Speed Film Quotes

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The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence.
Robert Bresson
what do you do when you build yourself—only to realize you built yourself with the wrong things? You rip it up and start again. That is the work of your teenage years—to build up and tear down and build up again, over and over, endlessly, like speeded-up film of cities during boom times and wars. To be fearless, and endless, in your reinventions—to keep twisting on nineteen, going bust, and dealing in again, and again. Invent, invent, invent.
Caitlin Moran (How to Build a Girl)
A book is a human-powered film projector (complete with feature film) that advances at a speed fully customized to the viewer's mood or fancy. This rare harmony between object and user arises from the minimal skills required to manipulate a bound sequence of pages. Each piece of paper embodies a corresponding instant of time which remains frozen until liberated by the act of turning a page.
John Maeda
The suspect had experienced a ballistic interlude earlier in the evening,” Miss Pao said, “regrettably not filmed, and relieved himself of excess velocity by means of an ablative technique.” (describing a young man who flew off a bicycle at high speed)
Neal Stephenson (The Diamond Age: Or, a Young Lady's Illustrated Primer)
In addition to conformity as a way to relieve the anxiety springing from separateness, another factor of contemporary life must be considered: the role of the work routine and the pleasure routine. Man becomes a 'nine to fiver', he is part of the labour force, or the bureaucratic force of clerks and managers. He has little initiative, his tasks are prescribed by the organisation of the work; there is even little difference between those high up on the ladder and those on the bottom. They all perform tasks prescribed by the whole structure of the organisation, at a prescribed speed, and in a prescribed manner. Even the feelings are prescribed: cheerfulness, tolerance, reliability, ambition, and an ability to get along with everybody without friction. Fun is routinised in similar, although not quite as drastic ways. Books are selected by the book clubs, movies by the film and theatre owners and the advertising slogans paid for by them; the rest is also uniform: the Sunday ride in the car, the television session, the card game, the social parties. From birth to death, from Monday to Monday, from morning to evening - all activities are routinised, and prefabricated. How should a man caught up in this net of routine not forget that he is a man, a unique individual, one who is given only this one chance of living, with hopes and disappointments, with sorrow and fear, with the longing for love and the dread of the nothing and separateness?
Erich Fromm (The Art of Loving)
Mifune had a kind of talent I had never encountered before in the Japanese film world. It was, above all, the speed with which he expressed himself that was astounding. The ordinary Japanese actor might need ten feet of film to get across an impression; Mifune needed only three feet. The speed of his movements was such that he said in a single action what took ordinary actors three separate movements to express. He put forth everything directly and boldly, and his sense of timing was the keenest I had ever seen in a Japanese actor. And yet with all his quickness he also had surprisingly fine sensibilities.
Akira Kurosawa (Something Like an Autobiography)
The Big Nurse is able to set the wall clock at whatever speed she wants by just turning one of those dials in the steel door; she takes a notion to hurry things up, she turns the speed up, and those hands whip around that disk like spokes in a wheel. The scene in the picture-screen windows goes through rapid changes of light to show morning, noon, and night - throb off and on furiously with day and dark, and everybody is driven like mad to keep up with that passing of fake time; awful scramble of shaves and breakfasts and appointments and lunches and medications and ten minutes of night so you barely get your eyes closed before the dorm light's screaming at you to get up and start the scramble again, go like a sonofabitch this way, going through the full schedule of a day maybe twenty times an hour, till the Big Nurse sees everybody is right up to the breaking point, and she slacks off on the throttle, eases off the pace on that clock-dial, like some kid been fooling with the moving-picture projection machine and finally got tired watching the film run at ten times its natural speed, got bored with all that silly scampering and insect squeak of talk and turned it back to normal.
Ken Kesey (One Flew Over the Cuckoo's Nest)
You go out into your world, and try and find the things that will be useful to you. Your weapons. Your tools. Your charms. You find a record, or a poem, or a picture of a girl that you pin to the wall and go, "Her. I'll try and be her. I'll try and be her - but here." You observe the way others walk, and talk, and you steal little bits of them - you collage yourself out of whatever you can get your hands on. You are like the robot Johnny 5 in Short Circuit, crying, "More input! More input for Johnny 5! as you rifle through books and watch films and sit in front of the television, trying to guess which of these things that you are watching - Alexis Carrington Colby walking down a marble staircase; Anne of Green Gables holding her shoddy suitcase; Cathy wailing on the moors; Courtney Love wailing in her petticoat; Dorothy Parker gunning people down; Grace Jones singing "Slave to the Rhythm" - you will need when you get out there. What will be useful. What will be, eventually, you? And you will be quite on your own when you do all this. There is no academy where you can learn to be yourself; there is no line manager slowly urging you toward the correct answer. You are midwife to yourself, and will give birth to yourself, over and over, in dark rooms, alone. And some versions of you will end in dismal failure - many prototypes won't even get out the front door, as you suddenly realize that no, you can't style-out an all-in-one gold bodysuit and a massive attitude problem in Wolverhampton. Others will achieve temporary success - hitting new land-speed records, and amazing all around you, and then suddenly, unexpectedly exploding, like the Bluebird on Coniston Water. But one day you'll find a version of you that will get you kissed, or befriended, or inspired, and you will make your notes accordingly, staying up all night to hone and improvise upon a tiny snatch of melody that worked. Until - slowly, slowly - you make a viable version of you, one you can hum every day. You'll find the tiny, right piece of grit you can pearl around, until nature kicks in, and your shell will just quietly fill with magic, even while you're busy doing other things. What your nature began, nature will take over, and start completing, until you stop having to think about who you'll be entirely - as you're too busy doing, now. And ten years will pass without you even noticing. And later, over a glass of wine - because you drink wine now, because you are grown - you will marvel over what you did. Marvel that, at the time, you kept so many secrets. Tried to keep the secret of yourself. Tried to metamorphose in the dark. The loud, drunken, fucking, eyeliner-smeared, laughing, cutting, panicking, unbearably present secret of yourself. When really you were about as secret as the moon. And as luminous, under all those clothes.
Caitlin Moran (How to Build a Girl (How to Build a Girl, #1))
I looked at it out there. The figures that held my attention, as always (I too had an office at Buna, and spent many hours in front of its window), the figures that held my attention were not the men in stripes, as they queued or scurried in lines or entangled one another in a kind of centipedal scrum, moving at an unnatural speed, like extras in a silent film, moving faster than their strength or build could bear, as if in obedience to a frantic crank swivelled by a furious hand; the figures that held my attention were not the Kapos who screamed at the prisoners, nor the SS noncoms who screamed at the Kapos, nor the overalled company foremen who screamed at the SS noncoms. No. What held my eye were the figures in city business suits, designers, engineers, administrators from IG Farben plants in Frankfurt, Leverkusen, Ludwigshafen, with leather-bound notebooks and retractable yellow measuring tapes, daintily picking their way past the bodies of the wounded, the unconscious, and the dead.
Martin Amis (The Zone of Interest)
Quite a few people still listen to vinyl records, use film cameras to take photographs, and look up phone numbers in the printed Yellow Pages. But the old technologies lose their economic and cultural force. They become progress’s dead ends. It’s the new technologies that govern production and consumption, that guide people’s behavior and shape their perceptions. That’s why the future of knowledge and culture no longer lies in books or newspapers or TV shows or radio programs or records or CDs. It lies in digital files shot through our universal medium at the speed of light.
