Video Maker Quotes

Every maker of video games knows something that the makers of curriculum don't seem to understand. You'll never see a video game being advertised as being easy. Kids who do not like school will tell you it's not because it's too hard. It's because it's--boring

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

The problem is that her four years as secretary of State coincided with a collapse of U.S. foreign policy unseen since 1979-80. In a fair world, Hillary would be judged as the worst secretary of State since Cyrus Vance. Most of the disasters — Benghazi, the chaos in Libya, the failed reset with Russia, the bogus Syrian red lines, the phony Iranian deadlines to stop enrichment, the yanking of all peacekeepers out of Iraq that led to the ISIS ascendance, the surge and simultaneous withdrawal dates in Afghanistan, the disastrous Middle East pressures that have led to the eve of war, the flip-flop-flip in Egypt, the clumsy spying on allies, the lying about and jailing of a video maker [14], and on and on — came on her watch.

In San Francisco and the Santa Clara Valley during the late 1960s, various cultural currents flowed together. There was the technology revolution that began with the growth of military contractors and soon included electronics firms, microchip makers, video game designers, and computer companies. There was a hacker subculture—filled with wireheads, phreakers, cyberpunks, hobbyists, and just plain geeks—that included engineers who didn’t conform to the HP mold and their kids who weren’t attuned to the wavelengths of the subdivisions. There were

To understand Bashō’s place in Japanese poetry, it’s useful to have some sense of the literary culture he entered. The practice of the fine arts had been central to Japanese life from at least the seventh century, and virtually all educated people painted, played musical instruments, and wrote poems. In 17th century Japan, linked-verse writing was as widespread and popular as card games or Scrabble in mid-20th-century America. A certain amount of rice wine was often involved, and so another useful comparison might be made to playing pool or darts at a local bar. The closest analogy, though, can be found in certain areas of online life today. As with Dungeons and Dragons a few years ago, or Worlds of War and Second Life today, linked verse brought its practitioners into an interactive community that was continually and rapidly evolving. Hovering somewhere between art-form and competition, renga writing provided both a party and a playing field in which intelligence, knowledge, and ingenuity might be put to the test. Add to this mix some of street rap’s boundary-pushing language, and, finally, the video images of You-Tube. Now imagine the possibility that a “high art” form of very brief films might emerge from You-Tube, primarily out of one extraordinarily talented young film-maker’s creations and influence. In the realm of 17th-century Japanese haiku, that person was Basho.

Research In Motion, maker of the BlackBerry, is a legend one day and a laggard the next. Retail video rental is a cash cow—until Netflix carves the industry into flank steak. All the while, the business cycle itself swooshes without much warning from unsustainable highs to unbearable lows like some satanic roller coaster.

A friend of mine who studies tropical insects showed me a video of orchid bees crowding around a crater in a rotting log. Male orchid bees collect scents from the world and amass them into a cocktail that they use to court females. They are perfume makers. Mating takes seconds, but gathering and blending their scents takes their entire adult lives. Although he hadn’t yet tested the hypothesis, my friend had a strong hunch that the bees were harvesting fungal compounds to add to their bouquets.

In Iowa, the American Future Fund began airing an ad created by Larry McCarthy that Geoff Garin, the Democratic pollster, described as perhaps “the most egregious of the year.” The ad accused the then congressman Bruce Braley, an Iowa Democrat and a lawyer, of supporting a proposed Islamic community center in lower Manhattan, which it misleadingly called a “mosque at Ground Zero.” As footage of the destroyed World Trade Center rolled, a narrator said, “For centuries, Muslims built mosques where they won military victories.” Now it said a mosque celebrating 9/11 was to be built on the very spot “where Islamic terrorists killed three thousand Americans”; it was, the narrator suggested, as if the Japanese were to build a triumphal monument at Pearl Harbor. The ad then accused Braley of supporting the mosque. In fact, Braley had taken no position on the issue. No surprise for a congressman from Iowa. But an unidentified video cameraman had ambushed him at the Iowa State Fair and asked him about it. Braley replied that he regarded the matter as a local zoning issue for New Yorkers to decide. Soon afterward, he says, the attack ad “dropped on me like the house in ‘The Wizard of Oz.’ ” Braley, who won his seat by a margin of 30 percent in 2008, barely held on in 2010. The American Future Fund’s effort against Braley was the most expensive campaign that year by an independent group. After the election, Braley accused McCarthy, the ad maker, of “profiting from Citizens United in the lowest way.” As for those who hired McCarthy, he said, they “are laughing all the way to the bank. It’s a good investment for them…They’re the winners. The losers are the American people, and the truth.

