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Mike White Slams ‘White Lotus’ Composer Quitting: “A B**** Move, He Didn’t Respect Me”
Mike White Slams ‘White Lotus’ Composer Quitting: “A B**** Move, He Didn’t Respect Me”
“I honestly don’t know what happened, except now I’m reading his interviews because he decides to do some PR campaign about him leaving the show,” White said. “I don’t think he respected me. He wants people to know that he’s edgy and dark and I’m, I don’t know, like I watch reality TV. We never really even fought. He says we feuded. I don’t think I ever had a fight with him — except for maybe some emails. It was basically me giving him notes. I don’t think he liked to go through the process of getting notes from me, or wanting revisions, because he didn’t respect me. I knew he wasn’t a team player and that he wanted to do it his way. I was thrown that he would go to The New York Times to shit on me and the show three days before the finale. It was kind of a bitch move.”
“By the time the third season came around, he’d won Emmys and he had his song go viral, he didn’t want to go through the process with me, he didn’t want to go to sessions. He would always look at me with this contemptuous smirk on his face like he thought I was a chimp or something … he’s definitely making a big deal out of a creative difference.”
“They’re criticizing the show in certain ways and they’re meaner in certain ways [now that the show is popular],” White said. “I’m used to being this underdog indie writer that people are championing. Certain things will hurt my feelings or I’ll feel misunderstood. The mean ones have gotten meaner. It’s like they don’t like me. I guess I need to either avoid that stuff or get tougher, because it does bum me out.”
Some of the finale gripes that bothered White the most were — for instance — complaints that the surviving characters should be getting interviewed by Thai police after the tragic resort murders in the last episode. “Little logic police — really, you can’t enjoy the vibe and the emotional arcs because you’re so caught up in the — this isn’t a police procedural, this is a rumination-type show,” he said. “It makes me want to pull my hair out. Is this how you watch movies and TV shows? Constant literal police?”
In fact, White says he’s about to hit the road again to get out of Los Angeles and clear his head. “I’m going to Colombia today just to get the hell out of here,” he said. “I’ve never been there. I don’t think [season four is] going to South America, but I’ve never been there. Maybe one day. I just got to get out of L.A. I’m scrolling on my phone and reading shit about the show and this is not the finish line that I want.”
·hollywoodreporter.com·
Mike White Slams ‘White Lotus’ Composer Quitting: “A B**** Move, He Didn’t Respect Me”
‘The White Lotus’ Uncensored Oral History: Mike White and Cast Spill Season 3’s Secrets
‘The White Lotus’ Uncensored Oral History: Mike White and Cast Spill Season 3’s Secrets
ROCKWELL I pitched Mike some ideas, and we read it through, and he was on board with the take I had on this guy. We wanted to make him feel possibly ex-military, super masculine and kind of nonchalant, which worked in contrast to Mike’s writing in the scene.
And the incest thing, it’s really more about someone who is trying to connect with his brother and his sister through the things they value. Saxon is all about getting off, and Piper is renouncing the materialistic.
MONAGHAN The three of us originally just referred to them as “the ladies.” People have taken to referring to them as “the toxic trio,” but Mike’s original inspiration for us was “the big blonde blob” — this group of women that moves together and sort of sounds alike and looks alike. Interchangeable. Once the season starts to progress, you start to see them individuate from each other. WHITE I knew I didn’t want to do, “Here’s the short dumpy one, here’s the pretty one …” I wanted them all to be variations on the same idea when they show up. I’d been on a vacation where there were these three women who I couldn’t even tell apart until one would peel off and you’d hear the other two talking [about her].
GOGGINS The very first conversation he and I had was me asking, like, “How does Rick move through the world? Where has he been? How does he dress?” Mike said, “I don’t know.” I go, “Well, I do know.” And he said, “OK, let’s do that.”
COON Mike will do this thing where he scream-laughs at the monitor if he thinks you’re funny. We’re actors, so as soon as you know that’s happening, you become obsessed by it. “He didn’t do the scream-laugh! It’s not funny! I’m not as funny as this person!” You just spiral.
