likely to be given public presentation of some kind. It can thus be said that Americans who are stigmatized tend to live in a literarily-defined world, however uncultured they might be. If they don’t read books on the situation of persons like themselves, they at least read magazines and see movies; and where they don’t do these, then they listen to local, vocal associates. An intellectually worked-up version of their point of view is thus available to most stigmatized persons. A comment is here required about those who come to serve as representatives of a stigmatized category. Starting out as someone who is a little more vocal, a little better known, or a little better connected than his fellow-sufferers, a stigmatized person may find that the “movement” has absorbed his whole day, and that he has become a professional.

Are you committed to a life of continual counseling, growth, and education? Are you committed to a life of consistently receiving truth, of renewing your mind? From what sources do you receive your counseling? Are you reading books by authors who speak wisdom? Are you listening to music and watching movies that have redemptive and edifying themes? Are you involved in a small group or community of people that can offer you support, guidance, and encouragement, and in which you give back that which you have been given? Do you know of professional counselors you can see when needed? Are you asking God for wisdom about life on a regular basis? (He says if you will ask, He will provide [see James 1:5–8].)

Eighty-one is old, shockingly old. I’m shocked myself when I think about it. I don’t feel old, and over and over I wonder how I got to be eighty-one. I always used to be the youngest kid—in my classes, on my summer camp baseball team, on the tennis team—and now suddenly I’m the oldest person anywhere I go—restaurants, movies, professional conferences. I can’t get used to it.

I’ve done enough movies in the last twenty-five years to know that this is always a difficult moment for an actor. Actors nearly always want to appear courageous and committed, willing to do anything for the team. So while it is perfectly acceptable to opt out of a stunt and let the professionals handle it, there is some pressure, mostly internal, to push yourself beyond your normal comfort zone. Typically, the director will follow up after the consultation with the stunt coordinator and special effects experts and the actors, just to make sure everyone is at ease with their respective roles when it comes to the stunt. Certainly that was the case on this occasion, as Rob consulted with both Robin and me about our willingness to do the stunt. But more so with her, seeing as she was the one who was actually going to be set on fire.

You are all more or less wearing the same types of clothes—look around the room and you will see it’s true. Now imagine you’re the only one not wearing a cool symbol. How would that make you feel? The Nike swoop, the three Adidas stripes, the little Polo player on a horse, the Hollister seagull, the symbols of Philadelphia’s professional sports teams, even our high school mascot that you athletes wear to battle other schools—some of you wear our Mustang to class even when there is no sporting event scheduled. These are your symbols, what you wear to prove that your identity matches the identity of others. Much like the Nazis had their swastika. We have a very loose dress code here and yet most of you pretty much dress the same. Why? Perhaps you feel it’s important not to stray too far from the norm. Would you not also wear a government symbol if it became important and normal to do so? If it were marketed the right way? If it was stitched on the most expensive brand at the mall? Worn by movie stars? The president of the United States?

So you get fancily dressed and sometimes professionally made up. A driver in a town car picks you up, which makes you feel weird and apologetic. An upbeat public relations person you don’t know leads you onto a red carpet where you’re shouted at to “look here!” and “here” at a hundred strangers with flashbulbs for faces. And then, after those brief moments of manufactured glamour, you find yourself in a regular old creaky movie theater seat, sipping Diet Coke from a sweaty plastic cup and salting your fingers with warm popcorn. Lights dim. Mandated enthusiasm begins.

What did we talk about? I don't remember. We talked so hard and sat so still that I got cramps in my knee. We had too many cups of tea and then didn't want to leave the table to go to the bathroom because we didn't want to stop talking. You will think we talked of revolution but we didn't. Nor did we talk of our own souls. Nor of sewing. Nor of babies. Nor of departmental intrigue. It was political if by politics you mean the laboratory talk that characters in bad movies are perpetually trying to convey (unsuccessfully) when they Wrinkle Their Wee Brows and say (valiantly--dutifully--after all, they didn't write it) "But, Doctor, doesn't that violate Finagle's Constant?" I staggered to the bathroom, released floods of tea, and returned to the kitchen to talk. It was professional talk. It left my grey-faced and with such concentration that I began to develop a headache. We talked about Mary Ann Evans' loss of faith, about Emily Brontë's isolation, about Charlotte Brontë's blinding cloud, about the split in Virginia Woolf's head and the split in her economic condition. We talked about Lady Murasaki, who wrote in a form that no respectable man would touch, Hroswit, a little name whose plays "may perhaps amuse myself," Miss Austen, who had no more expression in society than a firescreen or a poker. They did not all write letters, write memoirs, or go on the stage. Sappho--only an ambiguous, somewhat disagreeable name. Corinna? The teacher of Pindar. Olive Schriener, growing up on the veldt, wrote on book, married happily, and ever wrote another. Kate Chopin wrote a scandalous book and never wrote another. (Jean has written nothing.). There was M-ry Sh-ll-y who wrote you know what and Ch-rl-tt- P-rk-ns G-lm-an, who wrote one superb horror study and lots of sludge (was it sludge?) and Ph-ll-s Wh--tl-y who was black and wrote eighteenth century odes (but it was the eighteenth century) and Mrs. -nn R-dcl-ff- S-thw-rth and Mrs. G--rg- Sh-ld-n and (Miss?) G--rg-tt- H-y-r and B-rb-r- C-rtl-nd and the legion of those, who writing, write not, like the dead Miss B--l-y of the poem who was seduced into bad practices (fudging her endings) and hanged herself in her garter. The sun was going down. I was blind and stiff. It's at this point that the computer (which has run amok and eaten Los Angeles) is defeated by some scientifically transcendent version of pulling the plug; the furniture stood around unknowing (though we had just pulled out the plug) and Lady, who got restless when people talked at suck length because she couldn't understand it, stuck her head out from under the couch, looking for things to herd. We had talked for six hours, from one in the afternoon until seven; I had at that moment an impression of our act of creation so strong, so sharp, so extraordinarily vivid, that I could not believe all our talking hadn't led to something more tangible--mightn't you expect at least a little blue pyramid sitting in the middle of the floor?