My conclusion at the time was that finalizing the story before production began was still a worthy goal—we just hadn’t achieved it yet. As we continued to make films, however, I came to believe that my goal was not just impractical but naïve. By insisting on the importance of getting our ducks in a row early, we had come perilously close to embracing a fallacy. Making the process better, easier, and cheaper is an important aspiration, something we continually work on—but it is not the goal. Making something great is the goal. I see this over and over again in other companies: A subversion takes place in which streamlining the process or increasing production supplants the ultimate goal, with each person or group thinking they’re doing the right thing—when, in fact, they have strayed off course. When efficiency or consistency of workflow are not balanced by other equally strong countervailing forces, the result is that new ideas—our ugly babies—aren’t afforded the attention and protection they need to shine and mature. They are abandoned or never conceived of in the first place. Emphasis is placed on doing safer projects that mimic proven money-makers just to keep something—anything!—moving through the pipeline (see The Lion King 1½, a direct-to-video effort that came out in 2004, six years after The Lion King 2: Simba’s Pride). This kind of thinking yields predictable, unoriginal fare because it prevents the kind of organic ferment that fuels true inspiration. But it does feed the Beast.

Founded in 2011, ToyTalk already produces popular animated conversational apps — among them the Winston Show and SpeakaZoo — that encourage young children to engage in complex dialogue with a menagerie of make-believe characters. Now the company’s technology, originally designed for two-dimensional characters on-screen, is poised to power tangible playthings that children hold in their hands. This fall, Mattel plans to introduce Hello Barbie, a Wi-Fi enabled version of the iconic doll, which uses ToyTalk’s system to analyze a child’s speech and produce relevant responses. “She’s a huge character with an enormous back story,” Mr. Jacob says of Barbie. “We hope that when she’s ready, she will have thousands and thousands of things to say and you can speak to her for hours and hours.” [Video: Hello Barbie is World's First Interactive Barbie Doll Watch on YouTube.] It was probably inevitable that the so-called Internet of Things — those Web-connected thermostats and bathroom scales and coffee makers and whatnot — would beget the Internet of Toys. And just like Web-connected consumer gizmos that can amass details about their owners and transmit that data for remote analysis, Internet-connected toys hold out the tantalizing promise of personalized services and the risk of privacy perils.

Recent disclosures by some of the combatants about the night of the Benghazi attack remind us that almost everything Jay Carney, Susan Rice, Hillary Clinton, and President Obama swore in the aftermath of the debacle was knowingly false. A video did not cause the attack. The rioting was not spontaneous. A video-maker, an American resident, was soon jailed, while one of the suspected killers was giving taped interviews at a coffee house in Benghazi. There were ways of securing the consulate and the annex that were not explored, both before and during the assault. Talking points were altered. Again, the catalyst for untruth was reelection worries by an administration that believes its exalted ends of social justice allow any means necessary for reaching them.

Politics are for the Washington, D.C., policy makers who safely watched the action on a video monitor from thousands of miles away.

Ugh! She’s only the world’s most amazing Instagram video-maker ever! She’s hilarious! A genius! And don’t even get me started on her books. They. Are. Flawless. And Will Cooper? Be still my beating heart! That man is a God. Sorry, dude, but you’ve got some serious competition when it comes to him.

