Universal Studios Quotes

The poet is the sayer, the namer, and represents beauty. He is a sovereign, and stands on the centre. For the world is not painted, or adorned, but is from the beginning beautiful; and God has not made some beautiful things, but Beauty is the creator of the universe. Therefore the poet is not any permissive potentate, but is emperor in his own right. Criticism is infested with a cant of materialism, which assumes that manual skill and activity is the first merit of all men, and disparages such as say and do not, overlooking the fact, that some men, namely, poets, are natural sayers, sent into the world to the end of expression, and confounds them with those whose province is action, but who quit it to imitate the sayers. The poet does not wait for the hero or the sage, but, as they act and think primarily, so he writes primarily what will and must be spoken, reckoning the others, though primaries also, yet, in respect to him, secondaries and servants; as sitters or models in the studio of a painter, or as assistants who bring building materials to an architect.

In the universities, in the churches, in the corporations, in the professional associations, in the editorial offices, in the game studios, and just about everywhere else you can imagine, free speech and free thought are under siege by a group of fanatics as self-righteous as Savonarola, as ruthless as Stalin, as ambitious as Napoleon, and as crazy as Caligula.

Unlike many of the children’s stories written around the same time, the Harry Potter books and films are being passed down from one generation to the next. They are one of the few cultural landmarks that link thirteen-year-olds and thirty-year-olds. It means that there has been a snowball effect as more and more people get drawn into the wizarding world. If I had been told while we were making the films that in the years to come there would be a Harry Potter theme park, and that I’d be cutting the red ribbon on our own section of Universal Studios, I’d have laughed in your face.

I'm...um...I've got guests in my studio. I don't know how they undid my secure barricade made of cardboard signs that said KEEP OUT! and SECRET ROOM! in all caps with an exclamation point, but it's my program director, Lauren, and some man I've never seen bef - but no, I have seen him before.

This is the Scroll of Thoth. Herein are set down the magic words by which Isis raised Osiris from the dead. Oh! Amon-Ra--Oh! God of Gods--Death is but the doorway to new life--We live today-we shall live again--In many forms shall we return-Oh, mighty one. (The Mummy, Universal Studios, 1932)

Where once universities, corporations, movie studios, and the like had been governed by a combination of relatively simple chains of command and informal patronage networks, we now have a world of funding proposals, strategic vision documents, and development team pitches—allowing for the endless elaborations of new and ever more pointless levels of managerial hierarchy, staffed by men and women with elaborate titles, fluent in corporate jargon, but who either have no firsthand experience of what it's like to do the work they are supposed to be managing, or who have done everything in their power to forget it.

In 1969, both John and I began job hunting. I had finished my second master’s degree and started sending out resumes. I got several offers from various schools—Metropolitan State University in Denver, Keene State College in New Hampshire—and John also had some offers. But neither of us wanted to be a “trailing spouse.” What to do?Then we went to the College Art Association conference in Washington, D.C., and met Gene Grissom, chair of the art department at the University of Florida. They were looking for a young faculty member with some administrative experience, and John fit the bill perfectly. There was also a possibility for me to teach either art history or humanities. After several weeks of negotiations, we decided to make the move to Florida where BOTH of us had jobs!

Be ye not conformed to this world, but be ye transformed by the renewing of your mind. Romans 12:2

When he dances the Universe stops to feel his dance moves!

For now most of what exists in the universe will be seen and enjoyed only by me, like special canvasses in the back of an artist’s studio, but one day…

Eyes suddenly focus in on the eyes of a small, dark, intense-looking guy wearing a Universal Studios T-shirt sitting two booths across from me. He’s staring at me and I look down and take a drag, a deep one, off the cigarette. The man keeps staring at me and all I can think is either he doesn’t see me or I’m not here. I don’t know why I think that. People are afraid to merge. Wonder if he’s for sale.

[Jimi Hendrix] dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn’t matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language. Eventually they would record this abstract universal language of music in his new studio. “The language of peace. You dig?” I did.

KEVIN: But there are many reasons we have to do our broadcasting from here. LAUREN: It sends a message. KEVIN: It sure does. It sends several fun messages for everyone to enjoy. Anyway, the boys in Sales, who are all named Shawn, came by and with their help I was able to make this studio feel a little more like home. They put up a bit of a fuss about the changes, but that's just because no one likes change. There are some people who don't understand progress, you know. LAUREN: I'll miss the Shawns. KEVIN: I'll miss them too, but look how much nicer this places looks. You can see the Shawns' contributions all over the desk. LAUREN: And running down the walls. Yes, SO much nicer.

At Universal Studios, Marston had a hand in films like Show Boat, in 1929. He also helped get films past the censors, including All Quiet on the Western Front, in 1930. When Carl Laemmle’s son, Junior Laemmle, took over Universal, he turned it into a specialty shop for horror films: Marston’s theory of emotions lies behind the particular brand of psychological terror in Laemmle’s Frankenstein (1931), Dracula (1931), and The Invisible Man (1933). Before Marston left Hollywood, he also worked for Paramount. For Dr. Jekyll and Mr. Hyde (1931), he tested audience reaction by strapping viewers to blood pressure cuffs while they watched the rushes.30

He dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn’t matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language. Eventually they would record this abstract universal language of music in his new studio. “The language of peace. You dig?” I did.

To my children three. Life is like a movie, it starts and it ends.If you are reading this probably i'm gone. but my presence is always with you. All wanted to say how much I loved you. and I wanted to share my life journey with all of you. When I Conceived each of you, I can feel the butterflies in my tummy and I already fail in love with you. When each of you were born, tears dropped of my eye, I know it that was a happy tears. When you said dada, I was excited and happy to hear you saying it over and over. I see you growing like a flower and flying like a bird in front of my eye, in front of the pales a colorful garden who always stay blooming. Slowly you gew wing and all you flew away from the nest. All i'm left with good memories an album full of beautiful of pictures.from you baby showers, 1st word, 1st birthdays,1st trip to Disney or Universal Studios, each of you got to meet your favored TV characters. Your smiley faces was telling me I was doing ok as a parent, although I been told I'm the worst mom. But I know you did not mean that, you meant to say I love you mom. and I love you to my children, It was a nice journey. If I have to go back on time to change the way I raised you, I won't change a thing, beside some of your friends, but you were old enough and free to make your own choices. You have to make your mistakes and i'm pretty sure you learned from them. But at the end I never worry about you, because I'm pretty sure I give 200% as a parent. I know I taught, I armed and I shield you with everything including knowledge you need to survive in world. Remember don't matter how old are you, you always will be my babies. and I always be your Angel ! "Toko - Lock " te ka nana sho. Love Mom & Grandma!