Nicholas Carr (What the Internet is Doing to Our Brains)
Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests, Tabloids. Everything boils down to the gag, the snap ending.” “Snap ending.” Mildred nodded. “Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet (you know the title certainly, Montag; it is probably only a faint rumor of a title to you, Mrs. Montag), whose sole knowledge, as I say, of Hamlet was a one-page digest in a book that claimed: now at last you can read all the classics; keep up with your neighbors. Do you see? Out of the nursery into the college and back to the nursery; there’s your intellectual pattern for the past five centuries or more.” Mildred arose and began to move around the room, picking things up and putting them down. Beatty ignored her and continued: “Speed up the film, Montag, quick. Click, Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man’s mind around about so fast under the pumping hands of publishers, exploiters, broadcasters that the centrifuge flings off all unnecessary, time-wasting thought!” Mildred smoothed the bedclothes. Montag felt his heart jump and jump again as she patted his pillow. Right now she was pulling at his shoulder to try to get him to move so she could take the pillow out and fix it nicely and put it back. And perhaps cry out and stare or simply reach down her hand and say, “What’s this?” and hold up the hidden book with touching innocence. “School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts?
Ray Bradbury (Fahrenheit 451)
And because they had mass, they became simpler,” said Beatty. “Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books leveled down to a sort of paste pudding norm, do you follow me?” “I think so.” Beatty peered at the smoke pattern he had put out on the air. “Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests, Tabloids. Everything boils down to the gag, the snap ending.” “Snap ending.” Mildred nodded. “Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume.
Ray Bradbury (Fahrenheit 451)
It is not speed that matters, it's persistence.
Abhijit Naskar (The Film Testament)
Maera lay still, his head on his arms, his face in the sand. He felt warm and sticky from the bleeding. Each time he felt the horn coming. Sometimes the bull only bumped him with his head. Once the horn went all the way through him and he felt it go into the sand. Some one had the bull by the tail. They were swearing at him and flopping the cape in his face. Then the bull was gone. Some men picked Maera up and started to run with him toward the barriers through the gate out the passageway around under the grandstand to the infirmary. They laid Maera down on the cot and one of the men went out for the doctor. The others stood around. The doctor came running from the coral where he had been sewing up picador horses. He had to stop and wash his hands. There was a great shouting going on in the grandstand overhead. Maera felt everything getting larger and larger and then smaller and smaller. Then it got larger and larger and larger and then smaller and smaller. Then everything commenced to run faster and faster as when they speed up a cinematograph film. Then he was dead.
Ernest Hemingway (In Our Time)
I imagine, sometimes, that if a film could be made of one’s life, every other frame would be death. It goes so fast we’re not aware of it. Destruction and resurrection in alternate beats of being, but speed makes it seem continuous. But you see, kid, with ordinary consciousness you can’t even begin to know what’s happening.
Saul Bellow (The Dean's December)
. . . [E]very single writer I met likened writing for television to one thing--laying track for an incoming speeding train. The story is the track and you gotta keep laying it down because of the train. That train is production. You keep writing, you keep laying track down, no matter what, because the train of production is coming toward you--no matter what. Every eight days, the crew needs to being to prepare a new episode--find locations, build sets, design costumes, find props, plan shots. And every eight days after that, the crew needs to film a new episode. Every eight days. Eight days to prep. Eight days to shoot. Eight days, eight days, eight days, eight days. Which means every eight days, that crew needs a brand-new script. And my job is to damn well provide them with one. Every. Eight. Days. That train of production is a'coming. Every eight days that crew on that soundstage better have something to shoot. Because the worst thing you can do is halt or derail production and cost the studio hundreds of thousands of dollars while everyone waits. That is how you go from being a TV writer to being a failed TV writer.
Shonda Rhimes (Year of Yes)
And suddenly I knew, as I touched the damp, grainy surface of the seawall, that I would always remember this night, that in years to come I would remember sitting here, swept with confused longing as I listened to the water lapping the giant boulders beneath the promenade and watched the children head toward the shore in a winding, lambent procession. I wanted to come back tomorrow night, and the night after, and the one after that as well, sensing that what made leaving so fiercely painful was the knowledge that there would never be another night like this, that I would never eat soggy cakes along the coast road in the evening, not this year or any other year, nor feel the baffling, sudden beauty of that moment when, if only for an instant, I had caught myself longing for a city I never knew I loved. Exactly a year from now, I vowed, I would sit outside at night wherever I was, somewhere in Europe, or in America, and turn my face to Egypt, as Moslems do when they pray and face Mecca, and remember this very night, and how I had thought these things and made this vow. You're beginning to sound like Elsa and her silly seders, I said to myself, mimicking my father's humour. On my way home I thought of what the others were doing. I wanted to walk in, find the smaller living room still lit, the Beethoven still playing, with Abdou still cleaning the dining room, and, on closing the front door, suddenly hear someone say, "We were just waiting for you, we're thinking of going to the Royal." "But we've already seen that film," I would say. "What difference does it make. We'll see it again." And before we had time to argue, we would all rush downstairs, where my father would be waiting in a car that was no longer really ours, and, feeling the slight chill of a late April night, would huddle together with the windows shut, bicker as usual about who got to sit where, rub our hands, turn the radio to a French broadcast, and then speed to the Corniche, thinking that all this was as it always was, that nothing ever really changed, that the people enjoying their first stroll on the Corniche after fasting, or the woman selling tickets at the Royal, or the man who would watch our car in the side alley outside the theatre, or our neighbours across the hall, or the drizzle that was sure to greet us after the movie at midnight would never, ever know, nor even guess, that this was our last night in Alexandria.
André Aciman (Out of Egypt: A Memoir)
Around them, from horizon to horizon, several different eras were all happening at once. Transparent trees and buildings overlapped in a delirious rush of images that changed and grew and bled into each other, see-through structures crumbling away and vanishing only to reappear and run through their accelerated lives over again, a boiling blur of black and white as if a mad projectionist were running many different loops of old film through his whirring, flickering contraption at the same time, at the wrong speed. Looking
Alan Moore (Jerusalem)
It was one of the letters that described something Jessica remembered and that the others instantly recognized as well. It talked about the extraordinary speed with which the feeling that life had no meaning could disappear on certain occasions and everything become normal again—for a while at least. How one day you could be in the depths of despair and the next you could wake up feeling... okay. How little things like something someone said, or a scene from a film, or even a piece of music could change your mood in the blink of an eye. An how, when you were in one mood, the other seemed so silly.
Andrew Norriss (Friends for Life)
From millions of sources all over the globe, through every possible channel and medium—light waves, airwaves, ticker tapes, computer banks, telephone wires, television cables, satellites, printing presses—information pours in. Behind it, in every imaginable form of storage—on paper, on video and audio tape, on discs, film, and silicon chips—is an ever greater volume of information waiting to be retrieved. Like the Sorcerer’s Apprentice, we are awash in information. And all the sorcerer has left us is a broom. Information has become a form of garbage, not only incapable of answering the most fundamental human questions but barely useful in providing coherent direction to the solution of even mundane problems. To say it still another way: The milieu in which Technopoly flourishes is one in which the tie between information and human purpose has been severed, i.e., information appears indiscriminately, directed at no one in particular, in enormous volume and at high speeds, and disconnected from theory, meaning, or purpose.
