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By Asides

Kin oath.

LONDON (AFP) — Regular swear­ing at work can help boost team spir­it among staff, allow­ing them to express bet­ter their feel­ings as well as devel­op social rela­tion­ships, accord­ing to a study by researchers.

(via Daring Fireball)

By Asides and TV

David Simon, pro­du­cer of “The Wire”, in the New Yorker:

Every single moment on the plan­et, from here on out, human beings are worth less. We are in a post-industrial age. We don’t need as many of us as we once did.

I tried “The Wire” a year or so ago and gave it a few epis­odes before giv­ing up but now I have nearly kicked my “West Wing” addic­tion I think I should give it anoth­er go.

The Kung Fu Monkey on working with Tim Hutton

By Asides and Cinema

John Rogers, the Kung Fu Monkey, on work­ing with Tim Hutton in the pilot for the show Leverage:

On the next take, in the middle of five pages of dia­logue, he delivered a line as he stepped for­ward – then stopped without warn­ing. He took two steps back to reset just that line among dozens, and said it again on the move. But this time, he shif­ted about eight inches to the right and on the step-in landed not just per­fectly into a glor­i­ous fore­ground light, but with slightly bet­ter fram­ing of the intric­ate back­ground for the com­plete shot composition.

He’d been watch­ing his stand-in to mem­or­ize the light lay­out and com­pos­i­tion from cam­era view, and then used it to map out his moves with­in inches to give us the best shots. All while slam­ming the per­form­ance home.

That is, to be blunt, pretty god­dam sick. That’s how the grown-ups do it, kids. Next time you rush off the set as soon as the dir­ect­or calls “cut” so you can text your agent on your Razor, keep that in mind.

The poet of collision

By Asides and Literature

James Ellroy on Dashiell Hammett:

Hammett’s male-speak is the gab of the grift, the scam, the dime hustle. It’s the poke, the probe, the veiled query, the grab for advant­age. It’s the threat, the dim sanc­tion, the offer of friend­ship cloaked in betray­al. Plot holes pop through Hammett’s stor­ies like speed bumps. The body count accretes with no more hor­ror than prat­falls in farce. It does­n’t mat­ter. The lan­guage is always there.

(via The Guardian)

Hollis James interview in Gothamist (from Dec 06)

By Asides

Hollis James is Editor-in-Chief of Celebrity Skin magazine but that’s not why I offer you this quote:

fRINGE Underground was star­ted by me and a friend because we felt that no one had taste any­more. I mean, I under­stand people who fire on all cyl­in­ders all day long who want to shut down the engines and escape with a romance nov­el or slash­er flick. But people were no longer see­ing guilty pleas­ures as any­thing oth­er than pure pleas­ure. Crap bands, lousy movies, unwatch­able TV shows and bor­ing books were rock­et­ing to pop­ular­ity because people simply did­n’t want to think. Thanks to Coldplay, Adam Sandler, The King of Queens, and Oprah’s book club, people with no taste actu­ally thought that simply because they liked what every­one else liked they were digest­ing quality.

So we star­ted fRINGE to try and offer altern­at­ives that nev­er got any publicity–art films that died quiet deaths, artists that nev­er sold a record, books that nev­er got a fair shake. We wanted to at least be one voice in the wil­der­ness cry­ing out that you don’t have to listen to John Maher when there’s Elliott Smith, you don’t need to waste time see­ing a Matrix sequel when there’s Wes Anderson, and while you were watch­ing Everybody Loves Raymond qual­ity shows like Freaks & Geeks were get­ting can­celled. And if you need Oprah Winfrey to pick your books for you, the only thing you should be read­ing is an eye chart.

(from Gothamist, Dec 2006)