Word: screens
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Dates: during 2000-2009
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...stunt car on a Michael Bay set. In an age when potential action heroes seem to be either rugged '80s relics like Ford and Sylvester Stallone or sensitive thespians willing to double up on their bench presses like Tobey Maguire and Orlando Bloom, LaBeouf is that rarest of screen creatures, the scrappy kid next door. "Shia is within everyone's reach," says Spielberg. "He's every mother's son, every father's spitting image, every young kid's best pal and every girl's possible dream." With his giant brown eyes, lanky frame and indiscernible ethnicity (he's Jewish...
...animation directors don't get the respect they deserve. "We're kind of at the kids' table," Bird says. "If I do the most perfect job of directing [an animated feature] - in terms of composition, editing, how the performances come down on the screen - it's still the same thing [as directing live-action]. You're dealing with close-ups and editing and when to not cut and when to cut rapidly and was the music engaging and how do we know what the characters are thinking. [But] people disregard it. It's sort of an unspoken prejudice." Bird sees...
...Typically, animation requires much more work, ingenuity, precision than live action. Ani-makers essentially edit the movie before they shoot it. The process of transferring sketches or computer doodles to the screen is just too expensive, in money and time, that every frame must be conceived, designed and "performed" in advance. That's why their gestation is so long. Aachi & Ssipak took eight years to make; Ratatouille three years with the original director, Jan Pinkava, and two-plus with Bird, his replacement. You need the devotion and discipline of Cistercian monks, hundreds of them, to get a work of animation...
...think that dreams and the Internet are similar?" asks Paprika. "They're both places where the repressed conscious mind vents." But the place where the detective will unlock his mystery is a movie palace, the dark cathedral where the communicants' separate obsessions become one dream on a giant screen. And the most fluid form of movies is animation. Paprika is both an argument for and a demonstration of animation's power to put us into a state of alert hypnosis. Watch the images that float by, the impulses that pass from the characters to you. You are getting... very... dreamy...
...After spending years learning to master Blackberry thumb typing and Palm's Graffiti data entry, some business users may be reluctant to switch over to finger typing on a glass screen. Jobs says it's actually easier to type fast on an iPhone than on a Blackberry, but the test will be whether millions of fingers - fat, flat and stumpy- can navigate the screen as smoothly as veteran techies. If the learning curve proves too steep for early adopters, the early buzz might shift slightly, tempering the enthusiasm of those waiting out the first model's release...