Neil Postman (Technopoly: The Surrender of Culture to Technology)
Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books levelled down to a sort of paste pudding norm [...]. [...] Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations, Digests. Tabloids. Everything boils down to the gag, the snap ending. [...] Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet [...] was a one-page digest in a book that claimed: "now at least you can read all the classics; keep up with your neighbors". Do you see? Out of the nursery into the college and back to the nursery; there's your intellectual pattern for the past five centuries or more. [...] Speed up the film, Montag, quick. Click? Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man's mind around about so fast under the pumping hands of publishers, exploiters, broadcasters, that the centrifuge flings off all unnecessary, time-wasting thought! [...] School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts? [...] The zipper displaces the button and a man lacks just that much time to think while dressing at dawn, a philosophical hour, and thus a melancholy hour. [...] Life becomes one big pratfall, Montag; everything bang, boff, and wow!
Ray Bradbury (Fahrenheit 451)
If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.
Bill Bryson (One Summer: America, 1927)
Movies create the parameters against which we measure our lives.  They can either be a force for positive change or reinforce existing structures.  Mason asks, “How do we take control of the hallucination?”  The series itself is a response:  The Invisibles is a fictional work that’s programmed to redefine the way we view reality.  Download this series into your mind, and you’ll come out the other side changed. This also ties into the way that Mason has discussed movies over the course of the series.  By finding the evolutionary message in non-intellectual, popular works like Speed and Independence Day, Mason is trying to take control of the hallucination.  Any work of art does not exist in a vacuum.  We assess it through cultural and social lenses, biased by our own circumstances and background.  Mason seeks out Invisible messages in everything he sees, and because that’s what he’s looking for, he finds them.  His goal is to teach everyone to think like that, to not see the intended pro-America or pro-hetero-normative message of a typical studio film, to instead find something subversive lurking in the most mundane entertainments.  If people build their lives in response to the films they see, then controlling the way they perceive the films means controlling the future direction of their lives. Next,
Patrick Meaney (Our Sentence is Up: Seeing Grant Morrison's The Invisibles)
You ask for something specific and that thing—that thing alone—is delivered to you as quickly as possible. You are only shown what you ask for. The Avid is faster at it than the Moviola, but the process is the same. That’s a drawback for me because your choices can then only be as good as your requests, and sometimes that is not enough. There is a higher level that comes through recognition: You may not be able to articulate what you want, but you can recognize it when you see it. What do I mean by that? Well, if you learn to speak a foreign language, you will find that there is a gap between how well you can speak it and how well you can understand it when it is spoken to you. A human being’s ability to understand a foreign language is always greater than his ability to speak it. And when you make a film, you are trying to learn a foreign language—it just happens to be a unique language that is only spoken by this one film. If you have to articulate everything, as you do with a ran-dom-access system like video/computer or Moviola/ assistant, you are limited by what and how much you can articulate and how good your original notes were. Whereas the advantage of the KEM’s linear system is that I do not always have to be speaking to it—there are times when it speaks to me. The system is constantly presenting things for consideration, and a sort of dialogue takes place. I might say, “I want to see that close-up of Teresa, number 317, in roll 45.” But I’ll put that roll on the machine, and as I spool down to number 317 (which may be hundreds of feet from the start), the machine shows me everything at high speed down to that point, saying in effect: “How about this instead? Or this?” And I find, more often than not, long before I get down to shot 317, that I’ve had three other ideas triggered by the material that I have seen flashing by me.
Walter Murch (In the Blink of an Eye)
We need to be humble enough to recognize that unforeseen things can and do happen that are nobody’s fault. A good example of this occurred during the making of Toy Story 2. Earlier, when I described the evolution of that movie, I explained that our decision to overhaul the film so late in the game led to a meltdown of our workforce. This meltdown was the big unexpected event, and our response to it became part of our mythology. But about ten months before the reboot was ordered, in the winter of 1998, we’d been hit with a series of three smaller, random events—the first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren Jacobs, one of the lead technical directors on the movie, remembers watching this occur in real time. At first, he couldn’t believe what he was seeing. Then, he was frantically dialing the phone to reach systems. “Pull out the plug on the Toy Story 2 master machine!” he screamed. When the guy on the other end asked, sensibly, why, Oren screamed louder: “Please, God, just pull it out as fast as you can!” The systems guy moved quickly, but still, two years of work—90 percent of the film—had been erased in a matter of seconds. An hour later, Oren and his boss, Galyn Susman, were in my office, trying to figure out what we would do next. “Don’t worry,” we all reassured each other. “We’ll restore the data from the backup system tonight. We’ll only lose half a day of work.” But then came random event number two: The backup system, we discovered, hadn’t been working correctly. The mechanism we had in place specifically to help us recover from data failures had itself failed. Toy Story 2 was gone and, at this point, the urge to panic was quite real. To reassemble the film would have taken thirty people a solid year. I remember the meeting when, as this devastating reality began to sink in, the company’s leaders gathered in a conference room to discuss our options—of which there seemed to be none. Then, about an hour into our discussion, Galyn Susman, the movie’s supervising technical director, remembered something: “Wait,” she said. “I might have a backup on my home computer.” About six months before, Galyn had had her second baby, which required that she spend more of her time working from home. To make that process more convenient, she’d set up a system that copied the entire film database to her home computer, automatically, once a week. This—our third random event—would be our salvation. Within a minute of her epiphany, Galyn and Oren were in her Volvo, speeding to her home in San Anselmo. They got her computer, wrapped it in blankets, and placed it carefully in the backseat. Then they drove in the slow lane all the way back to the office, where the machine was, as Oren describes it, “carried into Pixar like an Egyptian pharaoh.” Thanks to Galyn’s files, Woody was back—along with the rest of the movie.
Ed Catmull (Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration)
ONCE YOU’VE HOOKED readers, your next task is to put your early chapters to work introducing your characters, settings, and stakes. The first 20-25% of the book comprises your setup. At first glance, this can seem like a tremendous chunk of story to devote to introductions. But if you expect readers to stick with you throughout the story, you first have to give them a reason to care. This important stretch is where you accomplish just that. Mere curiosity can only carry readers so far. Once you’ve hooked that sense of curiosity, you then have to deepen the pull by creating an emotional connection between them and your characters. These “introductions” include far more than just the actual moment of introducing the characters and settings or explaining the stakes. In themselves, the presentations of the characters probably won’t take more than a few scenes. After the introduction is when your task of deepening the characters and establishing the stakes really begins. The first quarter of the book is the place to compile all the necessary components of your story. Anton Chekhov’s famous advice that “if in the first act you have hung a pistol on the wall, then in the following one it should be fired” is just as important in reverse: if you’re going to have a character fire a gun later in the book, that gun should be introduced in the First Act. The story you create in the following acts can only be assembled from the parts you’ve shown readers in this First Act. That’s your first duty in this section. Your second duty is to allow readers the opportunity to learn about your characters. Who are these people? What is the essence of their personalities? What are their core beliefs (even more particularly, what are the beliefs that will be challenged or strengthened throughout the book)? If you can introduce a character in a “characteristic moment,” as we talked about earlier, you’ll be able to immediately show readers who this person is. From there, the plot builds as you deepen the stakes and set up the conflict that will eventually explode in the Inciting and Key Events. Authors sometimes feel pressured to dive right into the action of their stories, at the expense of important character development. Because none of us wants to write a boring story, we can overreact by piling on the explosions, fight sequences, and high-speed car chases to the point we’re unable to spend important time developing our characters. Character development is especially important in this first part of the story, since readers need to understand and sympathize with the characters before they’re hit with the major plot revelations at the quarter mark, halfway mark, and three-quarters mark. Summer blockbusters are often guilty of neglecting character development, but one enduring exception worth considering is Stephen Spielberg’s Jurassic Park. No one would claim the film is a leisurely character study, but it rises far above the monster movie genre through its expert use of pacing and its loving attention to character, especially in its First Act. It may surprise some viewers to realize the action in this movie doesn’t heat up until a quarter of the way into the film—and even then we have no scream-worthy moments, no adrenaline, and no extended action scenes until halfway through the Second Act. Spielberg used the First Act to build suspense and encourage viewer loyalty to the characters. By the time the main characters arrive at the park, we care about them, and our fear for their safety is beginning to manifest thanks to a magnificent use of foreshadowing. We understand that what is at stake for these characters is their very lives. Spielberg knew if he could hook viewers with his characters, he could take his time building his story to an artful Climax.
