https://www.nytimes.com/interactive/2018/08/29/magazine/riz-ahmed-actor-rapper-venom.html

A few weeks later, we met in Boston. Ahmed was running late, having spent all day on the set of the forthcoming film “The Sound of Metal.” In it, he plays a rock drummer who is losing his hearing. He had been learning sign language, practicing drumming and, as he does, just generally molding himself into the role — or rather, accessing the part of him that already was the role.

1600 / 31 = $51.61 / day internet? power? = 25 to 30 paypal

https://www.oxfordamerican.org/magazine/item/1435-this-is-your-life

Pearl taught me to be a loving teller of the truth. This is the basis for my work as a writer and as a human being. If you are a person who loves the world, then you love your community, you love your family, and you love yourself. If you love them as they are, then you can write them as they are. Your humanity and theirs will rise to the top.

https://www.theparisreview.org/blog/2018/08/14/mothers-as-makers-of-death/

To write is to be in conversation with yourself, to preserve a state of being so you can conclude a sequence of thinking and feeling.

https://archiveofourown.org/works/5516150/chapters/12736610?view_adult=true

https://groupmatics.events/event/StrikeOutSlavery18

http://www.brightwalldarkroom.com/2018/01/05/architecture-silence-love/

That I could feel enchained by every moment with them, I could hate every minute of the drive to see them, of entering the facility, of riding the elevator up to their floor, walking down the long white hallway to their room, and still be committing an act of love, because love does not require a pure heart. What love requires is freedom. Otherwise it is not love.

https://www.theinfatuation.com/los-angeles/guides/the-meet-in-the-middle-guide https://www.theinfatuation.com/los-angeles/guides/the-meet-in-the-middle-bar-guide-where-to-drink-when-youre-coming-from-opposite-sides-of-town

https://nofilmschool.com/2017/01/episodic-writing-tv-writing-series-writers-room-sundance

Soloway: "A lot of writers come in with a huge character bible, but as a producer, a showrunner, I don’t want that stuff. I just want you to pitch me the pilot moment-to-moment: protagonist, beat change, need, need, need, so when you get to the end of the pilot pitch, everybody in the room is like 'Holy shit, I need to see what happens next.' That’s what will get you the chance to write what you want."

Soloway: "Here’s my secret: pick your four clearest hours of the day and protect them as your writing hours. For me it’s 6AM-10AM. Three 55-minute chunks with breaks and no internet. Jumping out of bed and writing is a big thing for me, but even bigger is stopping after four straight hours. I create a little crucible of material in my mind, so I can get lost in that world, and then I walk away at 10AM and have a day, a life. Go places, talk to people, have relationships. By the time I get to that screen again the next day at 6AM, it’s like a lover I can’t wait to see."

Soloway: "In long-form TV, it’s the pilot that counts. Pilots are proof of concept. A successful pilot has an engine in it, a beautiful prism right at its center that you can return to over and over again, episode to episode. That’s what will keep it going for five years. That has to be present in every scene, sometimes in every line of dialogue. It’s like a puzzle: in our pilot for Transparent, the engine is Mort/Maura asking the question. ‘Will you still love me if?’"

Karaszewski: "For OJ, there were a thousand different ways to tell the story. So one of the first questions we asked ourselves was, ‘Who is most invested in this?’ We came up with three people who had an emotional investment in what happened, three characters where the personal motivation was also political: Johnny, Marsha, and Chris. We knew that they would be our engine. We used them to tell the story the way we wanted to tell it."

Noxon: "I call it the nugget: you have to find that recurring theme, the ‘Will you still love me if’ through-line. You have to ask yourself, ‘What’s the idea that you most want to explore?’ The nugget in Girlfriends, the project I’m working on now, is that women have bad qualities as well as good qualities. It’s about true gender equality, about finding room for emotions not necessarily thought of as acceptable for women to have—anger, violence. To me, the theme is, ‘We have that, too.’ And that has to be clear in the pilot. It’s not something you can just slap on after."