All in all, everything seems to be back to the way it was before, but with one important exception. You've changed. You're wary now. You walk into work as if entering a minefield. In every conversation, in every meeting, you're careful to watch your every word. Every casual encounter in the hallway becomes a potential confrontation. Every time you meet a co-worker's eyes, you wonder if they are well-disposed or a secret enemy seeking to destroy your job, your career, and your life. You walk on eggshells, and you learn to stop sharing your opinion with anyone about anything, unless it is about something safely innocuous, like sports. What you don't realize is that you've just survived your first SJW attack. And you're luckier than most. You still have your job, you still have your reputation, and you still have your friends and family. Tens of thousands of people are not so lucky. In the universities, in the churches, in the corporations, in the professional associations, in the editorial offices, in the game studios, and just about everywhere else you can imagine, free speech and free thought are under siege by a group of fanatics as self-righteous as Savonarola, as ruthless as Stalin, as ambitious as Napoleon, and as crazy as Caligula. They are the Social Justice Warriors, the SJWs, the self-appointed thought police who have been running amok throughout the West since the dawn of the politically correct era in the 1990s.

As demographics in America have changed, the big studios have rushed to include actors that reflect those demographics. There is no cultural hegemony emanating from a particular people with a particular identity, merely a profit-driven system of production that responds to changes in the market, with the aim of reaching the most consumers possible. The only culture being imposed through this mechanism is anti-culture — moral and cultural universalism that dissolves social boundaries to make the maximum number of consumers feel included. While

Recorded at the same time, but not destined for release until 19 months later, was John’s ‘Across the Universe’, melding the sweetest and loneliest of his lyrics (‘Thoughts meander like a restless wind inside a letter box…’) with the mantra he’d soon be chanting in the Himalayas. He wanted a female chorus totally without artifice so, rather than professional backing singers, it was decided to use two of the fans permanently on watch outside Abbey Road studios. Paul was deputed to fetch them, and picked out a pair he recognised from his own front gate in Cavendish Avenue. The girls’ awestruck voices created just the right effect for ‘Across the

Toyota wasn’t really worried that it would give away its “secret sauce.” Toyota’s competitive advantage rested firmly in its proprietary, complex, and often unspoken processes. In hindsight, Ernie Schaefer, a longtime GM manager who toured the Toyota plant, told NPR’s This American Life that he realized that there were no special secrets to see on the manufacturing floors. “You know, they never prohibited us from walking through the plant, understanding, even asking questions of some of their key people,” Schaefer said. “I’ve often puzzled over that, why they did that. And I think they recognized we were asking the wrong questions. We didn’t understand this bigger picture.” It’s no surprise, really. Processes are often hard to see—they’re a combination of both formal, defined, and documented steps and expectations and informal, habitual routines or ways of working that have evolved over time. But they matter profoundly. As MIT’s Edgar Schein has explored and discussed, processes are a critical part of the unspoken culture of an organization. 1 They enforce “this is what matters most to us.” Processes are intangible; they belong to the company. They emerge from hundreds and hundreds of small decisions about how to solve a problem. They’re critical to strategy, but they also can’t easily be copied. Pixar Animation Studios, too, has openly shared its creative process with the world. Pixar’s longtime president Ed Catmull has literally written the book on how the digital film company fosters collective creativity2—there are fixed processes about how a movie idea is generated, critiqued, improved, and perfected. Yet Pixar’s competitors have yet to equal Pixar’s successes. Like Toyota, Southern New Hampshire University has been open with would-be competitors, regularly offering tours and visits to other educational institutions. As President Paul LeBlanc sees it, competition is always possible from well-financed organizations with more powerful brand recognition. But those assets alone aren’t enough to give them a leg up. SNHU has taken years to craft and integrate the right experiences and processes for its students and they would be exceedingly difficult for a would-be competitor to copy. SNHU did not invent all its tactics for recruiting and serving its online students. It borrowed from some of the best practices of the for-profit educational sector. But what it’s done with laser focus is to ensure that all its processes—hundreds and hundreds of individual “this is how we do it” processes—focus specifically on how to best respond to the job students are hiring it for. “We think we have advantages by ‘owning’ these processes internally,” LeBlanc says, “and some of that is tied to our culture and passion for students.

I’d never coded before, and I’d always thought games were huge undertakings by thousands of people in a big studio. Little did I know that a major part of coding involves Googling to find documentation, code snippets, and communities that help people fix common problems. Free information and guidance aren’t limited to programming, either. The Open Source movement makes tremendous amounts of knowledge and resources available online for free, and some major universities are making classes available for free on the internet. It’s a shame that a lot of us use the internet only to talk shit in comments sections and check our email when we have the sum of human knowledge at our fingertips.

In 1976, a doctoral student at the University of Nottingham in England demonstrated that randomizing letters in the middle of words had no effect on the ability of readers to understand sentences. In tihs setncene, for emalxpe, ervey scarbelmd wrod rmenias bcilasaly leibgle. Why? Because we are deeply accustomed to seeing letters arranged in certain patterns. Because the eye is in a rush, and the brain, eager to locate meaning, makes assumptions. This is true of phrases, too. An author writes “crack of dawn” or “sidelong glance” or “crystal clear” and the reader’s eye continues on, at ease with combinations of words it has encountered innumerable times before. But does the reader, or the writer, actually expend the energy to see what is cracking at dawn or what is clear about a crystal? The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential—X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We’d pass out every time we saw—actually saw—a flower. Imagine if we only got to see a cumulonimbus cloud or Cassiopeia or a snowfall once a century: there’d be pandemonium in the streets. People would lie by the thousands in the fields on their backs. We need habit to get through a day, to get to work, to feed our children. But habit is dangerous, too. The act of seeing can quickly become unconscious and automatic. The eye sees something—gray-brown bark, say, fissured into broad, vertical plates—and the brain spits out tree trunk and the eye moves on. But did I really take the time to see the tree? I glimpse hazel hair, high cheekbones, a field of freckles, and I think Shauna. But did I take the time to see my wife? “Habitualization,” a Russian army-commissar-turned-literary-critic named Viktor Shklovsky wrote in 1917, “devours works, clothes, furniture, one’s wife, and the fear of war.” What he argued is that, over time, we stop perceiving familiar things—words, friends, apartments—as they truly are. To eat a banana for the thousandth time is nothing like eating a banana for the first time. To have sex with somebody for the thousandth time is nothing like having sex with that person for the first time. The easier an experience, or the more entrenched, or the more familiar, the fainter our sensation of it becomes. This is true of chocolate and marriages and hometowns and narrative structures. Complexities wane, miracles become unremarkable, and if we’re not careful, pretty soon we’re gazing out at our lives as if through a burlap sack. In the Tom Andrews Studio I open my journal and stare out at the trunk of the umbrella pine and do my best to fight off the atrophy that comes from seeing things too frequently. I try to shape a few sentences around this tiny corner of Rome; I try to force my eye to slow down. A good journal entry—like a good song, or sketch, or photograph—ought to break up the habitual and lift away the film that forms over the eye, the finger, the tongue, the heart. A good journal entry ought be a love letter to the world. Leave home, leave the country, leave the familiar. Only then can routine experience—buying bread, eating vegetables, even saying hello—become new all over again.