One of single moms’ biggest challenges is finding time to do it all. If you have a co-parent, it can be tempting to use those hours and days your kids are with their dad to catch up on housework or professional work. Don’t go down that rabbit hole. Use this time to prioritize self-care. Later, you will read from several women who so appreciate the time afforded by co-parenting to exercise, build businesses, catch up on TV and movies, nurture their social and dating lives, or just read a book. Do not squander those hours by doing laundry! Despite how full (and crazy) your days can be, there are always pockets of time you can dedicate to self-care.

I spend hours in the bathroom with a magazine that has one thousand pictures of naked movie stars: Naked woman + right hand = happy happy joy joy Yep, that’s right, I admit that I masturbate. I’m proud of it. I’m good at it. I’m ambidextrous. If there were a Professional Masturbators League, I’d get drafted number one and make millions of dollars. And maybe you’re thinking, “Well, you really shouldn’t be talking about masturbation in public.” Well, tough, I’m going to talk about it because EVERYBODY does it. And EVERYBODY likes it. And if God hadn’t wanted us to masturbate, then God wouldn’t have given us thumbs. So I thank God for my thumbs. But,

these fears and misconceptions built upon what they think can or will happen if they are hypnotized. Some things that should be covered are: *Hypnosis is not sleep. *Hypnosis is a naturally occurring state of mind. *You have experienced a form of hypnosis if you: **have daydreamed; **missed an exit on the freeway or expressway; **cried because you were watching a movie; **have become frightened while reading. *The hypnotist cannot control you. *You cannot get stuck in hypnosis. *No one has ever been hurt by hypnosis. *All hypnosis is self-hypnosis. *The worse thing that can happen is that they could go to sleep and not go into hypnosis. Then take some time to explain what you mean by the conscious, subconscious and unconscious levels of the mind. This will promote understanding when you use the terms and help to de-mystify them.

The news of another predator in the mix put me on edge, made me nervous, made me actually scared for the first time since I’d flown in to Boston. The fear wasn’t of death; I think I'd moved past that notion out in the desert. No, it was the fear of not being in control of the situation, of the destabilization of the plan that I had put into motion. I had confidence in what I had started because I was calling the numbers as I put the plan into action. I was always the initiator, the instigator, never the one reacting to the situation but instead the catalyst. Being in control was the edge that allowed me to operate, to do what I needed to do. Now that edge was being dulled, ground down by the notion that someone out there was just waiting for me to wander in. I was just some fucking kid who watched too many movies; he was a guy who really, actually killed people for money and was good enough to keep doing it and become a “professional”.

Question 2: How Do You Want to Grow? When you watch how young children soak up information, you realize how deeply wired we are to learn and grow. Personal growth can and should happen throughout life, not just when we’re children. In this section, you’re essentially asking yourself: In order to have the experiences above, how do I have to grow? What sort of man or woman do I need to evolve into? Notice how this question ties to the previous one? Now, consider these four categories from the Twelve Areas of Balance: 5.​YOUR HEALTH AND FITNESS. Describe how you want to feel and look every day. What about five, ten, or twenty years from now? What eating and fitness systems would you like to have? What health or fitness systems would you like to explore, not because you think you ought to but because you’re curious and want to? Are there fitness goals you’d like to achieve purely for the thrill of knowing you accomplished them (whether it’s hiking a mountain, learning to tap dance, or getting in a routine of going to the gym)? 6.​YOUR INTELLECTUAL LIFE. What do you need to learn in order to have the experiences you listed above? What would you love to learn? What books and movies would stretch your mind and tastes? What kinds of art, music, or theater would you like to know more about? Are there languages you want to master? Remember to focus on end goals—choosing learning opportunities where the joy is in the learning itself, and the learning is not merely a means to an end, such as a diploma. 7.​YOUR SKILLS. What skills would help you thrive at your job and would you enjoy mastering? If you’d love to switch gears professionally, what skills would it take to do that? What are some skills you want to learn just for fun? What would make you happy and proud to know how to do? If you could go back to school to learn anything you wanted just for the joy of it, what would that be? 8.​YOUR SPIRITUAL LIFE. Where are you now spiritually, and where would you like to be? Would you like to move deeper into the spiritual practice you already have or try out others? What is your highest aspiration for your spiritual practice? Would you like to learn things like lucid dreaming, deep states of meditation, or ways to overcome fear, worry, or stress?