Karaszewski: "It’s all about personal voice. Don’t write what you think they want. You have to write something that you want to see. I learned that when Ed Wood came out. When I saw the ad for it in the paper I thought that if I hadn’t written the movie, I’d actually be excited to go see it! I’d be the first guy in line! You have to trust yourself: if you believe in your idea and are entertained by it, someone else will be, too."

Noxon: "The easy way to write TV is to see it as binary: one person does something bad, the other does something good, etc. But that’s just not life. Life isn’t clean; it’s messy. And tone is tricky: your characters have stay true to themselves over the arc of the story, but you don’t want them to be predictable. They have to feel real."

Soloway: "In long-form narrative, arcs are crucial. You have to see the arc of each character as each episode progresses, the arc of each season in the context of the entire series. Think about it: you’re following someone, getting to know them intimately for hours. Without a truly deep, fully fleshed-out character, it’s simply not sustainable."

frames: 10.5 x 15.25 ponyo, 11x17 broad city?

https://www.gofundme.com/kaitlynnguyen

i have a ton of butter that expires tomorrow so now i'm putting it on everything and have to take lactaid just to eat cereal (strangely not for ice cream)

we're not talking about how the youngs are christians and that's also a mark of privilege

in praise of kyoho grapes: they are great. like concord grapes (aka how i know it is really fall), but somehow the same sweetness no matter what color the skin is?

https://www.gq.com/story/mitski-writes-bangers-for-the-loners

Beyond music, she's a riot on Twitter. Hers is a timeline of unpretentious side-eye at human trivia. “Oh thank you,” she smiles awkwardly, as though bad news is around the bend. It's our loss that Mitski's Twitter honeymoon period is over.

One place where this idea manifests itself for Mitski is onstage. “I try to inhabit more of a swagger than I have in real life,” she says. “Kim Gordon has a quote. You should probably look it up because I'm paraphrasing: People pay to see somebody be confident onstage.” (I looked it up later. The quote is: People pay money to see others believe in themselves.) What Mitski speaks to is common among women. We act out our heroes when we walk into rooms. It's aspirational for us, but it's isolating for Mitski, particularly night after night under the spotlight. She nods. “You have thousands of people looking at you. But they're not looking at you. You're a performer.”

https://www.oxfordamerican.org/magazine/item/1438-my-secret-sharer

And Eudora was not EUDORA WELTY when she started out. She probably never felt like EUDORA with the Southern literary crown on her head. She was a Jackson girl traveling through the South alone, taking pictures of strangers while writing for the WPA during the Great Depression. She was an unmarried writer in a time when my grandfather was just one of many Southern men who would never read a book by a woman. But I cannot find a place in her writing where she complains. I cannot find an instance where she was unkind. I can only find her attesting again and again that she has a life full of love, despite being deeply different. She must—sometimes—have felt an outsider in her world, in her family, in her neighborhood, or—worst of all—to herself. We all do. But I cannot find record of her faith buckling. She speaks only of knowing love well, pressing on, the power of words and the surprise of beauty. To invent sentences, she did not need to fill her life with drama or spectacle. She was not at work making a wreck of her personal life. She just pursued the heart of things, those small experiences resonating with a larger truth. Being an artist was not permission to think less of other people; she loved the world she chased with words, and—it seems to me—had the feeling that she belonged there.

toilet turkey

Men's Seattle Mariners New Era Heathered Royal Cooperstown Collection Heather Crisp 59FIFTY Fitted Hat

https://thefangirlverdict.com/2014/05/28/review-lets-eat/

TRES PASSING = three passing

http://english.visitseoul.net/tours/Go-on-a-Lets-Eat-Eating-Tour_/642

here we go

i met megan and manny IN THE SAME DAY

https://www.australianbookreview.com.au/abr-online/current-issue/4885-the-drama-of-it-television-comedy-s-new-aesthetic-by-james-mcnamara

https://www.wyattlittle.com/sale/

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happy august