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It’s not like she learned anything in particular in school that applies directly to her craft. “I took Expos,” she says. That is the extent of her study of writing in any formal way. She concentrated in art history, thought about architecture, and then at the end of her senior year decided that medicine “sounded good.” Something else sounded better, though...

Author: By Rachel E. Dry, CRIMSON STAFF WRITER | Title: Happy Endings | 2/13/2003 | See Source »

...learned about the grueling three-year process of becoming an agent, as well as the limitations of being an agent rather than a manager. A panel on television writing greeted us at the Gersh Agency, where we were able to question both sitcom and drama writers about their craft...

Author: By Michelle Kung, CRIMSON STAFF WRITER | Title: Postcard from Hollywood | 2/7/2003 | See Source »

...back in California soon. Above all, my trip has reaffirmed my belief that entertainment is a bizarre industry, and while there seem to be few easy “in”s, a rewarding experiences lies ahead for those who possess the dedication and passion for their craft-and have networks as devoted to helping them as Harvardwood. So meet me in California? You know you want...

Author: By Michelle Kung, CRIMSON STAFF WRITER | Title: Postcard from Hollywood | 2/7/2003 | See Source »

...Stark, who run the Avi Adler studio in Brooklyn, N.Y., use a whimsical theatricality for large-scale events. Hardware such as metal Christmas balls and other objects found around the home or garage often appear in their designs. The two also like to bunch similar flowers tightly together and craft them into geometric shapes. Their graphic color-blocked creations almost managed to turn the carnation into a glamorous flower again. "If you're creating flowers for a modern space, the purely romantic won't make a dent," says Stark. Instead these flowers insist on making an impression...

Author: /time Magazine | Title: Scene Setting: Flagrant Blooms | 2/5/2003 | See Source »

...retail mise-en-scene, he calls it--that seduces him or her into buying. The store, he says, should be "a rational extension of the [fashion] designer." Gabellini spends inordinate amounts of time with the fashion folks, right down to the artisan, trying to understand the craft of each house. Then he puts on his bean-counter hat and assesses the ratio of clothing sales to accessories sales and factors in other businesslike components to incorporate into his designs. A designer label like Jil Sander, from which clients are more apt to buy head to toe, requires a different take...

Author: /time Magazine | Title: Seduction Booths | 2/5/2003 | See Source »

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