Pixar filmmaker Andrew Stanton in an altogether fantastic episode of NPR’s TED Radio Hour exploring what makes a great story.
Complement with more secrets of storytelling from Vladimir Nabokov, Kurt Vonnegut and Neil Gaiman, then see the neurochemistry of storytelling and the dramatic art.
Tim Cook has openly stated that Apple is working on “new product” categories. Many people, customers and competitors alike, assume that means some kind of wearable computing device. And of course that means it has to be some kind of “smartwatch”, right?
I don’t think so."
— If you’re interested in the whole wearable tech idea, you need to read this post by Craig Hockenberry (he wrote Twitterrific, one of the very first apps ever on the App Store and still a popular Twitter client).
There is something about your story, because you haven’t made an album in four decades — in a way it’s like you’ve stepped out of this time machine, and you’re bringing the power of your music to people in a different era who weren’t with you back then.
I am, but let’s go a little deeper here: Timelessness also matches transcendence. I happen to be passionately in love with the universe and who I feel created it. And when you love the universe like I do, you are lining up with eternal things or things that certainly are eons old; you are not lining up with fads. I had to be told what “techno” means. I had to be told there’s an argument between non-techno and techno, a little bit like Bob Dylan went through when he wanted to use an electric guitar. I mean, of course he wanted to experiment; of course he wanted to use everything he could. Creators want to branch out.
Our human fads are so temporary and they come and go so quickly. The things that last have a greater balance with these things that are more eternal. I always want to go to the universe and use things that have a timeless quality, that match the eons, that match the flow of nature. My music comes to me, usually, like rain: It’s a fast flood. It pours from above my head, through my head, and I have to race to get pencil and paper to catch it."
— The Legend Of Linda Perhacs, ‘A Most Unlikely Rock Star’ : NPR - I’m listening to Parallelograms now, and it’s wonderful.
Both Ms. Chastain and Ms. Kurylenko described a shooting process in which cast and crew, character and director, the film set and real life, work as one. Working in a Malick film, Ms. Chastain said, is like being part of “a ballet dance company without a soloist.” She added: “We’re all moving together, and that includes the cinematographer, the focus puller, the camera operator, Terry and the actor. It’s all five of us contributing to the shot, to seeing what the moment is.”
Ms. Kurylenko also described the process in terms of ballet — “They dance with the camera in their hands” — but said that each character, hers included, was ultimately an articulation of the director’s feelings and philosophies. “On a Terrence Malick set, your thoughts are his voice,” she said. “You think you’re thinking, but actually he’s thinking for you. He speaks to you, and he’s the voice in your mind.”"