May 6, 2015

If I had the use of my body, I would throw it out the window.
Samuel Beckett

[last lines] [to newsreel camera]" And I promise you I'll never desert you again because after 'Salome' we'll make another picture and another picture. You see, this is my life! It always will be! Nothing else! Just us, the cameras, and those wonderful people out there in the dark!... All right, Mr. DeMille, I'm ready for my close-up."
— Norma Desmond (Gloria Swanson), Sunset Boulevard (1950)

For most men life is a search for the proper manilla envelope in which to get themselves filed.-- Clifton Fadiman

Jurassic Park (1993) (part 47 of 53)
  • The advents in CGI would allow the dinosaurs to appear three-dimensionally, work out their muscle structure, and how they would move.
  • Hurricane Iniki, which jeopardized production during location shoots in Kauai, had winds of up to 130mph.
  • When filming the kitchen scene, which was filled with reflective surfaces, Dean Cundey had to plan the illumination while using black cloths to hide the light reflections.
  • Shooting Grant rescuing Tim out of the tree involved a 50-foot prop with hydraulic wheels.
  • Animations for the computers in the labs and control room were lent from Silicon Graphics and Apple.
  • Compositing dinosaurs onto live action scenes took up to an hour. Rendering them took from two to four hours per frame, but the T-Rex in the rain took up to six hours.
  • Steven Spielberg remained in contact with ILM while he was in Poland filming Schindler's List (1993) through teleconferences four times a week. He described the extra workload as "a bipolar experience, with every ounce of intuition on Schindler's List, and every ounce of craft on Jurassic Park". He rented two satellite channels through a Polish television station (for $1.5 million a week) and kept them open at all times, and downloaded from Hollywood each day the visuals on one and the sound through the other. He then spent evenings and weekends working on them with video equipment.
  • Steven Spielberg left the editing for two weeks to start shooting Schindler's List (1993) in Poland.
  • After the twin hits of Jurassic Park and Schindler's List (1993), Steven Spielberg took a rare sabbatical. It would be four years before he returned to the director's chair with The Lost World: Jurassic Park (1997).
  • The ripples in the glass of water caused by the T. Rex's footsteps was inspired by Steven Spielberg listening to Earth, Wind and Fire in his car, and the vibrations the bass rhythm caused. Michael Lantieri was unsure of how to create the shot until the night before filming, when he put a glass of water on a guitar he was playing, which achieved the concentric circles in the water Spielberg wanted. The next morning, guitar strings were put inside the car and a man on the floor plucked the strings to achieve the effect.

  • Character is what a man is in the dark.
    Dwight L. Moody

  • Elwood Edwards' voice is heard more than 27 million times a day (which comes to more than 18,000 times per minute). Edwards is the man behind those special 3 words (not "I love you") "You've got mail!". Back in 1989, Edwards' wife, Karen, was working in customer service for a little-known outfit in Vienna, Virginia called Quantum Computer Services. Quantum had an online service called Q-Link. Karen overheard the company's CEO, a young guy by the name of Steve Case, describe how he wanted to add a voice to its user interface. Her advice: "I said, 'Hey, you ought to try Elwood.'" Her husband had spent his entire career in local radio and TV. Edwards agreed to record four simple phrases on a run-of-the-mill cassette player: "Welcome!"; "File's done"; "Goodbye"; and, of course, "You've got mail!". Quantum changed its name to AOL and Edwards's voice debuted on AOL 1.0 in October 1989.

  • What regularly changes shape, yet remains a sphere, is always there, but often not seen?

    Beer: It's not just for breakfast anymore.

    “The problems of the world cannot possibly be solved by skeptics or cynics whose horizons are limited by the obvious realities. We need men who can dream of things that never were.”

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