Before I watched the videos and interviewed some of their makers, I didn’t expect to like trans influencers. Many of the parents I’ve interviewed regard them as cult leaders or drug dealers. But I didn’t dislike them. Riven with piercings and stamped with tattoos, battling the bouts of depression that strike like a summer storm, furiously and without warning, obsessing endlessly over their changing bodies: If these influencers are relentless evangelists for a dangerous cause, they also need all the love and care they can get.

The games industry calls this “first-party content,” and it can be a serious investment. Over the years, Microsoft Xbox has taken this strategy to an extreme, buying a large number of studios and bringing them in-house. This isn’t a small outlay of cash—Microsoft now owns nearly a dozen video game studios, including Mojang, the maker of Minecraft, which they bought for $2.5 billion in 2014. It might seem expensive, but this is what’s needed to win in the video game console market. Sometimes, you just have to do it yourself. Reddit didn’t pursue this type of strategy, but it could have. There could have been a world where Reddit built many internal studios—one for their “cute” sub-Reddit community, another for sports, yet another for music—and hired full-time moderators as employees of those studios to create the necessary content. While this isn’t a common strategy for social networks, it’s also not crazy. In recent years, we’ve seen players like YouTube in video and Spotify in podcasts begin to license and create more first-party content to accelerate their services.

Software,” as the venture capitalist Marc Andreessen has proclaimed, “is eating the world.” It’s true. You use software nearly every instant you’re awake. There’s the obvious stuff, like your phone, your laptop, email and social networking and video games and Netflix, the way you order taxis and food. But there’s also less-obvious software lurking all around you. Nearly any paper book or pamphlet you touch was designed using software; code inside your car helps manage the braking system; “machine-learning” algorithms at your bank scrutinize your purchasing activity to help spy the moment when a criminal dupes your card and starts fraudulently buying things using your money. And this may sound weirdly obvious, but every single one of those pieces of software was written by a programmer—someone precisely like Ruchi Sanghvi or Mark Zuckerberg. Odds are high the person who originally thought of the product was a coder: Programmers spend their days trying to get computers to do new things, so they’re often very good at understanding the crazy what-ifs that computers make possible. (What if you had a computer take every word you typed and, quietly and constantly and automatically in the background, checked it against a dictionary of common English words? Hello, spell-check!) Sometimes it seems that the software we use just sort of sprang into existence, like grass growing on the lawn. But it didn’t. It was created by someone who wrote out—in code—a long, painstaking set of instructions telling the computer precisely what to do, step-by-step, to get a job done. There’s a sort of priestly class mystery cultivated around the word algorithm, but all they consist of are instructions: Do this, then do this, then do this. News Feed is now an extraordinarily complicated algorithm involving some trained machine learning; but it’s ultimately still just a list of rules. So the rule makers have power. Indeed, these days, the founders of high-tech companies—the ones who determine what products get created, what problems get solved, and what constitutes a “problem” in the first place—are increasingly technologists, the folks who cut their teeth writing endless lines of code and who cobbled together the prototype for their new firm themselves. Programmers are thus among the most quietly influential people on the planet.

call these rule makers “church people.” You ever met some really religious people who can’t see the miracle because of the mat? I have met folks on a Sunday who watch videos of life-changing miracles, and they want to critique the manner of the miracle. Man, would you get serious? These religious folks couldn’t see past the law in order to see the lavish love of God. Let me say that again. They couldn’t see past the law in order to see the lavish love of God. They only see the mat. This is not new. Jesus faced the same limiting religiosity in Mark 7. The Pharisees are busting His chops as to why His disciples don’t wash their hands the way Hebrew tradition would mandate. It was a manmade tradition that occurs nowhere in the Word of God. Jesus shakes His head. In my mind, He’s thinking, Guys, would you get a grip. He then quotes Isaiah: “This people honors me with their lips, but their heart is far from me; in vain do they worship me, teaching as doctrines the commandments of men” (Mark 7:6–7; based on Isa. 29:13). He’s telling them, “You have left the commandments of God and are now adhering to your own manmade commandments, as if it’s to my Word. And so, you’ve rejected God to establish your tradition.” This by definition is self-righteous.

our culture has become one of complaining, whining, and indecision. A culture of excuse makers. We overthink too much. We Google problems for hours and days. We talk about what we might do or not do with every person who will listen. We watch hundreds of videos or listen to numerous podcasts trying to “hack” our way into a better version of our lackluster life.

