Word: toning
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Dates: during 1990-1999
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...confuse casual with unchallenging. Grove sets the tone, and it is always demanding. The people (mostly men) who work for him have inherited (and enforce) an engineer's creed that brings a bloodless "just fix it" intensity to everything from human relations to fabrication. "When I was at Intel, one of the most important values was discipline," says venture capitalist John Doerr, who worked for the firm for six years in the 1970s. "Andy Grove had no tolerance for people who were late or meetings that ran on without a purpose. It wasn't that he was a hard...
Time out! In a garish era for movies, does Brooks even have a shot with this Candygram? Its sentimental story has more cripples and victims than A Christmas Carol. And the first half an hour, a bit slow and unsure of its tone, plays like The Grinch from Greenwich Village. The film also echoes Jerry Maguire, the Tom Cruise hit that Brooks produced last year. That one had a self-obsessed hero, a sweet mother-child tandem and a media figure in trouble. All you can say about Brooks' new film, which he wrote with Mark Andrus, is that...
...done a thorough reworking, including material from the expanded edition of the diary published in 1991 (with most of the material restored that Frank had deleted), adding more Jewish references (a Hanukkah song is sung in Hebrew) and in general giving the play a less sentimental, more astringent tone. "I thought it was crucial to bring out the darker side," says Kesselman...
Such was the case in the second movement, Andante cantabile, con alcuna licenza, in which Tchaikovsky relies upon the French horn to introduce one of the composer's most effusively passionate statements, played with a slightly wavering but rosy tone by French horn James Bergman '99. All following events build upon the foundation established by the horn solo; Tchaikovsky's theme expanded into an outpouring of heroic proportions when taken into the hands of the violins...
...doesn't realize that he's dealing with two different people when he hires them: he thinks they're both a boy named "Charlie." Because Cockburn and Gambuto sport such similar attire--black T-shirts, vinyl pants and Jacques Cousteau-type knit hats--and adopt the same earnest tone of voice, Orson's mistake is actually credible. Sebastian and Viola are equally unaware that they are both working for Orson: each presumes the other dead. "Charlie" acts as romantic go-between for Orson, carrying the latter's love-letters to the seductive, sequin-clad club owner Olivia (Vered Metson...