He spent a little time with me on the stairs and told me his vision of what he wanted to do with the studio. He dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn’t matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language. Eventually they would record this abstract universal language of music in his new studio. “The language of peace. You dig?” I did. I can’t remember if I actually went into the studio, but Jimi never accomplished his dream. In September I went with my sister and Annie to Paris. Sandy Daley had an airline connection and helped us get cheap tickets. Paris had already changed in a year, as had I. It seemed as if the whole of the world was slowly being stripped of innocence. Or maybe I was seeing a little too clearly. As we walked down the boulevard Montparnasse I saw a headline that filled me with sorrow: Jimi Hendrix est mort. 27 ans. I knew what the words meant.

As Frances had learned to do in times of uncertainty, she created a project over which she had total control and began writing a book “Dedicated to the memory of Irving Thalberg as a tribute to his vision and genius.” How to Write and Sell Film Stories was written for “serious students of film technique.” She filled the straightforward textbook with anecdotes from her films and others’ to convey the lessons on the development of plot, motivation, and characters she had learned with Thalberg. She had come to believe that because of increased censorship and the limited number of adaptable plays and novels, “eighty percent of the motion pictures produced will be soon be stories written exclusively for the screen” and the time was right for a book on original screenplays. The audience for the book was immediate; universities ordered copies before it was published and it quickly went into several printings. The book led to her taking on an advice column on screen writing for Cinema Progress, a serious educational film magazine published by the American Institute of Cinematography based at the University of Southern California. She opened her house to roundtable discussions with students and sponsored a scenario contest with the winners serving as studio “apprentices.

Still dark. The Alpine hush is miles deep. The skylight over Holly’s bed is covered with snow, but now that the blizzard’s stopped I’m guessing the stars are out. I’d like to buy her a telescope. Could I send her one? From where? My body’s aching and floaty but my mind’s flicking through the last night and day, like a record collector flicking through a file of LPs. On the clock radio, a ghostly presenter named Antoine Tanguay is working through Nocturne Hour from three till four A.M. Like all the best DJs, Antoine Tanguay says almost nothing. I kiss Holly’s hair, but to my surprise she’s awake: “When did the wind die down?” “An hour ago. Like someone unplugged it.” “You’ve been awake a whole hour?” “My arm’s dead, but I didn’t want to disturb you.” “Idiot.” She lifts her body to tell me to slide out. I loop a long strand of her hair around my thumb and rub it on my lip. “I spoke out of turn last night. About your brother. Sorry.” “You’re forgiven.” She twangs my boxer shorts’ elastic. “Obviously. Maybe I needed to hear it.” I kiss her wound-up hair bundle, then uncoil it. “You wouldn’t have any ciggies left, perchance?” In the velvet dark, I see her smile: A blade of happiness slips between my ribs. “What?” “Use a word like ‘perchance’ in Gravesend, you’d get crucified on the Ebbsfleet roundabout for being a suspected Conservative voter. No cigarettes left, I’m ’fraid. I went out to buy some yesterday, but found a semiattractive stalker, who’d cleverly made himself homeless forty minutes before a whiteout, so I had to come back without any.” I trace her cheekbones. “Semiattractive? Cheeky moo.” She yawns an octave. “Hope we can dig a way out tomorrow.” “I hope we can’t. I like being snowed in with you.” “Yeah well, some of us have these job things. Günter’s expecting a full house. Flirty-flirty tourists want to party-party-party.” I bury my head in the crook of her bare shoulder. “No.” Her hand explores my shoulder blade. “No what?” “No, you can’t go to Le Croc tomorrow. Sorry. First, because now I’m your man, I forbid it.” Her sss-sss is a sort of laugh. “Second?” “Second, if you went, I’d have to gun down every male between twelve and ninety who dared speak to you, plus any lesbians too. That’s seventy-five percent of Le Croc’s clientele. Tomorrow’s headlines would all be BLOODBATH IN THE ALPS AND LAMB THE SLAUGHTERER, and the a vegetarian-pacifist type, I know you wouldn’t want any role in a massacre so you’d better shack up”—I kiss her nose, forehead, and temple—“with me all day.” She presses her ear to my ribs. “Have you heard your heart? It’s like Keith Moon in there. Seriously. Have I got off with a mutant?” The blanket’s slipped off her shoulder: I pull it back. We say nothing for a while. Antoine whispers in his radio studio, wherever it is, and plays John Cage’s In a Landscape. It unscrolls, meanderingly. “If time had a pause button,” I tell Holly Sykes, “I’d press it. Right”—I press a spot between her eyebrows and up a bit—“there. Now.” “But if you did that, the whole universe’d be frozen, even you, so you couldn’t press play to start time again. We’d be stuck forever.” I kiss her on the mouth and blood’s rushing everywhere. She murmurs, “You only value something if you know it’ll end.

