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TAMI TAYLOR AND I ARE COWORKERS

i'm becoming a part of your past i'm becoming a part that don't last

hmm

http://www.si.com/olympics/2016/06/01/olympics-2016-road-to-rio-katie-ledecky-swimming

All of which is to say that Marsh’s puzzlement is justified. Being immersed in the mostly white, mostly privileged slice of the DMV (District-Maryland-Virginia), of overinvolved adults and overscheduled kids, I’ve seen plenty of young Katie Ledeckys. I know it’s not just comfort that kills the drive for athletic greatness. It’s options. It’s perspective—the knowledge that deep down, hitting a baseball or swimming fast is hardly the most common route to success.

...

“When she shows up to practice, she kind of slogs up the steps with her mesh bag and parka and boots, and you’re like, This is the best female athlete in the world? There’s nothing that says that. Last month we were walking at the training center, and she had some floppy shoes on, scuffing, and I felt like saying, ‘American teenager! Pick up your damn feet when you walk!’” That “unremarkableness”—a cheery normalcy prevailing amid ego-inflaters like fame, praise and outlandish achievement—is a refrain when people speak of Ledecky. “Out of the water? She’s very, very level-headed,” says Sue Chen, a Nation’s Capital coach who started working with Ledecky last year. “I’ve seen her get pulled out of practice because she wasn’t at her best, and she’s like, ‘Well, tomorrow’s another day.’ But she’ll also text me if I’m away at a swim meet to ask how all the little kids are doing. Nobody does that at 19 years old. She just cares. It’s like it’s her little world, and she’s just a normal person who loves it—and is driven like no other. “Because she’s scary, man. That face she has on when she’s about to perform? She’s like a bull in a stall, and someone just has to open the door for her to let go. I’ve never seen a woman have that attitude. I feel bad for those people who have to race her. Good Lord.”

...

David recalls the moment he noticed Katie’s cool. She was two. It was Jan. 19, 2000, the day Michael Jordan was announced as the Wizards’ new president. Jon had invited David and his family to a luxury suite at MCI. So there sat Katie, eating popcorn, directly in front of Jordan. Jordan, clearly bored, reached over and placed his massive hands over Katie’s eyes. She didn’t move. He pulled them back, and replaced them. Peekaboo! She kept chewing. He did it again, TV cameras caught him, and a clip ended up all over the highlight shows: Everybody in the city was electrified by MJ’s blockbuster arrival except this one little girl. Finally minority owner Ted Leonsis’s son, Zach, leaned over and said to Katie, “Do you know who that is?” Katie—blank-faced, munching—turns and says, “It’s Michael Jordan.”

darius: he who holds firm to good

https://twitter.com/looselyexactly/status/771800004721684480

reality is your friend (the squid and the whale)

not the story you tell yourself about yourself. you. sliding doors: the split is pain. a rejection. you go into this alternate universe where things changed. but people have moved on, you haven't. the unhealthy part is the not moving on. come at it for real "cannot handle that someone is smarter and more talented than you"

http://thedissolve.com/features/exposition/986-home-is-a-reminder-that-dreamworks-animation-needs/ http://thedissolve.com/features/compulsory-viewing/204-adam-scott-on-the-classic-action-comedy-hes-watche/

The Tree Of Life (Dir: Terrence Malick, 2011) For his fifth feature, Terrence Malick seemingly set out to tell both the smallest story possible and the biggest. Drawing from his own life growing up in Texas, it’s primarily a coming-of-age tale in which Jack (Hunter McCracken) confronts the twin influences of his nurturing mother (Jessica Chastain) and oppressive father (Brad Pitt), and also his notions of right and wrong. But its perspective shifts more than once over the course of the film, to years after Jack’s childhood, to a present in which the grown-up Jack must sort through the past, to some kind of afterlife, and back to the beginning of time and the first stirrings of life on the planet. These shifts, particularly that last one, should be jarring, but they’re as graceful and beautiful as the rest of the film, which comes as close as any movie has come to simulating what it might be like to see the universe through the eye of God—as simultaneously aware of the whole of time and space as the smallest torments in the heart of one kid in the suburbs outside Waco in the 1950s. That isn’t the only element of Malick’s film that approaches the miraculous, either. It sustains a tone of wonder and heartbreak through remarkable imagery, lyrical narration, and musical selections that match so perfectly to the film around them, they could have been composed with Malick in mind. It’s a singular film, particular to the vision of a one-of-kind filmmaker, but also the most universal movie this decade has yet produced. —Keith Phipps