In the movie La La Land, Mia has to put on a brave face at auditions, then put on her best clothes and go out on the town with the little money she could scrounge up, trying to find a way to meet the difference-makers in Hollywood. Even when she was about ready to give up, she ultimately came back for one more reading, the one that made her a big star. Almost every Hollywood actor who is successful today has a real-life story like that. Their goal was the same as everyone in the business world: to land a big fish. People noticed Natalie Portman and John Wayne the way they eventually noticed Mia. No one would have bought what she was selling if she hadn’t presented herself like a winner, even when she was on the verge of moving back into her parents’ place in Boulder City. My mom will tell you I wanted to be a millionaire by seven years old. It was always on my mind. So from day one of my business career I acted the part. I had no money but I dressed like a professional. I wore a suit, which was the thing to do back then. It wasn’t anything fancy, but it was pressed and clean. Bottom line is, if you’re shooting for the moon, you better act like an astronaut.

Bob was clearly a confused character, and it was thought that he might benefit from some professional attention. “My mother and sister,” said Mitchum, “doubting my sanity, implored the cooperation of my wife in suggesting a visit to a psychiatrist.” Mitchum agreed to their suggestion—”What could I do? It was the family consensus”—and submitted himself to the leather couch in the Beverly Hills office of Dr. Frederick Hacker. “Mr. Mitchum, do you know why you have come here?” asked the doctor, described by the patient as a dead ringer for Walter Slezak. “Because my family thinks I’m crazy.” “Very interesting,” said Dr. Hacker. He saw the shrink a few more times. They “kicked things around” and Mitchum regaled the doc with stories of his life in Hollywood and the characters he knew there. “Mr. Mitchum, you suffer from a state of over-amiability,” Hacker concluded, “in which failure to please everyone creates a condition of self-reproach. You are addicted to nothing but the good will of people, and I suggest that you risk their displeasure by learning to say ‘No’ and following your own judgement.” Mitchum translated this into layman’s terms when he got home: “He said I should tell you all to go shit in your hats.

The above is stereotypical FMS rhetoric. It employs a formulaic medley of factual distortions, exaggerations, emotionally charged language and ideological codewords, pseudo-scientific assertions, indignant protestations of bigotry and persecution, mockering of religious belief, and the usual tiresome “witch hunt” metaphors to convince the reader that there can be no debating the merits of the case. No matter what the circumstances of the case, the syntax is always the same, and the plot line as predictable as a 1920's silent movie. Everyone accused of abuse is somehow the victim of overzealous religious fanatics, who make unwarranted, irrational, and self-serving charges, which are incredibly accepted uncritically by virtually all social service and criminal justice professionals assign to the case, who are responsible for "brainwashing" the alleged perpetrator or witnesses to the crime. This mysterious process of "mass hysteria" is then amplified in the media, which feeds back upon itself, which finally causes a total travesty of justice which the FMS people in the white hats are duty-bound to redress. By reading FMS literature one could easily draw the conclusion that the entire American justice system is no better than that of the rural south in the days of lynchings and the Ku Klux Klan. The Salem witch trials of the seventeenth century are always the touchstone for comparison.

Gone are those days when media platforms were available to few individuals like politicians, movie stars, artists,sports sensations, civil right activists, and religious scholars. =Today social media gives people an easy way to almost everything =It is very easy to learn from others who are experts and professionals,Regardless of your location and education background you can educate yourself, without paying for it. =It even reveals good and Mabošaedi of the most respected people who are role models to others = You can share your issues with the community and get help within an hour . = The main advantage of the social media is that you update yourself from the latest happenings around in the world. = you can promote your business to the largest audience and even employ people But it can also damage your life for good = Since anyone can create a fake account and do anything without being traced, it has become quite easy for people to frustrate others and do a damage to their names or life. = Personal data and privacy can easily be hacked and shared on the Internet. Which can make financial losses and loss to personal life. Similarly, identity theft is another issue that can give financial losses to anyone by hacking their personal accounts. This is one of the dangerous disadvantages of the social media and it even made people kill them selfs. = Addiction destroyed many families and employments.

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.

And, so, what was it that elevated Rubi from dictator's son-in-law to movie star's husband to the sort of man who might capture the hand of the world's wealthiest heiress? Well, there was his native charm. People who knew him, even if only casually, even if they were predisposed to be suspicious or resentful of him, came away liking him. He picked up checks; he had courtly manners; he kept the party gay and lively; he was attentive to women but made men feel at ease; he was smoothly quick to rise from his chair when introduced, to open doors, to light a lady's cigarette ("I have the fastest cigarette lighter in the house," he once boasted): the quintessential chivalrous gent of manners. The encomia, if bland, were universal. "He's a very nice guy," swore gossip columnist Earl Wilson, who stayed with Rubi in Paris. ""I'm fond of him," said John Perona, owner of New York's El Morocco. "Rubi's got a nice personality and is completely masculine," attested a New York clubgoer. "He has a lot of men friends, which, I suppose, is unusual. Aly Khan, for instance, has few male friends. But everyone I know thinks Rubi is a good guy." "He is one of the nicest guys I know," declared that famed chum of famed playboys Peter Lawford. "A really charming man- witty, fun to be with, and a he-man." There were a few tricks to his trade. A society photographer judged him with a professional eye thus: "He can meet you for a minute and a month later remember you very well." An author who played polo with him put it this way: "He had a trick that never failed. When he spoke with someone, whether man or woman, it seemed as if the rest of the world had lost all interest for him. He could hang on the words of a woman or man who spoke only banalities as if the very future of the world- and his future, especially- depended on those words." But there was something deeper to his charm, something irresistible in particular when he turned it on women. It didn't reveal itself in photos, and not every woman was susceptible to it, but it was palpable and, when it worked, unforgettable. Hollywood dirt doyenne Hedda Hoppe declared, "A friend says he has the most perfect manners she has ever encountered. He wraps his charm around your shoulders like a Russian sable coat." Gossip columnist Shelia Graham was chary when invited to bring her eleven-year-old daughter to a lunch with Rubi in London, and her wariness was transmitted to the girl, who wiped her hand off on her dress after Rubi kissed it in a formal greeting; by the end of lunch, he had won the child over with his enthusiastic, spontaneous manner, full of compliments but never cloying. "All done effortlessly," Graham marveled. "He was probably a charming baby, I am sure that women rushed to coo over him in the cradle." Elsa Maxwell, yet another gossip, but also a society gadabout and hostess who claimed a key role in at least one of Rubi's famous liaisons, put it thus: "You expect Rubi to be a very dangerous young man who personifies the wolf. Instead, you meet someone who is so unbelievably charming and thoughtful that you are put off-guard before you know it." But charm would only take a man so far. Rubi was becoming and international legend not because he could fascinate a young girl but because he could intoxicate sophisticated women. p124