Consider an actual city park in contrast to a faux public space like Universal CityWalk, which one passes through upon leaving the Universal Studios theme park. Because it interfaces between the theme park and the actual city, CityWalk exists somewhere in between, almost like a movie set, where visitors can consume the supposed diversity of an urban environment while enjoying a feeling of safety that results from its actual homogeneity. In an essay about such spaces, Eric Holding and Sarah Chaplin call CityWalk “a ‘scripted space’ par excellence, that is, a space which excludes, directs, supervises, constructs, and orchestrates use.”13 Anyone who has ever tried any funny business in a faux public space knows that such spaces do not just script actions, they police them. In a public space, ideally, you are a citizen with agency; in a faux public space, you are either a consumer or a threat to the design of the place.

I learned to cross the threshold of my studio with reverence, as though I were entering a shrine set apart for me to become co-creator with the Universal Thinker of all things. "I do not say as I enter my studio, ‘I am a sculptor, I ought to be able to do that thing.’ Instead of that I say, ‘I am an interpreter who can think that thing within me which is worthy of being done.’ When I get that feeling, that rhythm, that meter, that measure which comes to me as an inspiration, then I know that I can produce it, and nobody under Heaven can tell me that I cannot produce it.

If it was easy being extraordinary, then everybody would do it.

Success is muddy, so be a PIG!

You could be riding in the back of a studio’s black limo, or just as easily the back of the coroner’s blue van. The sound of applause was the same as the buzz of a bullet spinning past your ear in the dark. That randomness. That was L.A. There was flash fire and flash flood, earthquake, mudslide. There was the drive-by shooter and the crack-stoked burglar. The drunk driver and the always curving road ahead. There were killer cops and cop killers. There was the husband of the woman you were sleeping with. And there was the woman. At any moment on any night there were people being raped, violated, maimed. Murdered and loved. There was always a baby at his mother’s breast. And, sometimes, a baby alone in a Dumpster.

Kennon Smith in their delineating of critical issues in education through the studio. Central to their investigation is a connection with other fields of design and bringing common essential characteristics to the field of instructional design. Design and narrative meet in two chapters. In the first, Katherine Cennamo relates her experiences in pairing two design forms in a multidisciplinary design studio. Not all design work is alike and different cultures exist in different disciplines. At the same time, there are lessons to be learned through this innovative studio environment. Subsequently, Wayne Nelson and David Palumbo present the crossover of an interactive design firm to engagement with instructional design. Blending processes and ideas from product design and user-experience design informs their work, beginning from their entertainment-oriented experience and moving toward an educational product. How people design—whether they are instructional designers, architects, or end users—is a valuable base for practice and education. Chapters by Lisa Yamagata-Lynch and Craig Howard examine the design process using different methods of inquiry, but both help us in our quest for understanding. While Yamagata-Lynch uses Cultural Historical Activity Theory to examine design from an end-user point of view, Howard builds on an extensive use of the case study method to examine our own practices of instructional design. As we have seen in these chapters, instructional design is a diverse field and, while the specific subject matter is important, it is but one component of education. Wayne Nelson outlines the possible scope of research and practice and finds ways to integrate the field beyond traditional educational research. The qualitative and subjective aspects of instructional design must also be addressed. The specific elements of message design, judgment, and ethics are presented in chapters by M.J. Bishop, Nilufer Korkmaz and Elizabeth Boling, and Stephanie Moore. Each is critical in a holistic understanding of the field of instructional design, touching on such questions as how we convey meaning and information, our judgment of quality in our work, and our responsibilities as designers. We began the symposium with the idea of the value of design thinking, and Gordon Rowland, in his chapter, presents a method for improving the use of design in learning and thinking. Design is “a unique and essential form of inquiry,” and Rowland’s method can advance the use of design as a full-fledged educational component. Examining design and education encourages us to address larger, more systemic issues. Marcia Ashbaugh and Anthony Piña examine leadership thinking and how it could infuse and direct instructional design. How to improve the practice of design inquiry extends to the full field of education and to leadership in higher education. Paul Zenke’s chapter examines the role of university leadership as designers. Challenges abound in the modern age for higher education, and the application of design thinking and transformation is sorely needed. Our story, the chapters of this book, began with detailed views of the work of instructional design

Attend a university if you possibly can. There is no content of knowledge that is not pertinent to the work you will want to do. But before you attend a university work at something for a while. Do anything. Get a job in a potato field; or work as a grease-monkey in an auto repair shop. But if you do work in a field do not fail to observe the look and the feel of earth and of all things that you handle — yes, even potatoes! Or, in the auto shop, the smell of oil and grease and burning rubber. Paint of course, but if you have to lay aside painting for a time, continue to draw. Listen well to all conversations and be instructed by them and take all seriousness seriously. Never look down upon anything or anyone as not worthy of notice. In college or out of college, read. And form opinions! Read Sophocles and Euripides and Dante and Proust. Read everything that you can find about art except the reviews. Read the Bible; read Hume; read Pogo. Read all kinds of poetry and know many poets and many artists. Go to and art school, or two, or three, or take art courses at night if necessary. And paint and paint and draw and draw. Know all that you can, both curricular and noncurricular — mathematics and physics and economics, logic and particularly history. Know at least two languages besides your own, but anyway, know French. Look at pictures and more pictures. Look at every kind of visual symbol, every kind of emblem; do not spurn signboards of furniture drawings of this style of art or that style of art. Do not be afraid to like paintings honestly or to dislike them honestly, but if you do dislike them retain an open mind. Do not dismiss any school of art, not the Pre-Raphaelites nor the Hudson River School nor the German Genre painters. Talk and talk and sit at cafés, and listen to everything, to Brahms, to Brubeck, to the Italian hour on the radio. Listen to preachers in small town churches and in big city churches. Listen to politicians in New England town meetings and to rabble-rousers in Alabama. Even draw them. And remember that you are trying to learn to think what you want to think, that you are trying to co-ordinate mind and hand and eye. Go to all sorts of museums and galleries and to the studios of artists. Go to Paris and Madrid and Rome and Ravenna and Padua. Stand alone in Sainte Chapelle, in the Sistine Chapel, in the Church of the Carmine in Florence. Draw and draw and paint and learn to work in many media; try lithography and aquatint and silk-screen. Know all that you can about art, and by all means have opinions. Never be afraid to become embroiled in art of life or politics; never be afraid to learn to draw or paint better than you already do; and never be afraid to undertake any kind of art at all, however exalted or however common, but do it with distinction.