K.M. Weiland (Structuring Your Novel: Essential Keys for Writing an Outstanding Story)
George Gey paid his way through a biology degree at the University of Pittsburgh by working as a carpenter and mason, and he could make nearly anything for cheap or free. During his second year in medical school, he rigged a microscope with a time-lapse motion picture camera to capture live cells on film. It was a Frankensteinish mishmash of microscope parts, glass, and 16-millimeter camera equipment from who knows where, plus metal scraps, and an old motor from Shapiro’s junkyard. He built it in a hole he’d blasted in the foundation of Hopkins, right below the morgue, its base entirely underground and surrounded by a thick wall of cork to keep it from jiggling when streetcars passed. At night, a Lithuanian lab assistant slept next to the camera on a cot, listening to its constant tick, making sure it stayed stable through the night, waking every hour to refocus it. With that camera, Gey and his mentor, Warren Lewis, filmed the growth of cells, a process so slow - like the growth of a flower - the naked eye couldn’t see it. They played the film at high speed so they could watch cell division on the screen in one smooth motion, like a story unfolding in a flip book.
skloot, Rebecca
So training smart, training effectively, involves cycling through the three zones in any given week or training block: 75 percent easy running, 5 to 10 percent running at target race paces, and 15 to 20 percent fast running or hill training in the third zone to spike the heart and breathing rates. In my 5-days-a-week running schedule, that cycle looks like this: On Monday, I cross-train. Tuesday, I do an easy run in zone one, then speed up to a target race pace for a mile or two of zone-two work. On Wednesday, it’s an easy zone-one run. Thursday is an intense third-zone workout with hills, speed intervals, or a combination of the two. Friday is a recovery day to give my body time to adapt. On Saturday, I do a relaxed run with perhaps another mile or two of zone-two race pace or zone-three speed. Sunday is a long, slow run. That constant cycling through the three zones—a hard day followed by an easy or rest day—gradually improves my performance in each zone and my overall fitness. But today is not about training. It’s about cranking up that treadmill yet again, pushing me to run ever faster in the third zone, so Vescovi can measure my max HR and my max VO2, the greatest amount of oxygen my heart and lungs can pump to muscles working at their peak. When I pass into this third zone, Vescovi and his team start cheering: “Great job!” “Awesome!” “Nice work.” They sound impressed. And when I am in the moment of running rather than watching myself later on film, I really think I am impressing them, that I am lighting up the computer screen with numbers they have rarely seen from a middle-aged marathoner, maybe even from an Olympian in her prime. It’s not impossible: A test of male endurance athletes in Sweden, all over the age of 80 and having 50 years of consistent training for cross-country skiing, found they had relative max VO2 values (“relative” because the person’s weight was included in the calculation) comparable to those of men half their age and 80 percent higher than their sedentary cohorts. And I am going for a high max VO2. I am hauling in air. I am running well over what should be my max HR of 170 (according to that oft-used mathematical formula, 220 − age) and way over the 162 calculated using the Gulati formula, which is considered to be more accurate for women (0.88 × age, the result of which is then subtracted from 206). Those mathematical formulas simply can’t account for individual variables and fitness levels. A more accurate way to measure max HR, other than the test I’m in the middle of, is to strap on a heart rate monitor and run four laps at a 400-meter track, starting out at a moderate pace and running faster on each lap, then running the last one full out. That should spike your heart into its maximum range. My high max HR is not surprising, since endurance runners usually develop both a higher maximum rate at peak effort and a lower rate at rest than unconditioned people. What is surprising is that as the treadmill
Margaret Webb (Older, Faster, Stronger: What Women Runners Can Teach Us All About Living Younger, Longer)
In a simple description, Hyperloop is conceptualized to be the 5th mode of transportation that has the speed of a bullet train, powered by solar energy, and the overall design that seemed to have been taken from a SyFy film.  This hyper-speedy transportation also targets to transport people in just a matter of minutes.
Wiroon Tanthapanichakoon (Elon Musk: 2nd Edition - A Billionaire Entrepreneur Changing the World Future with SpaceX, Tesla Motors, Solar City, and Hyperloop)
Brennan’s contribution to The Wedding Night (March 8, 1935), starring Gary Cooper and Anna Sten—the Russian beauty Samuel Goldwyn was promoting as the next European import to rival Greta Garbo and Marlene Dietrich—was of a different order. The anxious producer, worried about Sten’s accent (even though she was playing a Polish American), began to take notice of Brennan in a seemingly forgettable role he nevertheless freshened with his rapid-fire delivery. Brennan is Bill Jenkins, a cackling Connecticut cab driver, spitting tobacco juice (actually licorice) and showing the tobacco fields to Tony Barrett (Gary Cooper), an alcoholic writer modeled on F. Scott Fitzgerald and trying to dry out in a country hideaway. Goldwyn had been much impressed with the velocity of dialogue in It Happened One Night (February 23, 1934) and wanted his actors to perform at the same screwball speed. Brennan manages this feat more deftly than the picture’s ostensible stars, although Cooper perks up when doing scenes with Brennan. Unfortunately Sten did not the have the same opportunity. “I never even met Anna Sten,” Brennan told biographer Carol Easton. When Jenkins drives up to deliver a telegram to Barrett, walking along the road, neither the writer nor Jenkins has a pencil to use to reply to Barrett’s wife, who wants him to return to the city. So Barrett simply gives a verbal response: “My work won’t let me. Love Tony.” Jenkins repeats the message twice to fix it in his mind, but as soon as he drives off the message gets garbled: “My love won’t work me.” He tries again: “My work won’t love me.” Not satisfied, he begins again: “My work won’t love me.” In frustration, he spits, and says, “Gosh, I’m losin’ my memory.” His role is inconsequential, and yet so necessary to the local color that director King Vidor works Brennan into a scene whenever he can. Brennan would have made his character even more authentic if Goldwyn had not complied with a request from the Breen Office, the enforcers of the Production Code, that Brennan’s use of “damn” and “hell” be cut from the film.
Carl Rollyson (A Real American Character: The Life of Walter Brennan (Hollywood Legends))
Know what’s nice about you, Lily?” he said, laughter still threading his voice. “I can’t imagine,” she snapped. “You never change.” “Neither do you. You’re as obnoxious as ever.” “That’s me. Ran on the obnoxious ticket,” he agreed complacently. “Landslide victory.” She was driving like a maniac, switching lanes as though she were in a chase scene in a cops and robbers film. Throughout, Sean remained aggravatingly relaxed. His fingers threaded behind his neck, he merely observed in a bored drawl, “By the way, we have speed limits in Coral Beach.” “Tough. I can’t get to May Ellen’s fast enough, if it means I get to be rid of you.” He sighed. “There you go, breaking my heart. I was hoping we’d have time to reminisce. No?
