Word: ear
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...last link to a vanished era. Seeing Dingell hobbling along the halls of Congress on his cane or cupping his half-good ear to hear a colleague is like spotting an elderly mammoth alive in the natural-history museum. As long as he's not extinct, he's formidable. Dingell comes from a time when Congress did big things, like Medicare and the Voting Rights Act, as a matter of course. Key Congressmen were known as "bulls," and they didn't look to the White House for permission slips or marching orders. Dingell's first oath of office...
...Boston Globe reported that a doctor at the Harvard-affiliated Massachusetts Eye and Ear Infirmary allegedly altered the course of his trials on an experimental eye ointment while he owned stock in the company that was set to manufacture the prospective drug...
Even as a child, Paravicini's ear for music was remarkably advanced. But his technique "was very eccentric - mainly karate chops, thumbs and knuckles, elbows," says Ockelford. "But all on the right notes." It took 10 years to teach Paravicini how to play using the more conventional method. Now he can reproduce the sound of a 50-piece orchestra, hitting as many notes as his 10 fingers can reach together and then filling in the rest with arpeggios and scales. He can shift to a different key midway through a tune, without stopping. He can dip into his mental library...
...financing The Pineapple Express, which Rogen and Goldberg wrote, they've already made the kids' movie he wrote, Drillbit Taylor. And he's so excited that the studio is making Pineapple, his violent stoner action comedy, that he forces people on the set to touch the bloody prosthetic ear he's wearing. He is giddy about his on-set injuries (including a sprained finger and bruised ribs), and the explosive Butt-head-like giggle that punctuates everything he says betrays his excited nervousness. "After every single take, I laugh. It's my own awkwardness and discomfort about being an actor...
...subtitler goes to work, balancing the challenge of conveying meaning accurately within the confines of space and the roughly 1.5-second-long display allotted per subtitle. The reality is that despite the reputation of subtitling over dubbing as a form of cultural purity, the eye reads slower than the ear hears, meaning that more than a third of a film's dialogue is sacrificed for what is most essential. The general rule is no more than 45 characters per line, even though widescreen movies could fit longer sentences (says Dupuy, "it shouldn't be like watching tennis...