Dear Voyagers, Your cameras have shown us the vastness of the universe, Our eyes too can gaze upon the heavens and revel in nature, But behind our eyes, There’s something called a mind that processes it all. What we call the mind Spins countless tales and stories, With such variety that one could say, For every human that has ever lived, there exists a different image, emotion, analysis, and worldview, and this can be beautiful and at the same time terrifying. I imagine mapping the universe completely, Discovering life in other systems and galaxies, Might be much sooner than charting the map that could explain human existence. So many questions remain for me, Like if, In the coming decades, poverty is eradicated, Freedom is universal, Mars is colonized, and people live there, Cities rise above Venus, Plant-based diets replace meat, Equality reaches every person and no one is questioned for their beliefs, orientations, or thoughts, Diseases are cured, Physical labor becomes meaningless, and robots end the hardship of human toil, Earth’s climate change is halted, Firearm possession is made free, and today’s concerns are all resolved—will everyone then live in peace? My mind, my eyes, they know the answer: “No.” Probably then, Conspiracy theorists Would say it all happened in a studio, Some would claim that veganism’s goal is to destroy chakras, Others would start revolts against order and law, criticizing even that beautiful state. This dissatisfaction doesn’t belong to any specific class or group, It’s what we all are. Environment and culture matter, but I think even if a brain chip were made To transfer every piece of knowledge on Earth, All fields of science, memories, Experiences, languages, and the stories of every civilization, every human, and everything ever experienced to our minds, We’d still harbor doubt. Our efforts to prove ourselves to each other Will be in vain. Perhaps the right path Is to continue and enjoy the unknown, Or maybe to accept and find joy in never truly experiencing joy. I play Hans Zimmer’s “Stay,” Yet my mind continues to drift, Time passes, Those around me age as I move forward towards an unknown destination. Perhaps someone, something, 4.5 billion light years away, Is staring at a point in the sky, They don’t know I’m here in an existential crisis, That Earth is in a fight for survival, How I envy them, Staring into that dark spot in the sky, They too are fortunate for not existing in this moment, Or for their light not having reached me. If Earth’s light reaches them, They would surely grieve for these restless, lost souls, For human history is tied to sorrow, pain, separation, and nothingness. Perhaps the Big Crunch, Absolute nothingness, Is the only cure for this pain— The pain of being and existing. Dear Voyagers, When your signal to Earth is lost, It will feel like the death of a loved one, Even though I know you’re alive somewhere, traversing an unknown path, Something I doubt will happen after human death, And even if it does, It wouldn’t lessen the grief of those left behind who have yet to join that unknown journey. I fear oblivion, I fear the oblivions that disappear from history and memories, as if they never were, Like the meal of a Native American grandmother a thousand years ago, Or the kiss of two lovers and the story of their union and parting, never recorded anywhere.

Thus far Lucas had spent $473,000 of his own money on The Star Wars. He knew this dessert would take far more ingredients than could be bought for $8.3 million. That was a fairly low figure; the average studio comedy at the time, with no special effects, cost around $20 million. How on Earth could Lucas realize his vision on that budget?

He made his job descriptions sound like a steady upward spiral toward success. Of his days as movie usher and popcornmaker he said, “I was in Los Angeles working in the theater business for about a year. . . . I was working for the National General Corporation, which was a multinational conglomerate. They both own theaters and motion production companies. My long-range interest at the time was hopefully to get into screenwriting, so I worked for the theater in the corporation with the hope of getting into screenwriting. The theater I worked at was within about a mile’s drive of Universal Studios, where National General did a lot of their filming. So I was close to where I was trying to break into it.

Springtime Discounts March through May The Walt Disney World Resort often has a discounted multi-day ticket offer for Florida Residents from March through May. Also, hotels may be on discount, usually around 25% for all visitors. Visit WaltDisneyWorld.com for updates on these.

That studio production as research is predicated on an alternative logic of practice often resulting in the generation of new ways of modelling meaning, knowledge and social relations is still a relatively foreign idea within in the wider university research community.

I want to do you in oils,” she said, advancing into the room. “I will content myself with some sketches first. I trust you can remain awake for another hour.” “Awake will not be a problem.” Sane, however, became questionable. “Genevieve, you cannot remain in my rooms with me unchaperoned when the rest of the house is abed.” She flipped a fat golden braid over her shoulder. “I was unchaperoned with you at breakfast; I was unchaperoned with you in your studio before the boys arrived. I was unchaperoned with you in the library when the children went for their nap after luncheon. How did you expect to pose for me, Mr. Harrison, if not privately?” “You are—we are—not properly clothed.” Her gaze ran over him assessingly, as dispassionately as if this Mr. Harrison fellow were some minor foreign diplomat with little English. “Had I been accosted in the corridor by my sister, Sophie would have taken greater notice were I not in nightclothes. Besides”—a pink wash rose over her cheeks—“I have seen you without a single stitch and memorialized the sight by the hour with pen, pencil, and paper. Perhaps you’d like to take a seat?” He would like to run screaming from the room, and nearly did just that when a quiet scratching came from the door. “This will be our chaperone,” Lady Jenny said. To be found alone, after dark, with a lady in dishabille could also be his downfall. The Academy would quietly pass him by, his father’s worst accusations would be justified, and the example he was supposed to set for all those younger siblings would become a cautionary tale. As he watched Genevieve stride across the room to the door, Elijah realized being found with him could be her downfall too, the loss of all the reputation and dignity she’d cultivated carefully for years. The Royal Academy might admit him in another ten years, despite some scandal in his past—Sir Thomas had been accused of dallying with no less than the regent’s wife—but Jenny’s reputation would not recover. “Genevieve—” She opened the door a few inches, and a sizable exponent of the feline species strutted into the room, tail held high. This was the same dignified, liveried fellow who’d shared a bed with Elijah at Carrington’s. “And here we have Timothy?” “None other. He can hold a pose for hours and all the while look like he’s contemplating the secrets of the universe.” “While we contemplate folly. Genevieve, you take a great risk for a few sketches.” She

Guy brought in his studio band for the final show on September 27. Shawn Camp played fiddle and mandolin, Bryn Davies

For the studio guys, sound was an aesthetic quality that you described in terms of “tone” and “warmth.” For the researchers, sound was a physical property of the universe that you described in logarithmic units of air displacement.