Sylphid was beginning to play professionally, and she was subbing as second harpist in the orchestra at Radio City Music Hall. She was called pretty regularly, once or twice a week, and she’d also got a job playing at a fancy restaurant in the East Sixties on Friday night. Ira would drive her from the Village up to the restaurant with her harp and then go and pick her and the harp up when she finished. He had the station wagon, and he’d pull up in front of the house and go inside and have to carry it down the stairs. The harp is in its felt cover, and Ira puts one hand on the column and one hand in the sound hole at the back and he lifts it up, lays the harp on a mattress they keep in the station wagon, and drives Sylphid and the harp uptown to the restaurant. At the restaurant he takes the harp out of the car and, big radio star that he is, he carries it inside. At ten-thirty, when the restaurant is finished serving dinner and Sylphid’s ready to come back to the Village, he goes around to pick her up and the whole operation is repeated. Every Friday. He hated the physical imposition that it was—those things weigh about eighty pounds—but he did it. I remember that in the hospital, when he had cracked up, he said to me, ‘She married me to carry her daughter’s harp! That’s why the woman married me! To haul that fucking harp!’ “On those Friday night trips, Ira found he could talk to Sylphid in ways he couldn’t when Eve was around. He’d ask her about being a movie star’s child. He’d say to her, ‘When you were a little girl, when did it dawn on you that something was up, that this wasn’t the way everyone grew up?’ She told him it was when the tour buses went up and down their street in Beverly Hills. She said she never saw her parents’ movies until she was a teenager. Her parents were trying to keep her normal and so they downplayed those movies around the house. Even the rich kid’s life in Beverly Hills with the other movie stars’ kids seemed normal enough until the tour buses stopped in front of her house and she could hear the tour guide saying, ‘This is Carlton Pennington’s house, where he lives with his wife, Eve Frame.’ “She told him about the production that birthday parties were for the movie stars’ kids—clowns, magicians, ponies, puppet shows, and every child attended by a nanny in a white nurse’s uniform. At the dining table, behind every child would be a nanny. The Penningtons had their own screening room and they ran movies. Kids would come over. Fifteen, twenty kids.

But there were problems. After the movie came out I couldn’t go to a tournament without being surrounded by fans asking for autographs. Instead of focusing on chess positions, I was pulled into the image of myself as a celebrity. Since childhood I had treasured the sublime study of chess, the swim through ever-deepening layers of complexity. I could spend hours at a chessboard and stand up from the experience on fire with insight about chess, basketball, the ocean, psychology, love, art. The game was exhilarating and also spiritually calming. It centered me. Chess was my friend. Then, suddenly, the game became alien and disquieting. I recall one tournament in Las Vegas: I was a young International Master in a field of a thousand competitors including twenty-six strong Grandmasters from around the world. As an up-and-coming player, I had huge respect for the great sages around me. I had studied their masterpieces for hundreds of hours and was awed by the artistry of these men. Before first-round play began I was seated at my board, deep in thought about my opening preparation, when the public address system announced that the subject of Searching for Bobby Fischer was at the event. A tournament director placed a poster of the movie next to my table, and immediately a sea of fans surged around the ropes separating the top boards from the audience. As the games progressed, when I rose to clear my mind young girls gave me their phone numbers and asked me to autograph their stomachs or legs. This might sound like a dream for a seventeen-year-old boy, and I won’t deny enjoying the attention, but professionally it was a nightmare. My game began to unravel. I caught myself thinking about how I looked thinking instead of losing myself in thought. The Grandmasters, my elders, were ignored and scowled at me. Some of them treated me like a pariah. I had won eight national championships and had more fans, public support and recognition than I could dream of, but none of this was helping my search for excellence, let alone for happiness. At a young age I came to know that there is something profoundly hollow about the nature of fame. I had spent my life devoted to artistic growth and was used to the sweaty-palmed sense of contentment one gets after many hours of intense reflection. This peaceful feeling had nothing to do with external adulation, and I yearned for a return to that innocent, fertile time. I missed just being a student of the game, but there was no escaping the spotlight. I found myself dreading chess, miserable before leaving for tournaments. I played without inspiration and was invited to appear on television shows. I smiled.