Laura Moore (Night Swimming: A Novel)
Steve drove us to the airstrip at the ranger station. One of the young rangers there immediately began to bend his ear about a wildlife issue. I took Robert off to pee on a bush before we had to get on the plane. It was just a tiny little prop plane and there would be no restroom until we got to Cairns. When we came back, all the general talk meant that there wasn’t much time left for us to say good-bye. Bindi pressed a note into Steve’s hand and said, “Don’t read this until we’re gone.” I gave Steve a big hug and a kiss. Then I kissed him again. I wanted to warn him to be careful about diving. It was my same old fear and discomfort with all his underwater adventures. A few days earlier, as Steve stepped off a dinghy, his boot had gotten tangled in a rope. “Watch out for that rope,” I said. He shot me a look that said, I’ve just caught forty-nine crocodiles in three weeks, and you’re thinking I’m going to fall over a rope? I laughed sheepishly. It seemed absurd to caution Steve about being careful. Steve was his usual enthusiastic self as we climbed into the plane. We knew we would see each other in less than two weeks. I would head back to the zoo, get some work done, and leave for Tasmania. Steve would do his filming trip. Then we would all be together again. We had arrived at a remarkable place in our relationship. Our trip to Lakefield had been one of the most special months of my entire life. The kids had a great time. We were all in the same place together, not only physically, but emotionally, mentally, and spiritually. We were all there. The pilot fired up the plane. Robert had a seat belt on and couldn’t see out the window. I couldn’t lift him up without unbuckling him, so he wasn’t able to see his daddy waving good-bye. But Bindi had a clear view of Steve, who had parked his Ute just outside the gable markers and was standing on top of it, legs wide apart, a big smile on his face, waving his hands over his head. I could see Bindi’s note in one of his hands. He had read it and was acknowledging it to Bindi. She waved frantically out the window. As the plane picked up speed, we swept past him and then we were into the sky.
Terri Irwin (Steve & Me)
Steve was his usual enthusiastic self as we climbed into the plane. We knew we would see each other in less than two weeks. I would head back to the zoo, get some work done, and leave for Tasmania. Steve would do his filming trip. Then we would all be together again. We had arrived at a remarkable place in our relationship. Our trip to Lakefield had been one of the most special months of my entire life. The kids had a great time. We were all in the same place together, not only physically, but emotionally, mentally, and spiritually. We were all there. The pilot fired up the plane. Robert had a seat belt on and couldn’t see out the window. I couldn’t lift him up without unbuckling him, so he wasn’t able to see his daddy waving good-bye. But Bindi had a clear view of Steve, who had parked his Ute just outside the gable markers and was standing on top of it, legs wide apart, a big smile on his face, waving his hands over his head. I could see Bindi’s note in one of his hands. He had read it and was acknowledging it to Bindi. She waved frantically out the window. As the plane picked up speed, we swept past him and then we were into the sky.
Terri Irwin (Steve & Me)
Fear was keeping this loon going, as he was scrambling under the tables in this packed club, it was as if he was in a Carry On film and trying to hide from me. As the bouncers arrived, I was putting the boot in to the plonker without much success. He was like a bumblebee on speed!
Stephen Richards (Born to Fight: The True Story of Richy Crazy Horse Horsley)
I left you a message yesterday. You didn’t call back.” “Sorry, but someone was serving grilled fish on my chest.” A silence. Lucie took back the reins of the conversation. “I have new information for you. They’ve—” “I’m already up to speed. I called my boss when I got in. The murder of Szpilman Junior and his girlfriend, the theft of the film, and the hidden film they found inside the original. I haven’t yet downloaded it from the server. At the moment, I’m on something else.
Franck Thilliez (Syndrome E)
Entirely in agreement with Salieri when he rails against God for having given humanity the gift of Mozart's divine music, for the sole purpose of making us look ridiculous and plunging us into despair. Salieri sets himself up as Man's champion against divine injustice. It is the same problem as that of the Grand Inquisitor in the Brothers Karamazov. When Christ returns to earth he says to him: 'We manage humanity for its greatest happiness. It has paid for this with its mediocrity. Don't come disturbing this fragile balance with insane promises. ' And he condemns Christ to death once again. Salieri is not mean-spirited: it took pride, not to become jealous of Mozart, but to challenge God and ask: 'Tell it to me plainly, why am I not Mozart?' For God mocked us by throwing Mozart among us in the guise of a vulgar being, who did not even bear the exceptional marks of grace. God is toying with us, and that is unbearable. Mozart must be destroyed. All that challenges God is noble in spirit and superior to gaping, unconditional admiration of His works. We will not have the same problem with Changeux's Neuronal Man, emerging on the horizon like Nietzsche's Last Man, with his cortical and synaptic flatness. Farewell Mozart, farewell Salieri, no more grace, but no more challenges either, such is the solution offered by modern science to the insoluble despair of the difference between men. Signs, signs? Is that all you have to say? People act and people dream, they speak or they don't - none of that is unreal. Shut up and watch. See the philosophical beauty of these closing years of the century, the stars in the sky falling lower as the fateful date approaches, and the interactive horizon of couples in love - all this is beyond doubt, and it moves me to tears . . . The age, the coming age is like a metropolis deserted by its population, cut off from its sources of energy. Are you going to say that, are you going to go on with these twilight rantings? Every century throws the reality principle into question as it closes, but it's over today, finished, done. Everybody works these days. Narrative and moral passions, the philosophical animal spirits, are literally blocking the electronic animal spirits, a thousand times more lively and insignificant. Videos and advertisements, credits, news reports and sports flashes, Dallas, that's television, all that transfers easily, with the minimum of energy, on ephemeral film. But pure television, like pure painting or pure speed, is hard to bear.
Jean Baudrillard (Cool Memories)
Actually,” said Kevin. “It’s a bit like Star Wars. Right near the end of Return of the Jedi Luke discovers that–” “Oh, will you stop your infernal wittering about that stupid film,” shouted Cassandra. “I watched the original trilogy with the Doctor on a girls’ night in and it was plagiarised from every myth and fairy story that was ever written. The Doctor and I had never laughed so much.
Mark Speed (Doctor How and the Big Finish: Book 5)
Is "light" travelling with its own speed to the eye? Or from the eye?
Sinai Noor
A related trap/trick is nudging. Aldert Vrij presents a compelling example in his book Detecting Lies and Deceit: Participants saw a film of a traffic accident and then answered the question, “About how fast were the cars going when they contacted each other?” Other participants received the same question, except that the verb contacted was replaced by either hit, bumped, collided, or smashed. Even though the participants saw the same film, the wording of the question affected their answers. The speed estimates (in miles per hour) were 31, 34, 38, 39, and 41, respectively. You can be nudged in a direction by a subtle word choice or other environmental cues.