Disney, meanwhile, had been toying with the idea of basing a theme park at its Burbank movie studio even before it built Disneyland. Imagineers even proposed an entertainment-centered pavilion for EPCOT Center. Eisner suggested expanding the idea into a separate movie studio park. Beating Universal to the punch shouldn’t be difficult, since Disney World had ample land and, thanks to Reedy Creek, was guaranteed an expedited approval and construction process.

Gia sent for her mother and they took an apartment, just a seven-minute walk from the studio."We had just one room when I started.No furniture of our own.No nothing,"Gia said later."It was a small cubbyhole of an apartment near Universal".Her mother adjusted to Hollywood."She liked it for my sake.She never did really feel at home here.I think it's hard for people who just live here to feel at home.There is no life really.You're looking for parts,or trying to get a good part instead of a wrong one.

is the strength of the songwriting. Dark Side contained strong, powerful songs. The overall idea that linked those songs together – the pressures of modern life – found a universal response, and continues to capture people’s imagination. The lyrics had depth, and had a resonance people could easily relate to, and were clear and simple enough for non-native-English speakers to understand, which must have been a factor in its international success. And the musical quality spearheaded by David’s guitar and voice and Rick’s keyboards established a fundamental Pink Floyd sound. We were comfortable with the music, which had had time to mature and gestate, and evolve through live performances – later on we had to stop previewing work live as the quality of the recording equipment being smuggled into gigs reached near-studio standards. The additional singers and Dick Parry’s sax gave the whole record an extra commercial sheen. In addition, the sonic quality of the album was state of the art – courtesy of the skills of Alan Parsons and Chris Thomas. This is particularly important, because at the time the album came out, hi-fi stereo equipment had only recently become a mainstream consumer item, an essential fashion accessory for the 1970s home. As a result, record buyers were particularly aware of the effects of stereo and able to appreciate any album that made the most of its possibilities. Dark Side had the good fortune to become one of the definitive test records that people could use to show off the quality of their hi-fi system. The packaging for the album by Storm and Po at Hipgnosis was clean, simple, and immediately striking, with a memorable icon in the shape of the prism.

The host read the question off a card as it appeared on a studio monitor. “John’s father has five sons: Alan, Blan, Clan, and Dlan. What did he call his fifth son?” The pinochle champ was the first to buzz in. “Mr. Fontaine?” said the host. “Elan,” he said confidently. “The five names obviously follow a logical alphabetical progression, A, B, C, D. So E-lan would be next.” The college professor made a face. She would have given the same answer. “I’m sorry,” said the host. “That is incorrect.” Jake buzzed in. “Mr. McQuade?” “Um, the fifth son’s name was John. Because in your question you said, ‘John’s father had five sons.’ So one of the sons has to be, you know, named John.” “That is correct!

The transformation of Hollywood into a foreign-first business has also made sequels, spinoffs, and cinematic universes the smartest bet in the movie business. Newly minted middle-class customers in developing nations like China love prestige Western brands like Apple, Louis Vuitton, and Gucci. The same logic applies in cinemas. American cineastes may reach for the Advil when offered the choice between the latest superhero, dinosaur, or talking robot spinoff, but to many foreign moviegoers, that response is somewhere between condescending and confounding—the equivalent of complaining that there aren’t enough modern art installations at Disneyland. One more trend fundamentally changed the movie business this decade: the golden age of television. As TV has gotten better, the pressure on major movie studios is not to keep up with Breaking Bad, Orange Is the New Black, and Fargo (a property that was perfect for the movie business of the 1990s and for the TV business of today), but rather to stand out by offering something different. Most people, particularly middle-aged adults, simply don’t go to the movies for sophisticated character dramas anymore. Why would they, when there are so many on their DVR and Netflix and Amazon queues at home?

As a black woman, I’d love to not have to talk about race ever again. I do not enjoy it. It is not fun. I dream of writing mystery novels one day. But I have to talk about race, because it is made an issue in the ways in which race is addressed or, more accurately, not addressed. When my employer enforces hairstyles in their dress code that ignore the very specific hairstyle needs of black women (see military restrictions against small braids, for example), then my employer is making race an issue in their attempts to ignore it. When my son’s school only has parent-teacher conferences during school hours, they are making race an issue by ignoring the fact that black and Latinx parents are more likely to work the type of hourly jobs that would cause them to lose much-needed pay, or even risk losing their employment altogether, in order to stay involved in their child’s education. When I take my kids to movies and none of the characters they see look like them, it’s the studio that is making it about race when they decide to make up entire universes in which no brown or black people exist. I just want to go to work, educate my kids, and enjoy a movie.

Movie stars didn’t become irrelevant, but they became very inconsistent in attracting an audience. People used to go to almost any movie with Tom Cruise in it. Between 1992 and 2006, Cruise starred in twelve films that each grossed more than $100 million domestically. He was on an unparalleled streak, with virtually no flops. But in the decade since then, five of Cruise’s nine movies—Knight and Day, Rock of Ages, Oblivion, Edge of Tomorrow, and The Mummy—were box-office disappointments. This was an increasingly common occurrence for A-listers. Will Ferrell and Ben Stiller couldn’t convince anyone to see Zoolander 2. Brad Pitt didn’t attract audiences to Allied. Virtually nobody wanted to see Sandra Bullock in Our Brand Is Crisis. It’s not that they were being replaced by a new generation of stars. Certainly Jennifer Lawrence and Chris Pratt and Kevin Hart and Melissa McCarthy have risen in popularity in recent years, but outside of major franchises like The Hunger Games and Jurassic World, their box-office records are inconsistent as well. What happened? Audiences’ loyalties shifted. Not to other stars, but to franchises. Today, no person has the box-office track record that Cruise once did, and it’s hard to imagine that anyone will again. But Marvel Studios does. Harry Potter does. Fast & Furious does. Moviegoers looking for the consistent, predictable satisfaction they used to get from their favorite stars now turn to cinematic universes. Any movie with “Jurassic” in the title is sure to feature family-friendly adventures on an island full of dinosaurs, no matter who plays the human roles. Star vehicles are less predictable because stars themselves get older, they make idiosyncratic choices, and thanks to the tabloid media, our knowledge of their personal failings often colors how we view them onscreen (one reason for Cruise’s box-office woes has been that many women turned on him following his failed marriage to Katie Holmes).

Whose one wish after high school graduation had been visiting The Wizarding World of Harry Potter at Universal Studios.