As Titanic began production, there was an immediate chemistry between Barbara and myself—a lot of looks across the room. At this point Barbara Stanwyck was a legendary actress, universally respected for her level of craft and integrity. She also had the most valuable thing a performer can have: good taste. Besides a long list of successful bread-and-butter pictures, Barbara had made genuine classics for great directors: The Bitter Tea of General Yen and Meet John Doe for Frank Capra, Stella Dallas for King Vidor, The Lady Eve for Preston Sturges, Ball of Fire for Howard Hawks, and Double Indemnity for Billy Wilder. Barbara carried her success lightly; her attitude was one of utter professionalism and no noticeable temperament. As far as she was concerned, she was simply one of a hundred or so people gathered to make a movie—no more, no less.

Benefits of Using Frosted Film Tint The 1st step, clear the glass on which the movie is to be applied to. By removing an dried [paint spots and washing it with soapy water that's clean. It is because the any filth will give the glass an unpleasant look. Nonetheless, a point to note is to not use any kind of window cleansing spray as it'll harm the film. Place the film on a flat ground and then peel it back on itself. You will then have to spray the glass with dish washing answer as well as your fingers to enable you to slide the film perfectly in place. Carefully choose the movie by its corners and with the sticky facet going through the glass and punctiliously place it not permitting it to wrinkle or crease. Wrap a chunk of material on a bank card and use it to carefully smooth down the movie from the middle shifting in the direction of its edges. Then wipe the excess water since if left there may make the laminate transfer.If there is any extra movie, trim it down with a sharp object. After you're executed and there are still bubbles beneath the film, use a hair drier to push them out. If they persist fastidiously prick them and press again the film. Today, many individuals are overwhelmed when it comes to selecting the ideal window tinting as a result of they do come in useful. One has the choice of choosing various tints and their types. Individuals do select to install window tints as a result of they've advantages which you may not get if your home lacks it. In most family, the well-known tints in use are the frosted tints. They're greatest suited to residing and bed rooms. Window tints are design in another way depending on the place they're to be put in that's the reason you need the assistance of Window Frosting Service professionals to assist you in making sound resolution. The very best Window Frosting Sydney thing about window frosting is that they don't possess the inconveniences usually associated with traditional window coverings. Furthermore, as it is not reliant on obstructing the pure passage of light for creating privateness, you are free to have an area that, inspite of being airy and light, might be your own private chamber. Nonetheless, you should also concentrate on the fact that you might be provided minimal safety against UV rays by the sort of window tint.

Believe me, for any writer, you’re going to have more fun and learn more and be more productive writing in television than in the movies. You’re not going to have to share credit with 15 other idiots. You’re not going to be abused and disrespected by 15 jerks in suits who have too much time on their hands and all they want to do is eat lunch. Television is a job — you got to get it on, you got to get it out, the writers are going to write their scripts, they’re going to get on the tube. And that’s great. If you’re lucky enough to get on a successful show, you’re going to do more credited writing in two years than most movie writers do in a lifetime.

Now it takes 150 people on a set to make a movie, so you have an enormous amount of equipment with an enormous number of resources, whereas in an electronic medium, it’s much easier. Eventually, you’ll be able to take a machine the size of a Betamax with a little camera and make a movie. You’ll get professional-quality equipment that is in the electronic mode to give us the quality we now get with film.

No one is interested with your past, non-professional relationship with Agent Harris, Detective Garner.” I cut them off. Seriously, nobody wants to hear it (I know I do not), since it is probably a perfect fairy tale of a prodigy guy and prodigy girl, and together they catch bad guys while looking excessively beautiful at doing it. They look so majestic side by side, like prom king and queen from some cheesy coming-of-age movie where they dance flawlessly and sing like pro despite that it’s their first gig. Also, their eyes sparkle. It takes a long, sort-of out-of-sense explanation why eyes can figuratively sparkle, but it just does. You know in romantic comedy movie where the guy stares far away and then he is smiling when he finally makes a decision involving the only girl he wants to spend eternity with? And girl when she meets a boy band member? Yeah, that’s how they look at each other. Jemma looks at this guy like how girl looks at boy (ah, it even sounds sexist in my head), but not at me. She looks like me like I am a special case that she wants to solve. She looks at me like she's trying to find my eyes (which is, always there, I don't know why it is so hard for her to see a pair of black dots above my nose), and maybe I am a little bit irritated because this Harris guy breathes and just like that, you can see the grace in Garner--how big, mushy twinkie, of a person she really is. Also, I am definitely irritated because Jemma's ex is terrifyingly perfect, it's alarming, but then there's me. She's settling down with me. I feel insecure and I do not like that feeling. So, like a literal five years old child, I stroll between them, ruining their unexpected reunion (hey, doesn't anyone want to talk about how Harris tracked down all cases at JCPD so he can jump into whatever his ex is currently working on? This is not reunion, it's stalking) and offer him a handshake. At the time like this, I wish I had electricity running through my palm. I probably couldn’t end this Harris guy’s life, but at least I could give his perfect blond hair a ‘struck by lightning’ makeover. “Hi, Detective Irving. Homicide Unit. Strategic Expert. By the way, I’m good at combining them, you know.” I introduce myself. Which is true, I can be writing a mental note on how to eliminate this threat in my head for all he knows. “Strategy, and murder. I can mix them up.

This book scratches an old itch. Despite being the level of government that is closest to the people and has so much impact on our quality of life, most people don't know too much about how their local governments operate and even less about what it's like to manage a city or county. Occasionally, a city manager character appears in a novel, movie, or TV show but almost always in a mocking or denigrating fashion that belies the professionalism that is more the norm.