Gabriel Weinberg (Super Thinking: The Big Book of Mental Models)
Historical and archaeological records also tell us a lot about the past. The universe is expanding and the galaxies are moving away from each other at an ever accelerating speed. Future telescopes would only rely upon historical records to see the universe we are able to see at a special time. Else, the modern telescopes of future taking the latest pictures and filming reality even with increased capability will find and show darkness in space. Qur’an reminded Arabs, Jews and Christians about their history and historical records present with them and which provided them a clear chance to affirm truth and evaluate it. People like King Najashi (also known as Armah, the ruler of the Kingdom of Aksum) and Warqah Ibn Nawfal knowing their historical records and their reference in Qur’an were able to affirm the evidence of Prophet Hood of Muhammad (pbuh) through their own historical scriptures instantly.
Salman Ahmed Shaikh (Reflections on the Origins in the Post COVID-19 World)
A major source of conflict is that men sometimes infer sexual interest on the part of a woman when it does not exist. A series of experiments has documented this phenomenon (Abbey, 1982; Lindgren, George, & Shoda, 2007). In one study, 98 male and 102 female college students viewed a 10-minute videotape of a conversation in which a female student visits a male professor’s office to ask for more time to complete a term paper. The actors in the film were a female drama student and a professor in the theater department. Neither the student nor the professor acted flirtatious or overtly sexual, although both were instructed to behave in a friendly manner. People who witnessed the tape then rated the likely intentions of the woman using a seven-point scale. Women watching the interaction were more likely to say that she was trying to be friendly, with an average rating of 6.45, and not sexy (2.00) or seductive (1.89). Men, also perceiving friendliness (6.09), were significantly more likely than women to infer seductive (3.38) and sexual intentions (3.84). A speed-dating laboratory procedure had men rate women’s sexual interest in them a er a brief interaction and compared those ratings to women’s self-reported sexual interest in each of the men (Perilloux et al., 2012). Again, men exhibited a sexual misperception bias, perceiving women as significantly more interested in them than women actually were. Men high in self-perceived attractiveness and female-evaluated mate value are especially vulnerable to the sexual over-perception bias (Kohl & Robertson, 2014; Perilloux et al., 2012). And men who pursue a short-term mating strategy are also more prone to the sexual over-perception bias (Perilloux et al., 2012), likely because this bias facilitates more frequent attempts to initiate sexual overtures.
David M. Buss (Evolutionary Psychology: The New Science of the Mind)
Conceptual Games. Dr Nathan pondered the list on his desk-pad. (1) The catalogue of an exhibition of tropical diseases at the Wellcome Museum; (2) chemical and topographical analyses of a young woman’s excrement; (3) diagrams of female orifices: buccal, orbital, anal, urethral, some showing wound areas; (4) the results of a questionnaire in which a volunteer panel of parents were asked to devise ways of killing their own children; (5) an item entitled ‘self-disgust’ - someone’s morbid and hate-filled list of his faults. Dr Nathan inhaled carefully on his gold-tipped cigarette. Were these items in some conceptual game? To Catherine Austin, waiting as ever by the window, he said, ‘Should we warn Miss Novotny?’ Biomorphic Horror. With an effort, Dr Nathan looked away from Catherine Austin as she picked at her finger quicks. Unsure whether she was listening to him, he continued: ‘Travers’s problem is how to come to terms with the violence that has pursued his life - not merely the violence of accident and bereavement, or the horrors of war, but the biomorphic horror of our own bodies. Travers has at last realized that the real significance of these acts of violence lies elsewhere, in what we might term “the death of affect”. Consider our most real and tender pleasures - in the excitements of pain and mutilation; in sex as the perfect arena, like a culture-bed of sterile pus, for all the veronicas of our own perversions, in voyeurism and self-disgust, in our moral freedom to pursue our own psychopathologies as a game, and in our ever greater powers of abstraction. What our children have to fear are not the cars on the freeways of tomorrow, but our own pleasure in calculating the most elegant parameters of their deaths. The only way we can make contact with each other is in terms of conceptualizations. Violence is the conceptualization of pain. By the same token psychopathology is the conceptual system of sex.’ Sink Speeds. During this period, after his return to Karen Novotny’s apartment, Travers was busy with the following projects: a cogent defence of the documentary films of Jacopetti; a contribution to a magazine symposium on the optimum auto-disaster; the preparation, at a former colleague’s invitation, of the forensic notes to the catalogue of an exhibition of imaginary genital organs. Immersed in these topics, Travers moved from art gallery to conference hall. Beside him, Karen Novotny seemed more and more isolated by these excursions. Advertisements of the film of her death had appeared in the movie magazines and on the walls of the underground stations. ‘Games, Karen,’ Travers reassured her. ‘Next they’ll have you filmed masturbating by a cripple in a wheel chair.
J.G. Ballard (The Atrocity Exhibition)
The conceptual auto-disaster. The volunteer panels were shown fake safety propaganda movies in which implausible accidents were staged. Far from eliciting a humorous or sardonic response from the audience, marked feelings of hostility were shown towards the film and medical support staff. Subsequent films of genuine accidents exerted a notably calming effect. From this and similar work it is clear that Freud’s classic distinction between the manifest and latent content of the inner world of the psyche now has to be applied to the outer world of reality. A dominant element in this reality is technology and its instrument, the machine. In most roles the machine assumes a benign or passive posture - telephone exchanges, engineering hardware, etc. The twentieth century has also given birth to a vast range of machines - computers, pilotless planes, thermonuclear weapons - where the latent identity of the machine is ambiguous even to the skilled investigator. An understanding of this identity can be found in a study of the automobile, which dominates the vectors of speed, aggression, violence and desire. In particular the automobile crash contains a crucial image of the machine as conceptualized psychopathology. Tests on a wide range of subjects indicate that the automobile, and in particular the automobile crash, provides a focus for the conceptualizing of a wide range of impulses involving the elements of psychopathology, sexuality and self-sacrifice.
J.G. Ballard (The Atrocity Exhibition)
…After seventeen minutes of panicky crowds destroying everything in their path, Eric could distinguish, despite all the chaos and hellish noise, the slight buzz of a second plane. He started counting to himself, watching the blazing inferno at the North Tower: One, two, three, four, five, six, seven… The second Boeing glided into the South Tower, WTC-2, and it seemed to Eric that this plane was flying slowly, that its impact was a soft one… Due to the pandemonium all around, the impact itself seemed not to be as loud as the first hit. Still, in a moment the second twin was also blazing. Both skyscrapers were on fire now. Novack looked up again at what had happened a minute before: the terror attack of the century. Then he started walking fast down Church Street, away from the huge buildings that were now on fire. He knew that in about an hour, the South Tower was to collapse completely, and half an hour after that, the same was to happen to the North Tower, which was also weakened by the impact. He knew there were tons of powerful Thermate in both buildings. Over the course of the previous two months, some fake repairmen had brought loads of it into the towers and put them in designated places around the trusswork. It was meant to make buildings collapse like card towers, which would only happen when the flames reached a certain point. The planes had started an unstoppable countdown as soon as they hit the buildings: these were the last minutes of their existence. Next in line was the third building: 7 WTC, which stood north of the Twin Towers. It counted forty-seven floors, and it too was stuffed with Thermate. Novack started getting concerned, however, that the third plane seemed to be late. Where’s the third plane? Why is it late? It’s already fifty minutes after the first impact, and they were supposed to hit the three targets with a time lag of about twenty minutes. Where are you, birdie number three? You are no less important than the first two, and you were also promised to my clients… People were still running in all directions, shouting and bumping into each other. Sirens wailed loudly, heartrendingly; ambulances were rushing around, giving way only to firefighters and emergency rescue teams. Suddenly hundreds of policemen appeared on the streets, but it seemed that they didn’t really know what they were supposed to do. They mostly ran around, yelling into their walkie-talkies. At Thomas Street, Eric walked into a parking lot: the gate arm was up and the security guy must have left, for the door of his booth stood wide open… …Two shots rang out simultaneously during the fifth and the longest second. They were executed synchronously, creating a single, stinging, deadly sound. The bullet from the sixth floor of the book depository went straight up into the sky, as planned. The second bullet shot out of a sniper rifle, held confidently in the arms of a woman behind the hedge, on the grassy knoll. It was her bullet that struck the head of the 35th US president, John Fitzgerald Kennedy. The woman walked quickly down the grassy knoll. Stepping only about five meters away, she put her rifle into a baby pram waiting there, with a real six-month-old baby boy whimpering inside it. She put on thick glasses and started walking away, exhibiting no haste. Only thirty seconds after the second shot, the woman was gone, nowhere to be seen… After the second or, rather, the third shot, the one from the knoll, President Kennedy’s head was tossed back. Jackie somehow managed to crawl onto the back hood of the car. A security agent from the escort car had already reached them. The motorcade picked up speed and disappeared under the overpass. Zapruder’s camera kept whirring for some seconds. He must have filmed the whole operation – that is, the assassination of an acting US president. But now he simply stood there without saying a word, completely dumbfounded...