For me it's hard to know where to begin some days. I become overwhelmed by the sheer quantity of needs that flood my inbox and mailbox, my texts and social media feeds. In search of how to find a way forward, I once stumbled on wisdom tucked into some ancient Jewish writings known as the Talmud. There it says that if someone is suffering and in need, and you can take away 1/60 of their pain, then that is goodness, and the call to help is from God. This is a powerful expression of our being the salt - the preservers, the flavorers, the fertilizers - of the earth.

Maker platforms don’t have this same limitation. The matching intention for a producer on a maker platform is, theoretically, infinite. Any number of people can consume the same YouTube video, download and use the same app, or read the same article on Medium.

Kevin Kelly15 that says, ‘To be a successful creator, you do not need millions of dollars or millions of customers, millions of clients or millions of fans. To make a living as a craftsperson, photographer, musician, designer, author, animator, app maker, entrepreneur, or inventor, you only need a thousand true fans.

The day my house turned against me started like any other lights flashing at my command, blinds snapping shut with military precision, and my coffee machine chirping a cheerful "Good morning!" as if it hadn't just witnessed me going broke. Here I was, a self-styled tech evangelist, huddled on the floor of my "smart" house, staring at an empty screen where my Bitcoin wallet once sat. My sin? Hubris. My penalty? Accidentally nuking my private keys while upgrading a custom node server, believing I could outsmart the pros. The result? A $425,000 crater where my crypto nest egg once grew, and a smart fridge that now beeped condescendingly every time I opened its doors. Panic fell like a rogue AI. I pleaded with tech-savvy friends, who responded with a mix of pity and "You did what?! " I scrolled through forums until my eyes were streaming, trawling through threads filled with such mouthfuls as "irreversible blockchain entropy" and "cryptographic oblivion." I even begged my fridge's voice assistant to turn back the chaos, half-expecting it to sneer and respond, "Play stupid games, win stupid prizes." A Reddit thread buried deep under doomscrolls and memes was how desperation finally revealed to me Rapid Digital Recovery, a single mention of gratitude to the software that recovered lost crypto like digital paramedics.". In despair, but without options, I called them. Their people replied with no judgment, but clinical immediacy, such as a hospital emergency room surgeons might exercise. Within a few hours, their engineers questioned my encrypted system logs a labyrinth of destroyed scripts and torn files like conservators rebuilding a fractured relic. They reverse-engineered my abortive update, tracking digital crumbs across layers of encryption. I imagined them huddled over glowing screens, fueled by coffee and obscurity of purpose, playing my catastrophe as a high-stakes video game. Twelve days went by, and an email arrived: "We've found your keys." My fingers trembled as I logged in. There it was my Bitcoin, resurrected from the depths, shining on the screen like a digital phoenix. I half-expect my smart lights to blink in gratitude. Rapid Digital Recovery not only returned my money; they restored my faith in human ingenuity against cold, uncaring computer programming. Their people combined cutting-edge forensics with good-old-fashioned persistence, refusing to make my mistake a permanent one. Today, my smart home remains filled with automation, but I've shut down its voice activation. My fridge? It's again chilling my beer silently judging me as I walk by. If you ever find yourself in a war of minds with your own machines, believe in the Rapid Digital Recovery. They'll outsmart the machines for you so you won't have to. Just perhaps unplug the coffee maker beforehand. Contact Info Below: Whatsapp: +1 4 14 80 71 4 85 Email: rapid digital recovery (@) execs. com Telegram: h t t p s: // t. me / Rapiddigitalrecovery1

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