If friends or acquaintances seem to want to help with diagnosing, do not appear receptive. Let them know that your child has been diagnosed, that you have professional support and advice, and that you are following a regimen known to be the most successful for the most children. Parents complain that sometimes, with no encouragement, individuals will launch into a story that reminds them of the family’s situation. People are entertained and fascinated by tales. Some of the stories have dreadful and unrelated outcomes. There are books and movies available for the purpose of entertaining others. Feel free to put your child off limits when it comes to being the subject of tales for others. After hearing these unnecessary sad stories, mood is affected. Parents should watch and protect their mood gauges carefully! Parents can protect themselves from frustration by disengaging from these episodes, quickly excusing themselves to make a phone call, find the restroom, or check on something. It is certainly more appropriate to find an excuse than to fume about insensitivity later. Some people are drawn to special needs like a magnet, yet they have nothing positive to offer. Avoid these people.

I wanted to be a daughter like Enid Blyton’s Molly in The Family at Red-Roofs.[176] I thought the kind of friend I should be was like the ones I saw in the Bollywood movies of the 1960s who willingly fell on a metaphorical sword for their buddy’s happiness. In professional life, the person I would have liked to be was Jerry Maguire.

you are a woman, forget about it. With all the cultural advancements, middle-class and professional women of this era have gained the freedom to have their own lives and careers without the need for marriage. Having a husband and kids isn’t a prerequisite to having a well-rounded, fulfilling adult life anymore. To be clear, I’m not saying that filling that traditional housewife role over being a professional is a bad thing to do today, and I know that the decisions women make about work are complicated. Also, I’m not saying that women who do choose careers hate their kids, etc. Am I clear here? I’M NOT SHITTING ON ANYONE’S LIFE CHOICE (unless the choice is to smoke crack and treat your kids like the Mo’Nique character treats Precious in the movie Precious). But what’s important is that more women than ever are able to make that choice for themselves. Even

And her apparent eagerness to follow Tyler into the cauldron dried up all my professional zeal, and I had nothing more to say. Samantha just watched me to see what I would do—and for the first time in my life, I had absolutely no idea what that would be. What is the correct facial expression to put on when someone tells you their lifelong fantasy is to be eaten? Should I go for shock? Disbelief? What about moral outrage? I was quite sure the subject had never come up in any of the movies or TV shows I had studied, and even though I am considered a clever and creative person in some circles, I could not imagine anything at all that might be appropriate. So I stared, and Samantha looked back at me, and there we were: a perfectly normal married man with three kids and a promising career who just happened to enjoy killing people, staring at a perfectly normal eighteen-year-old girl who went to a good school and liked Twilight and who wanted to be eaten, sitting next to each other in a walk-in refrigerator at a vampire club in South Beach. I had been trying so hard lately to achieve some close approximation of normal life, but if this was it, I thought I would prefer something else. Outside of Salvador Dalí I really can’t believe the human mind could handle anything more extreme. And at last even the mutual staring began to seem too strange, even for two dedicated non-humans like us, and we both blinked and looked away.

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element.

Steve took people at their own merits. He was not overwhelmed or overly impressed by anybody for their star quality. It didn’t matter if it was the publican in Windorah or a movie star in Los Angeles. He reacted to people as individuals. “I liked Eddie,” he said, when I asked him how the shoot went. “He’s a talented man, very professional, and easy to work with.” But after spending a few days in Eddie Murphy’s world, Steve pondered how the man coped with being constantly in the limelight. It was unending for Murphy. People wanted a piece of him all the time--a photograph, an autograph, a few words. Steve wondered how someone could lead a life like that. With more and more viewers in the States tuning in to Animal Planet, he was about to find out. I think that’s why Steve felt so grounded living in Australia. The population of the country is twenty million, spread over an area the size of the United States. There are still plenty of places in the vast Australian wilderness where he could get away from it all, places where he could drive for days without seeing another person. Although Steve understood the importance of working and filming in America, he always swore he would never leave his home in Australia.

An example of a product principle for a movie site may be that the team believes that the user community’s opinions on movies are more valuable than those of professional reviewers. Later, if a studio wants to place reviews on your site, you can then decide if this is consistent with your principles or not. Whether

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Kinberg grew up in Hollywood but was largely repulsed by it. His father had been only moderately successful and had “complicated feelings” about his profession. Many of Kinberg’s friends at the private school he attended in the 1980s were the children of film-industry professionals who were snorting drugs and getting divorced and generally doing whatever was necessary to turn their kids into the future protagonists of a Bret Easton Ellis book.