http://thedissolve.com/features/the-dissolve-canon/909-the-50-best-films-of-the-decade-so-far-part-2/

http://www.gq.com/story/lin-manuel-miranda-profile-gq-cover

This kind of huge, sudden celebrity is something apart from the people who have to carry it. It kind of visits you. You are who you are. So there's always this interesting— And it's gonna go! You know what I mean? I had this conversation with another songwriter. There are people who have a hit that connects with great success, and then they chase that success for the rest of their lives, and that's their doom. You think of artists who had that big thing, and then they go back to that well again and again with diminishing returns, but the world has moved on. And then there are the artists who really stay true to themselves. Doing what inspires them. The world really fixates on them for a moment, goes away, goes to other places, and then remembers them.

https://theringer.com/essential-fall-tv-kingdom-playing-house-last-ship-2a5979c91162#.ad53xzz1m

‘Family Feud’ Sean Fennessey: This summer marked the 40th anniversary of the debut of Family Feud, the Hatfields and McCoys–style survey game show that has aired in five different iterations on three different networks with six different hosts. It is the John Irving novel of American television — always there, old or new, somewhat strange but oddly familiar, cycling through characters but always about human fallacy. The latest version is hosted by Steve Harvey, who is an absurd person and thus perfectly suited to hosting Family Feud. Harvey has an inquisitive and gently chiding style — a perfect fit, since insinuation is the essence of any Family Feud host. Richard Dawson was a flirt. Ray Combs was a needler. Richard Karn was a buoyant skeptic. Louie Anderson routinely seemed as if he just didn’t want you to do this to yourself. Even John O’Hurley, the erstwhile J. Peterman of Seinfeld, comported himself with an actorly gravitas, as if each question were a sliver of David Rabe dialogue. The host of Family Feud is one of the great TV jobs. But Harvey’s version is different from the others. It’s still manic and dumb-smart and still a little bawdy, but there’s something familial about his Family Feud.

http://www.avclub.com/review/its-punks-versus-nazis-green-rooms-grisly-terrifyi-235203#comment-2623638851

Also, he said that when Patrick Stewart got through the first 20 pages or so of the script, he closed his blinds and poured out some scotch in order to fully enjoy his readthrough. And that's about the biggest compliment I can imagine an actor paying a director.

not bringing my laptop to work has never felt so much like quitting. sigh.

http://www.baseballprospectus.com/article.php?articleid=28267

http://www.avclub.com/article/lets-talk-about-talking-about-sex-lorelai-gilmore--240745#comment-2888780177

Stephen Sutherland • 16 hours ago I haven't seen much Gilmore Girls at all, just snippets here and there when my wife watches it. I've seen and loved FNL from start to finish though. It seems to me that the difference here is that Lorelai Gilmore seems to be her daughter's friend first and mom second, so when she tries to switch gear to mom-mode then there's friction. Tami, on the other hand, is always mom first, but in this moment she wants to be Julie's friend and confidante as well as a mother, so, again, friction.

https://www.scribd.com/document/122964799/To-First-Man-An-AV-Club-Cookbook

http://thedissolve.com/features/interview/1075-pete-docter-on-the-goals-and-milestones-of-inside-/

Another real crucial one, we got a lot of notes that Joy was just not rootable, or appealing. We worked really hard to try to make it clear that for her, it’s all about Riley. That helped a little. And the major thing that helped was landing Amy Poehler, and talking to her about this difficulty of how to make this character rootable and interesting. She was pretty self-knowledgable, and when we met her, she said, “I think I can help you with that. I can say things that other people can’t and get away with it.” So that was a real pivot, and a step forward.