Oleg Lurye
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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.
Richard Barrios (Dangerous Rhythm: Why Movie Musicals Matter)
if you have your film set at the right speed
Sara Rosett (Death in a Stately Home (Murder on Location #3))
Queer contagion, including the anxiety triggered by gender nonnormativity, found its viral materiality in the early 1980s. The diagnosis of gay cancer, or GRID (gay-related immune disorder), the original name for AIDS, was a vengeful nomenclature for the perversion of existing in a world held together, at least in part, by trans/queer undoing. Found by chance, queers began showing symptoms of unexplainable illnesses such as Kaposi's sarcoma (KS) and Pneumocystis carinii pneumonia (PCP). Unresponsive to the most aggressive treatments, otherwise healthy, often well-resourced and white, young men were deteriorating and dying with genocidal speed. Without remedy, normative culture celebrated its triumph in knowing the tragic ends they always imagined queers would meet. This, while the deaths of Black, Brown, and Indigenous trans and cis women (queer or otherwise) were unthought beyond the communities directly around them. These women, along with many others, were stripped of any claim to tragedy under the conditions of trans/misogyny. Among the architects of this silence was then-President Ronald Reagan, who infamously refused to mention HIV/AIDS in public until 1986. By then, at least 16,000 had died in the U.S. alone. Collective fantasies of mass disappearance through the pulsing death of trans/queer people, Haitians, and drug users - the wish fulfillment of a nightmare world concertized the rhetoric that had always been spoken from the lips of power. The true terror of this response to HIV/AIDS was not only its methodological denial but its joyful humor. In Scott Calonico's experimental short film, "When AIDS Was Funny", a voice-over of Reagan's press secretary Larry Speakes is accompanied by iconic still images of people close to death in hospital beds. LESTER KINSOLVING: "Over a third of them have died. It's known as a 'gay plague.' [Press pool laughter.] No, it is. It's a pretty serious thing. One in every three people that get this have died. And I wonder if the president was aware of this." LARRY SPEAKES: "I don't have it. [Press pool laughter.] Do you?" LESTER KINSOLVING: "You don't have it? Well, I'm relieved to hear that, Larry!" [Press pool laughter.] LARRY SPEAKES: "Do you?" LESTER KINSOLVING: "No, I don't.
Eric A. Stanley (Atmospheres of Violence: Structuring Antagonism and the Trans/Queer Ungovernable)
Yet, instead of rushing to explore these theories, rather than discussing the speed of light, mortality, or entropy, their most popular communications were about film stars, religion, dating applications, games, and all matters of pornography. Were they that backward? Were they too primitive to care?
Ryka Aoki (Light From Uncommon Stars)
Guide for your ISO settings • 50-200 ISO For very bright sunny days or when you want the ultimate in smooth, sharp images. • 400 ISO A good all-round setting, suitable for overcast skies or when you need a fast shutter speed. • 800 ISO For interiors, low-light outdoor subjects or action photography when you don’t want to use flash. • 1600 ISO For night shooting or indoor low available light, or with very long lenses. Grain/noise may be a problem. Try using your noise reduction setting. • 3200 ISO Much the same as 1600 but with more grain/noise. The grainy effect of fast film can look great with black and white subjects.
John Garrett (Collins Complete Photography Course)
The reason why we can’t see our eyes moving with our own eyes is because our brains edit out the bits between the saccades—a process called saccadic suppression. Without it, we’d look at an object and it would be a blurry mess. What we perceive as vision is the director’s cut of a film, with your brain as the director, seamlessly stitching together the raw footage to make a coherent reality. Perception is the brain’s best guess at what the world actually looks like. Immense though the computing power of that fleshy mass sitting in the darkness of our skulls is, if we were to take in all the information in front of our eyes, our brains would surely explode.** Instead, our eyes sample bits and pieces of the world, and we fill in the blanks in our heads. This fact is fundamental to the way that cinema works. A film is typically 24 static images run together every second, which our brain sees as continuous fluid movement—that’s why it’s called a movie. The illusion of movement actually happens at more like 16 frames per second. At that speed, a film projection is indistinguishable from the real world, at least to us. It was the introduction of sound that set the standard of 24 frames per second with The Jazz Singer in 1927, the first film to have synchronized dialogue. The company
Adam Rutherford (The Complete Guide to Absolutely Everything (Abridged): Adventures in Math and Science)
What people are saying about WAR EAGLES ​5 out of 5 stars! WW2 with a dash of fantasy! I really enjoyed stepping back in time as the race for air travel was developing. One could truly feel the passion these pilots and engineers had for these magnificent machines. The twist of stepping back into a land of Vikings and dinosaurs was very well executed. Well done to both the author and the narrator. ​ Reminiscent of Golden Age Sci Fi This audio book reminded me of some of the 40's and 50's era tales, but what it happens to be is an alternative timeline World War II era fun adventure story. Think of a weird mash-up of a screw-up Captain America wanna-be mixed with the Land of the Lost mixed with Avatar where Hitler is the real villain and you might come close. At any rate, it's load of good fun and non stop action. But don't get distracted for a minute or you'll miss something! There are american pilots, Polish spies, Vikings, giant prehistoric eagles and, of course, Nazis! What more could you ask for to while away an afternoon? Our hero even gets the (Viking) girl! Put your feet up an get lost in what might have been.... 4 out of 5 stars! it's Amelia Earnhart meets WWII This is not an accurate historical fiction book, but rather an action-packed book set an historical time. I normally listen to my books at a higher speed, however the amount of drama and action in this book I had to slow it down. I like the storyline and the narrator however, the sound effects throughout the book did kind of throw me since I'm not used to that and most audible books. still I would recommend this is a good read.​ 5 out of 5 stars! I Would Like to See this on the Silver Screen Back in the late 1930s, the director of King Kong started planning War Eagles as his next block buster film. Then World War II intervened and the project languished for decades. It helps to know this background to fully appreciate this novel. It’s a big cinematic adventure waiting to find the screen. The heroes are larger than life, but more importantly, the images are bigger and more vivid than the mighty King Kong who reinvented the silver screen. And what are those images you may ask? Nazis developing super-science weapons for a sneak attack on America, Viking warriors riding gargantuan eagles in a time-forgotten land of dinosaurs, and of course, those same Vikings fighting Nazis over the skyline of New York City. This book is a heck of a lot of fun. It starts a little bit slow but once the Vikings enter the story it chugs along at a heroic pace. There is a ton of action and colorful confrontations. Narrator William L. Hahn pulls out all the stops adding theatrical sound effects to his wide repertoire of voices which adds a completely appropriate cinematic feel to the entire story. If you’re looking for some genuinely heroic fantasy, you should try War Eagles. Wonderful story War Eagles is a really good adventure story. ​5 out of 5 stars!