both hands against the door. “Feet wider apart. That’s right. Like in the American movies.” Satisfied, Qazi patted the man down. “What, no gun? A GRU man without a gun …” Qazi carefully felt the man’s crotch and the arms above the wrists. “First humor and now this! The GRU will become a laughingstock. But of course there is a microphone.” Qazi lifted all the pens from the Russian’s shirt pocket and examined them, one by one. “It had better be here, Chekhov, or you will have to part with your buttons and your shoes.” It was in the third pen. “Now turn around and sit against the door.” The Russian’s face was covered with perspiration, his fleshy lips twisted in a sneer. “The shoes.” Qazi examined them carefully and tossed them back. “Now the coat.” This he scrutinized minutely. From the uppermost of the large three buttons on the front of the coat a very fine wire was just visible buried amid the thread that held the button on. Qazi sawed the button free with a small pocketknife, then dropped the pen and button down a commode. He tossed the coat back to Chekhov. “And the belt.” After a quick glance, Qazi handed it back. “Hurry, we have much to say to each other.” He unscrewed the silencer and replaced the pistol in his ankle holster. He opened the door as the Russian scrambled awkwardly to his feet. An hour later the two men were seated in the Sistine Chapel against the back wall, facing the altar and Michelangelo’s masterpiece The Last Judgment behind it. On the right the high windows admitted a subdued light. Qazi kept his eyes on the tourists examining the paintings on the ceiling and walls. “Is it in Rome, as General Simonov promised?” “Yes. But you must tell us why you want it.” “Is it genuine, or is it a masterpiece from an Aquarium print shop?” The Aquarium was the nickname for GRU headquarters in Moscow. The Russian’s lips curled, revealing yellow, impacted teeth. This was his smile. “We obtained it from Warrant Officer Walker.” “Ah, those Americans! One wonders just how long they knew about Walker’s activities.” The Russian raised his shoulders and lowered them. “Why do you want the document?” “El Hakim has not authorized me to reveal his reasons. Not that we don’t trust you. We value the goodwill of the Soviet Union most highly. And we intend to continue to cultivate that goodwill. But to reveal what you do not need to know is to take the risk that the Americans will learn of our plans through their activities against you.” “If you are implying they have penetrated—” “Chekhov, I am not implying anything. I am merely weighing risks. And I am being very forthright with you. No subterfuge. No evasion. Just the plain truth. Surely a professional like you can appreciate that?” “This document is very valuable.

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.

Domains of Human Concerns: Common Types of Possibilities For Action 1. BODY: exercise, medical checkups, traveling to an appointment. 2. PLAY or AESTHETICS: taking a vacation, going to the movies, going to an art museum, painting, putting a puzzle together. 3. SOCIABILITY: inviting a new person into a conversation, meeting an old friend, declaring a person trustworthy or untrustworthy. 4. FAMILY: getting married, sending children to college. 5. WORK: finishing a report, writing a letter. 6. EDUCATION: enrolling in a class, reading a book. 7. CAREER: choosing a major in college, getting a new job. 8. MONEY or PRUDENCE: investing money, bargaining for a new salary, buying health insurance. 9. MEMBERSHIP: joining a professional organization, becoming a citizen of a new country, founding a new club. 10. WORLD: working in a political campaign, visiting another country or culture.        11. DIGNITY: declaring pride in your work, declaring that your work is significant or insignificant, declaring standards of action for yourself to live up to.        12. SITUATION: declaring that your future is good or not good, declaring that you have more possibilities than you have been seeing, declaring that you have fewer possibilities in life than you supposed, discussing your possibilities with other persons. 13. SPIRITUALITY: reflecting on the facticity of life, going to church, philosophical discussions with others.

Most of the theaters in Jersey City and the surrounding area have been closed, demolished, renovated or restored, but nothing remained the same. The Stanley Theatre still stands in Journal Square, completely restored as a Jehovah’s Witnesses Assembly Hall. Originally built as a vaudeville and movie theater, having 4,300 seats, it opened on March 22, 1928 as the second largest theater in the United States. With only Radio City Music Hall in Manhattan across the Hudson River being larger, many celebrities attended the gala occasion. The well liked but notorious Mayor Hague was present to cut the ribbon. Famous and not-so-famous headline acts performed here, including the Three Stooges, Jimmy Durante, Tony Bennett and Janis Joplin. It was here at the Stanley Theatre that Frank Sinatra was inspired to become a professional performer. Being part of the audience, he watched Bing Crosby doing a Christmas performance. By the time the show was over, Sinatra had decided on the path he would follow. In 1933 Frank’s mother got him together with a group called the “Three Flashes.” They changed their name to the “Hoboken Four” and won first prize performing on the Major Bowes Amateur Hour show. Frank worked locally until June of 1939, when Harry James hired him for a one-year contract, paying only $75 a week. That December, Sinatra joined Tommy Dorsey’s band as a replacement vocalist for Jack Leonard, and the rest is history!

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

2D Game Comic Book Concept Art Service by 3D animation Studio – Austin, Texas CLIENT: THIBAUD PROJECT: CONCEPT ART CATEGORY: CONCEPT ART Concept art is a visual representation that tells a story or conveys a certain look. It is commonly used in film and video games to convey a vision and set the tone for an entire game or movie. 2D/3D Concept Art provides a strong reference point that helps align the creatives working on the project. Generally the Concept Artist must be adept at any style, any genre and any element, be it character design, creature design or setting. GameYan Studio – game art outsourcing studio for feature films and could work as a production house to do entire 3D development for any animated movie. Our professional team of Concept Artist can develop a variety of 3D art content for movie and video games along with low optimized characters for mobile and virtual reality interactive games by 3D Production Animation Studio.

Character Concept Art Services by 3D Game Art Studio, Denton - Texas CLIENT: AHMED PROJECT: CONCEPT ART CATEGORY: CONCEPT ART Concept Art Service doesn’t have a specific format — it means the creation of virtual ideas transformed into simple sketches, elaborate computer-edited drawings. All 2D/3D Concept Art for 2D/3D Concept Artist shares two things in common: it’s comprised of 2D still images, and it’s used to speed up modeling. It serves mainly as a way to save time when making the visual material in a game and movies. GameYan Studio – game art outsourcing studio for feature films and could work as a production house to do entire 3D development for any animated movie, Our professional team of artists can develop a variety of 3D art content for movie and video games along with low optimized characters for mobile and virtual reality interactive games by 3D Production Animation Studio.