The Dissolve: Is it true that Joy was initially the only emotion with that effervescent texture, the fuzzy glow-bulb skin? Docter: Yeah, that was developed specifically for her, and then once we saw it, John [Lasseter] said, “Well, you have to make all of the emotions like that.” And we were like, “Wait a minute, can we do that? This is fairly expensive and time-consuming as a process. Michael Fong, our lead tech designer, had to go off and do some heavy thinking. The Dissolve: Why is it so much more expensive to make characters effervescent? Docter: It’s anything that strays from the normal pattern or process. The normal way is, you have your character. You model it. You articulate it. You shade it. You light it. This process added another sub-loop, where the character was built in the traditional way, but then it was removed and replaced by fog, and thousands of little discs that have a subtle movement. And then over the top of that, there’s a bloom that approximates a kind of light. It just meant that we had a different process, and had to go through a bunch of different departments to make the characters show up correctly on the screen. Once we ironed that out, it wasn’t so bad.

Mike_From_Chicago rubi-kun • a year ago The movie was actually quite clever (and cogent) about what "sadness" is, even though they never come out and say it - they basically represent sadness as the basis for empathy. Sadness is the listening emotion and also the only one that can make the character direct herself away from a hurtful (rather than overtly dangerous) situation, and it makes sense that would be the emotion that becomes more important during adolescence. It was subtle but very insightful. 3 • Reply•Share › Avatar brian miller Mike_From_Chicago • a year ago You're right on. It took Sadness to get Bing Bong out of his funk. 1 • Reply•Share › Side Item Chapman Baxter • a year ago FWIW, based on this interview and a few others he's done, I think Docter is referring to allowing Sadness, Anger, Fear, etc. their proper space to perform the roles they're evolved for. Fear keeps us from rushing into dangerous situations, Sadness allows us to regroup and work through hard times, Anger drives us to fight against injustice, and so on. Acting like those things are inherently bad and to be avoided is thus denying them the ability to perform their actual worthwhile function. 1 • Reply•Share ›

https://www.youtube.com/watch?v=J01UOgZyYiU

cougar town season 2 disc 3

"hollywood loves asian culture as long as there are no asians in it" -http://www.scpr.org/programs/the-mash-up-americans/2016/05/24/13386/

first day

http://www.denverpost.com/2016/08/25/derek-cianfrance-light-between-oceans-director/

Still, he says, once he’s on the location, he wants even the surest writing to give way to something differently true. “Once I get to the set and start to work with my actors, I’m still disappointed when they say the lines on the page. There’s nothing I hate worse than watching a movie and seeing the script. What was really important to me was this kind of quest for truth everyday we were shooting, this need to find where the story stops and life begins, where acting stops and being begins.”

http://www.signature-reads.com/2016/08/into-the-light-between-oceans-a-qa-with-derek-cianfrance/

DC: My film professor Stan Brakhage showed us “Faces,” and I had never seen a movie like that — it felt like a home movie. And Cassavetes became my hero. In this movie, I tried to make an intimate Cassavetes-type movie but set against a David Lean landscape. There was a moment in the book where she talked about Tom gazing out over the ocean and seeing rocks that had been hammered by the waves for thousands of years, and how once they must have been mountains and now they were reduced to tiny stones in the ocean, and how much time that had taken for that to happen, and he’s holding his daughter’s hands, and he’s realizing how insignificant everything is — but yet, no eternity of time that has ever come before or will come after will mean more to him than that life, than that relationship he has with his daughter. And I relate to that exactly, that’s how I feel with my kids, too. I thought I could make a movie where we were dealing with these moments of small human detail that were seemingly insignificant but to the people who were experiencing them they were momentous. And that led the way to this juxtaposition between this intimacy and scale, between the Cassavetes and the David Lean of it all.