The plastic world has colonized us. When we climb into the car, airplane, board ships, when we purchase contemporary cuisines, get involved in the television world, from the studio and materials up the image of the world, we enter the world of artificial chemical universes, those of the cinema and their advertisements, of what we should buy and acquire. It is like this with the café-bars and discos, in other words the pleasure of children, and the same with the food that we consume, and the hospitals and schools, the hotels, all chemicals, a substitute. The ventilation of hotels without windows, the doors without keys, similarly the walls and doors and beds and baths, the water, the carpet and the floors. Everything a sham, paradises for allergies. One can say the same of the tones and music, and the attack on clothing cannot be overlooked, as well as the attitude of men resulting from it. The computers are made of this material and therewith our thought, our memory, the simulation of life. And thus life in genetic research begins and ends as a plastic creation and plastic death. Already the announcement has come to us that the museum bring the entire program closer to us on video screens, enlarged, interpreted, free and democratic and individually accessible. We will live in Leonardo’s world. The ground is prepared, now begins the attack on the blood. Much strength will be necessary to survive it.

Don’t you think I’ve had enough excitement for one evening, without the additional thrill of a strange man making love to me? (Helen Grosvenor (Zita Johann) to Frank Whemple, who claims to have fallen in love with her at first sight. The Mummy, Universal Studios, 1932)

Dudley Do-Right’s Ripsaw Falls

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

Asked about how he got into pictures, Brennan replied to a Columbia University interviewer, “I got in purely from hunger. I went over the back fence. Nobody took me by the hand. I worked in this atmosphere and from there on, which many others did. Cooper did, too, the same thing, you know, and Gable, and several of them worked that way.” Walter became a tramp, drifting from one studio to another, with casting directors pointing out the exit as Walter wondered what to do next.

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I think Fox was paying him about a million bucks a year, and he had created the Ice Age franchise for them, which was billions of dollars of value. I said, “Here’s how we’re going to negotiate with Fox. On a separate track, we’re going to create a company that you’re going to run. We’re going to get off-balance-sheet financing and we’re going to align you with another global distributor.” At the time we had at least three studios that would be great strategic fits. But he didn’t want to be an employee, he wanted real ownership. So we created parallel paths. On one track was the Fox negotiation, which I told him would take a year, and they would give him a 15 percent increase. They would grind it out and play hardball. I told him, “At the end of the day, they’re not going to pay you anywhere near what you’re worth. But on this other track, we’ll create this opportunity to change your life, for you to have something of your own.” I remember having a meeting with Mark Shmuger and David Linde, who were literally in the first day of their new jobs as co-chairmen of Universal Studios, and Bryan, Richard, Kevin, and I met with them in their first official meeting and I pitched them the idea of being in business with Chris, and they said, “Yes. We want you to do it.” It took probably well over a year, but ultimately we created Illumination. Universal came in and financed the company 100 percent. They wanted to clean up their balance sheet because they were about to sell to Comcast, so we got paid an investment banking fee for $ 4 or $ 5 million, and then on top of that we’ve commissioned every movie that Chris has done. Chris got a very, very, rich deal, probably the best producing deal there is. The truth is, on Minions he’ll probably make $ 80–$ 90 million. To date he’s probably made hundreds of millions. And he’s got Despicable Me 3, and The Grinch Who Stole Christmas.

For most of the nights of my life I could hear Stewart coming home late from his university studio, the brakes of his bike — they had an old VW bus, but it broke down constantly — squeaking all the way from the bridge down the street. He’d glide down the slope of their yard, under the clothesline, to the garage. Sometimes he forgot about the clothesline and almost killed himself, flying backward while the bike went on, unmanned to crash against the garage door. You’d think they would have moved the clothesline after the second time or so. But they didn’t. “It’s not the fault of the clothesline,” Stewart explained to me one day, rubbing the red, burned spot on his neck. He’d broken his glasses again and had them taped together in the middle. “It’s about me respecting it as an obstacle.

Some viewed Chinese investors as the latest “dumb money” to hit Hollywood. It is no doubt true that financing movies is not the smartest way for any investor, from anywhere in the world, to earn the best returns. Others had a different theory—that some wealthy Chinese individuals and businesses were seeking to get their money out of China, where an autocratic government could still steal anyone’s wealth at any time, for any reason. Certainly Hollywood had long been a destination for legal money laundering. But those who worked most closely with the Chinese knew that the biggest reason for these investments was a form of reverse-colonialism. After more than a decade as a place for Hollywood to make money, China wanted to turn the tables. The United States had already proved the power of pop culture to help establish a nation’s global dominance. Now China wanted to do the same. The Beijing government considered art and culture to be a form of “soft power,” whereby it could extend influence around the world without the use of weapons. Over the past few years, locally produced Chinese films had become more successful at the box office there. But most were culturally specific comedies and love stories that didn’t translate anywhere else. China had yet to produce a global blockbuster. And with box-office growth in that country slowing in 2016 and early 2017, hits that resonated internationally would be critical if the Communist nation was to grow its movie business and use it to become the kind of global power it wanted to be. So Chinese companies, with the backing of the government, started investing in Hollywood, with a mission to learn how experienced hands there made blockbusters that thrived worldwide. Within a few years, they figured, China would learn how to do that without anyone’s help. “Working with a company like Universal will help us elevate our skill set in moviemaking,” the head of the Chinese entertainment company Perfect World Pictures said, while investing $250 million in a slate of upcoming films from the American studio. Getting there wouldn’t be easy. One of the highest-profile efforts to produce a worldwide hit out of China was The Great Wall, starring Matt Damon and made by Wanda’s Legendary Pictures. The $150 million film, about a war against monsters set on the Chinese historic landmark, grossed an underwhelming $171 million and a disastrous $45 million in the United States. Then, to create another obstacle, Chinese government currency controls established in early 2017 slowed, at least temporarily, the flow of money from China into Hollywood. But by then it was too late to turn back. As seemed to always be true when it came to Hollywood’s relationship with China, the Americans had no choice but to keep playing along. Nobody else was willing to pour billions of dollars into the struggling movie business in the mid-2010s, particularly for original or lower-budget productions.