Debbie Bishop (War Eagles)
…Two shots rang out simultaneously during the fifth and the longest second. They were executed synchronously, creating a single, stinging, deadly sound. The bullet from the sixth floor of the book depository went straight up into the sky, as planned. The second bullet shot out of a sniper rifle, held confidently in the arms of a woman behind the hedge, on the grassy knoll. It was her bullet that struck the head of the 35th US president, John Fitzgerald Kennedy. The woman walked quickly down the grassy knoll. Stepping only about five meters away, she put her rifle into a baby pram waiting there, with a real six-month-old baby boy whimpering inside it. She put on thick glasses and started walking away, exhibiting no haste. Only thirty seconds after the second shot, the woman was gone, nowhere to be seen… After the second or, rather, the third shot, the one from the knoll, President Kennedy’s head was tossed back. Jackie somehow managed to crawl onto the back hood of the car. A security agent from the escort car had already reached them. The motorcade picked up speed and disappeared under the overpass. Zapruder’s camera kept whirring for some seconds. He must have filmed the whole operation – that is, the assassination of an acting US president. But now he simply stood there without saying a word, completely dumbfounded..
Oleg Lurye
Nearly everywhere you look in early film criticism, the medium is characterized above all by its speed.
Dana Stevens (Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century)
Once irrigation has been accomplished, eyewear is typically not necessary, but the rescuer should still be wearing protective gloves. Remember to wash your hands before and after donning the gloves. Soap, water, and gloves are a tough trio on germs. In the absence of protective gloves, the rescuer may improvise with clean plastic bags over her or his hands. With relatively minor wounds, to prevent sharing germs, the patient may be directed in the management of his or her own wound (including control of blood loss). Contusion Bruises seldom require emergency care, but large bruises benefit from cold, compression, and/or elevation. Substantial bruises should cause you to assess the patient for damage to underlying structures, such as bones and organs. Large bruises should be protected from freezing in extremes of cold because a bruised area will freeze sooner than normal skin. Abrasions Abrasions are the exception to the rule of wound cleaning: You need to scrub within the wound to achieve adequate cleaning. A sterile gauze pad is adequate for scrubbing. Scrubbing may be enhanced by using any soap, but all soap should be carefully rinsed and then irrigated from the wound after scrubbing. Green Soap Sponges are packaged with soap and water already in the sponge, making them useful additions to first-aid kits. It is important to remove all embedded debris not only to reduce the risk of infection but also to prevent subsequent “tattooing” (scarring) of the skin. With a deep abrasion, self-scrubbing is seldom successful due to the high level of pain associated with the exposed nerves. After cleansing, abrasions can be kept moist to avoid desiccation and speed healing with microthin film dressings that can be left in place until healing occurs. Without microthin film dressings, a topical agent, such as an antibiotic ointment, can be applied, followed by a dressing of a sterile gauze pad or a roll of sterile gauze to keep the ointment in place. Tape, an elastic wrap, or some other holder may be used to hold a sterile gauze pad in place. Ideally, gauze dressings should be changed twice a day, or at least once a day, as well as any time the gauze gets wet.
Buck Tilton (Wilderness First Responder: How to Recognize, Treat, and Prevent Emergencies in the Backcountry)
I should add that there’s a subtle but profound difference in how film and digital move at high speed. On linear film machines, like the KEM, you achieve ten times normal speed by reducing the amount of time that any one frame is seen by ninety percent. So a frame is on for V240 of a second, not V24 of a second. It’s very fast, but it’s still there—you can still catch a little something from every single frame. But by the nature of their design, digital systems can’t do that. They achieve ten times normal speed at the cost of suppressing ninety percent of the information. So if you ask a digital machine to go ten times faster than normal, it will do so by showing you only one frame out of every ten. It’s like skipping a rock across the surface of a lake. You are not seeing ninety percent of the film—whereas when you watch sprocketed film at high speed on a KEM or Steenbeck, you see everything. I’m always amazed at how perceptive the human eye is, even at those high speeds, at detecting tiny inflections of looks and expression and action.
Walter Murch (In the Blink of an Eye)
Success is in the Context of Time, Space and Scale Pyaasa was a haunting film but unlikely to appeal to a generation that doesn’t think too much of black-and-white photography, poetry and romantic losers. Bjorn Borg could never win Wimbledon with his old wooden Donnay racket in today’s era where over-sized rackets generate such tremendous speed and power. Batsmen who were told to ‘give the first hour to the bowlers’ in a Test match would discover there are only twenty minutes left thereafter in a T20 game. Alternately, sloggers who routinely clobber the ball over cow corner may not have managed too many against the four-pronged West Indies pace bowling attack. Eventually, it is about giving the consumers what they want and those requirements may have changed.
Anita Bhogle and Harsha Bhogle (The Winning Way 2.0Learnings from Sport for Managers)
that it’s getting tougher and tougher to pin their jobs on hoods, tougher to make a rap stick. For good or ill, that’s the way it is. You damn near have to catch them in the act of dismembering the body … And I had it. I was lugging my damned camera. Maybe there’d been a reason—besides the fact that I had some splendidly provocative shots of Tootsie in the exposed footage—for my hanging onto the Bolex. The next best thing to actually catching hoods in the commission of a crime should be a movie of them in the middle of it. A shot of them chasing after me, shooting at me, should be enough for any court in the land, temporarily. That meant I would have to get into the film somehow, myself, while taking care that the action was merely of the boys shooting at me, not in me. So, for one, I couldn’t stand holding the camera, filming them while they ran down on top of me. And for another, I was going to have to run at least another mile. But I was quite a bit ahead of them now—though a shot still rang out from time to time—so I sprinted as hard as I could for a hundred yards, the last thirty of which were quite straight, and then skidded to a stop. The Bolex was battery-operated and, once started, would function unaided until the film ran out, if I locked the shutter release down. But there was only one hundred feet of film, and that would run past the lens in four minutes. I didn’t think I could be sure of running another mile in four minutes—not after what I’d recently been through. In fact, I was pretty sure I couldn’t. But there was still a way. If I set the camera speed to expose not the normal sixteen frames a second but only eight, which I could do merely by turning a little knob on the side of the camera, the thing would run twice as long, or for eight minutes. True, when projected it would be in fast motion, the action speeded up, but that didn’t matter. The faces—and guns—of those lobs would be identifiable. The only ticklish part, actually, after adjusting the lens aperture and frames-per-second setting, was spotting a limb in the right place and at the right angle to hold the camera firmly. But I found one suitable, jammed the Bolex into place pointing back down the path, depressed and locked the shutter release to start it whirring and moved out of there.
Richard S. Prather (Shell Scott PI Mystery Series, Volume Six)