Word: connections
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Dates: during 1980-1989
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...especially) romantic love is fundamentally solitary, and has as core a profound impersonality. The concept of transference at once destroys faith in personal relations and explains why they are tragic--we cannot knew each other... A horrible kind of predestination hovers over each new attachment we form. 'Only connect,' E. M. Forster proposed. 'Only we can't,' the psychoanalyst knows...
...average weekday, about 4000 people dial 495-1000 (the University's general number), 495-5000 (student information), 495-6000 (Business School information), 495-7000 (the Harvard and Smithsonian Astrophysical Laboratory), and 495-8000 (Radcliffe information), all of which connect to the operators' office. Each operator sits in front of a long bank of flashing lights and colored buttons, wearing a clip-on earphone and a near-invisible, transparent, cable mouthpiece that keeps her hands free. When a call comes in, the console emits a faint beep and the operator answers it with the press of a button...
...Hello Harvard... thank you for waiting, I'll connect you... what's the first name, please... spell the name, sir...ah-four nine fah-eevc, seven eight oh one... that's V as in Victor... would that be off-campus or on... surely, I'll ring for you... I'm sorry, only three numbers at a time... surely, is that undergraduate, staff, or faculty...
...something called Apple Post (price: $50), which was a computer program that told his machine how to keep track of the family's Christmas card list. Then he bought Apple Writer, a word-processing program, for about $75, so he could draft and type company reports. To connect his machine to lists of current stock prices and financial news, using ordinary telephone lines, Stadler got the Dow Jones News and Quotes Reporter for $95; to draw charts he bought Apple Plot for $70. So far he has spent a total of nearly $800 for eight software programs...
...John Fowles who suggested that the film's final line of dialogue be "Sarah!" He deserves to share credit with Pinter and Reisz for assembling this multilayered meditation on the blurring lines that connect actor, character and audience. But the creation might have remained stillborn without the contribution of Meryl Streep. This Sarah, this Anna, this warring family of sirens demands an incandescent star. With this performance, Streep proves she is both. Virgin, whore, woman, actress, she provides the happy ending to The French Lieutenant's Woman and new life to a cinema starved for shining stars...