Manson had played guitar for years, and he spent time jamming with other musicians on his ward, developing the musical skills he would come to believe guaranteed him ultimate stardom. His unrealistic dream to become bigger than the Beatles, who were at that time at the height of their American invasion, was fueled by a fellow inmate, Phil Kauffman. Kauffman had some vague experience in the L.A. music scene and promised Manson that he would get him a session with a producer at the music division of Universal Studios. This casual invitation warped in Manson’s mind and he became convinced that there was a man in L.A. who was going to make him a superstar. While serving time at McNeil Prison, Manson also became embroiled with a quasi-religious group that had a major influence on his later role as a cult leader—Scientologists. Again, prison authorities encouraged Manson’s education. As with Dale Carnegie, the pimps, the Nazarene Church, and pop music, Manson took what he wanted from the information offered and used it to form a doctrine of his own. Manson’s main takeaway from Scientology was the belief that we are all immortal beings trapped in human bodies on this planet we call earth. Life on earth is just a sliver of our potential experience and so to die is simply to move on. Manson would later use this skewed Scientology-based moral perspective as justification to convince his followers to kill.

Technically, Sheena predates even Superman, having first appeared in the primordial dawn of comic books in 1937. But her true origins are older than that. Sheena is often described as the female version of Edgar Rice Burroughs’ 1912 creation, Tarzan. The majority of Burroughs’ popular works revolves around a tension between the savage and the civilized, also seen in Sheena’s adventures. Burroughs’ work, like that of fellow adventure writer H. Rider Haggard, came out of the colonial era, and was written for men and boys who yearned for an escape from stifling modern life, through tales of dangerous worlds and exotic women. The common theme of these stories is that a man from the civilized world finds his way to a fantastic, often barbaric, world of adventure, where he falls in love with an intoxicating savage princess. While most of Burroughs’ heroines, like Dejah Thoris or Dian the Beautiful, were in need of rescuing, Haggard’s 1886 novel She introduced a stronger heroine. The novel’s English protagonist encounters the beautiful queen Ayesha, the ruler of a lost city in Africa. Ayesha is referred to as “she who must be obeyed,” and is a creature that provokes both fear and lust. Ayesha was the ultimate fantasy of civilized man: the beautiful, savage white queen, ruling a kingdom unhindered by the laws of modern morality. This brand of men’s fiction produced the swirling foam of exotic and erotic fantasy from which rose the jungle Venus known as Sheena. (...) Now that we have some historical context on these female monarchs, let’s talk about their specific origins. In the 1930s, there were several studios that produced art and stories for the various publishers who were getting into the new field of comic books. One of the most successful and prolific was the Universal Phoenix Studio, operated by two young artists named Will Eisner and Jerry Iger. In 1937, they created a female Tarzan-type character named Sheena for the British tabloid Wags. The strip was credited to the pseudonym W. Morgan Thomas, and the heroine’s name was meant to remind readers of H. Rider Haggard’s She. Demand for new comic book material was growing in the United States, and American pulp magazine publisher Fiction House was looking for material for a new comic book. Sheena made her American debut in 1938’s Jumbo Comics #1, just three months after Superman’s now legendary first appearance. She was the first female adventure character in comic books. This would be just one of her claims to fame.

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I circled a final star, thanked the professor for his time. Began researching PhD programs where I could study the multiverse, branching universes, infinite possibility. I stopped going to Britt’s studio. Didn’t answer her messages, asking if I was okay. I packed up my room, let the rugby boy carry my bags down the stairs. I would never see Graham again, nor the professor, nor Britt, though for years I would think of writing to her.

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Sometimes I talked to the universe like it was a person. I didn’t demand anything. I just explained why I’d love more money—so I could have more positive experiences, so I could move to LA and be closer to the business that I was trying to pursue, so I could take care of my family and give some money to my mom, so I could stop spending all the money my grandma saved for me to go to college on studio sessions. My grandma saved that money for me for her whole life, after all. I told the universe I didn’t want all her work and saving for me to be for nothing.

18 “Cybotron coincided with the birth of a sound known as ‘electro,’ presumably a shortening of ‘electronic funk.’ Electro was one of the great dance music developments of the early 1980s that was neither a derivation nor an extension of disco. Instead, it was a ‘switched-on’ funk variant, exaggerating the electronic sounds that Midwestern groups like Parliament-Funkadelic had perfected in the studio and brought onstage. Most critics point to New York, however, for the genre's watershed moment.” Dan Sicko, Techno Rebels: The Renegades of Electronic Funk [1999] (Detroit: Wayne State University Press, 2010), 45.

When I take my kids to movies and none of the characters they see look like them, it’s the studio that is making it about race when they decide to make up entire universes in which no brown or black people exist.

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At first, it made me so angry that she, as I saw it, took this gross offense to both her and her career lying down. She should have made a giant stink, she should have fought back, she should have, she should have, she should have. So often, the onus of these situations is placed on the victims. You shouldn’t have been wearing that miniskirt if you didn’t want to get groped. You shouldn’t have been rude to that cop if you didn’t want to get harassed. You should have said something when your boss was making sexual advances. You should have fought harder, been smarter, been more careful. The truth is that these situations shouldn’t happen at all. Milicent Patrick should have triumphantly returned from the Creature tour and gone on to a long and successful career designing monsters for Universal Studios. Yes, it would have been absolutely badass if she marched into Bud Westmore’s office and dumped a bucket of manure on his head. Yes, it would have been amazing if she went back to all those newspapers who interviewed her and gave them a new story about what a turd Bud Westmore was. But why was I being so hard on her? Wasn’t she allowed to say “fuck this”? At what point are women forgiven for not being supernaturally resilient Amazons who spend all their waking hours fighting injustice? Milicent was thirty-seven and had been working in and out of male-dominated artistic industries for fifteen years. She had a more successful and varied creative career than many people could dream of. My frustration with her was just a way of protecting my broken heart. I needed to forgive her and direct my anger at a place where, instead of corroding my insides like battery acid, it could actually accomplish something.

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The studio had actually informed Browning that they wanted Dracula to attack only female characters because of the sexual subtext.

Because silent movies are projected at 18 frames per second, when this footage is included in a sound film projected at 24 frames per second, the movements are faster and jerkier.

His experiments with special effects for The Lost World (1925) continue to be the blueprint for what has been done since.

He bought a 230-acre farm, and Universal was the first truly “big” movie studio and remained the largest in Hollywood for a decade.

Lugosi ended up being hired when he agreed to the very small salary of only $500 per week for seven weeks.

Some studies claim that Strickfaden used an actual Tesla coil built by Tesla himself.

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