Where Jolson conquered, Bing Crosby convinced and charmed, and like Astaire, Jolson too for that matter, he did not possess the physical gifts of a standard leading man (angles and ears and hair, yet again). Also like Astaire, he made it all seem easy, with the laid-back acting and the unforced way that devastating baritone could pour out and swing out. In one crucial sense he was more beholden to Jolson than Astaire, being primarily a solo performer who sang to people more than he sang with them. Recall: who was Crosby’s only steady partner on film? Bob Hope, in a partnership based in jokey rivalry. Other singers in Crosby films, besides Hope and Dorothy Lamour, seldom counted. Nor did most of Crosby’s films. Paramount, his home studio, was a formula-bound factory for most of the 1930s and ’40s, and the golden goose of the Crosby films did not countenance feather-ruffling. One after another, they were amiable time-passers, relaxed escapism that made a mint and sold tons of records and sheet music. For many then and some now, these vehicles offered unthreatening comfort—few chances taken, little deviation from formula, a likable guy ambling through some minor plot and singing mostly great songs. On occasion there was something as glaring as the ridiculous Dixie: as composer Dan Emmett, Crosby speeds up the title song into an uptempo hit only because the theater’s caught on fire. Generally, his films lacked even that cuckoo invigoration, which is why posterity dotes on Holiday Inn and its splashy, inferior semi-remake, White Christmas, and few of the others. While it would not be accurate to view Crosby as another megalomaniacal Jolson type, he lacked Astaire’s forceful imagination. Greater professional curiosity might have made his films—not simply his singing—transcend time and circumstance.

As they say in the movies, if you want in, fine; if not, you may leave at this point, and nothing will ever be said. It is asking a lot to expect men to walk into a potentially dangerous assignment blindfolded.” Of course nobody left; the men who had been called here were not quitters. Besides, something would be said, and Davenport had a good memory. These were professional officers. One of the compensations for wearing a uniform and earning less money than an equally talented man can make in the real world is the off chance of being killed.

Others try to manage by avoiding the issue altogether. They steer clear of conversations, relationships or situations in which their sexuality might be questioned. Ask them about their personal lives, they'll tell you about a movie they saw, about how busy they are at work, or about the weather. Or they'll tell you it's unprofessional to talk about such personal matters in the office. These are men with a strictly business reputation, and they pay for their secrecy by feeling detached and distant. They don't want to fabricate a heterosexual identity, but nor do they want to come out. They hope nobody will make it an issue.

If someone is going to ask, or asks, “Where should we eat?” “What movie should we watch?” “What should we do tonight?” or anything similar, do NOT reflect it back with, “Well, what do you want to …?” Offer a solution. Stop the back-and-forth and make a decision. Practice this in both personal and professional environments. Here are a few lines that help (my favorites are the first and last): “Can I make a suggestion?” “I propose …” “I’d like to propose …” “I suggest that … What do you think?” “Let’s try … and then try something else if that doesn’t work.

The problem is that even top psychiatrists failed to identify them as real threats. And it’s not as though psychiatrists lack incentives to get the diagnosis right. Beyond their reputation, professional pride, and desire to help, psychiatrists also have a legal obligation to inform authorities of threats. Families of the Aurora movie theater victims sued Holmes’ psychiatrist for not recommending that his patient be confined.

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Today, kids want to be famous athletes, movie stars, rock stars, beauty queens, or CEOs because that is where the fame, money, and prestige are. That is the reason it is so hard to motivate kids in school today. They know that professional success is no longer solely linked to academic success,

It is fun to be around really, really creative makers in the second half of the chessboard, to see what they can do, as individuals, with all of the empowering tools that have been enabled by the supernova. I met Tom Wujec in San Francisco at an event at the Exploratorium. We thought we had a lot in common and agreed to follow up on a Skype call. Wujec is a fellow at Autodesk and a global leader in 3-D design, engineering, and entertainment software. While his title sounds like a guy designing hubcaps for an auto parts company, the truth is that Autodesk is another of those really important companies few people know about—it builds the software that architects, auto and game designers, and film studios use to imagine and design buildings, cars, and movies on their computers. It is the Microsoft of design. Autodesk offers roughly 180 software tools used by some twenty million professional designers as well as more than two hundred million amateur designers, and each year those tools reduce more and more complexity to one touch. Wujec is an expert in business visualization—using design thinking to help groups solve wicked problems. When we first talked on the phone, he illustrated our conversation real-time on a shared digital whiteboard. I was awed. During our conversation, Wujec told me his favorite story of just how much the power of technology has transformed his work as a designer-maker.

A 15 per cent wage cut imposed on civil servants by Ottawa and imitated by most provinces and other major employers left living standards undamaged. The prosperous few could enjoy themselves with an obliviousness to wider suffering that wealth seems to confer. Newspapers and radio helped. Media in the 1930s accepted a solemn duty to trivialize or ignore the misery of millions. Lush Hollywood musicals and adventure films filled neighbourhood movie theatres. Air races, professional sports, and the exotic junketing of reporters such as the Toronto Star’s Gordon Sinclair allowed the public to escape.

Consuming pop culture is my job. Well, writing about it is my job, but that makes keeping tabs on movies, television, podcasts, Twitter/Instagram feeds, and everything else a professional necessity. Yet, there's one high-protein item that always seems to be missing in my media diet: books. It's not that I don't read them—I've got two to three going at any given time—it's that I feel like I don't read them enough. How do I know this? Fucking Goodreads.