·hollywoodreporter.com·
‘The White Lotus’ Uncensored Oral History: Mike White and Cast Spill Season 3’s Secrets
Carl Zimmer on writing: “Don’t make a ship in a bottle”
Carl Zimmer on writing: “Don’t make a ship in a bottle”
To write about anything well, you have to do a lot of research. Even just trying to work out the chronology of a few years of one person’s life can take hours of interviews. If you’re writing about a scientific debate, you may have to trace it back 100 years through papers and books. To understand how someone sequenced 400,000 year old DNA, you may need to become excruciatingly well acquainted with the latest DNA sequencing technology. Once you’ve done all that, you will feel a sense of victory. You get it. You see how all the pieces fit together. And you can’t wait to make your readers also see that entire network of knowledge as clearly as you do right now. That’s a recipe for disaster.
When I was starting out, I’d try to convey everything I knew about a subject in a story, and I ended up spending days or weeks in painful contortions. There isn’t enough room in an article to present a full story. Even a book is not space enough. It’s like trying to build a ship in a bottle. You end up spending all your time squeezing down all the things you’ve learned into miniaturized story bits. And the result will be unreadable.
It took me a long time to learn that all that research is indeed necessary, but only to enable you to figure out the story you want to tell. That story will be a shadow of reality—a low-dimensional representation of it. But it will make sense in the format of a story. It’s hard to take this step, largely because you look at the heap of information you’ve gathered and absorbed, and you can’t bear to abandon any of it. But that’s not being a good writer. That’s being selfish. I wish someone had told me to just let go.
Find time to write at least a couple hours a day, every day. And I mean real writing, not dithering on the Internet telling yourself you’re doing “research.” Get a blank notebook and a pen if you have to. It’s in those long stretches of time with your own words, sentences, and paragraphs that you come face to face with all the great challenges of writing, and you find the solutions.
·medium.com·
Carl Zimmer on writing: “Don’t make a ship in a bottle”
‘The Interview’: Dr. Lindsay Gibson on ‘Emotionally Immature' Parents
‘The Interview’: Dr. Lindsay Gibson on ‘Emotionally Immature' Parents
I just started watching “The Sopranos” for the first time. If you listen to the dialogue, they completely nailed it, because everything always comes back to the viewpoint of the emotionally immature character. It’s always all about them. Another one is the lack of empathy. The parent just doesn’t get it. They say, “Why are you so upset about this?” Or, “This is not a big deal.” They cannot enter into the reality of their child’s emotional truth
The broad definition of emotionally immature parents is parents who refuse to validate their children’s feelings and intuitions, who might be reactive and who are lacking in empathy or awareness. But can you give me examples of emotionally immature behaviors?
how do people distinguish between normal, flawed parental behavior and behavior that’s detrimental enough to rise to the label of “emotionally immature”? If you think of emotional maturity and immaturity as being on a continuum, all of us have a spot that we tend to hang out on. It doesn’t mean that we stay there. If you’re tired or you’re sick or you’re stressed, you are not going to be as emotionally mature as you could be when you’re rested and well and not stressed. However, if you’re in one of these compromised states, you may do some things that look immature, but it’s going to bother you. You’re going to think about what you did. The emotionally immature person, it’s like: “That was in the past. Why are you wallowing in it?” The more emotionally mature person would get why you’re still upset, and they’re going to do something that indicates that they have felt for the other person’s experience.
‘Isn’t labeling someone’s parent “emotionally immature” a kind of pathologizing? You could argue that. There’s no way of getting around that you’re boiling down this person that they love into a set of traits, and it calls them a name. It’s pejorative. But when you say “emotionally immature,” it’s not from the diagnostic manual. Although it is a way of categorizing them, it has a more explanatory tone. If you say, “Your father is narcissistic,” I get an immediate caricature of a narcissist. If I say, “Your father sounds like he may be emotionally immature,” there’s a little grace in that.
If somebody goes to their parent and says, “I think you were an emotionally immature parent,” how would a parent ever disprove that? If they would only say, “Tell me what you mean by that.” It would be the curiosity and the caring about what their child was expressing. Emotionally immature people shut the door because they know they don’t handle emotional things very well, and their best defense is to not get into it and to point the finger back at you.
When is estrangement the best option? That is something I start thinking about when they start having physical or emotional problems directly associated with their contact with their parents. Say, a woman who had very demanding, egocentric, emotionally immature parents, and they expected her to come at the drop of a hat, help them out, do something for them. They were as needy as her own children and also entitled, so she was exhausted because when they pulled her into these interactions there was no exchange of energy. It’s like, they need more, and she’s a bad person because she’s trying to set a boundary. It’s always frustrating, and you never feel like you’re doing enough
This woman I’m thinking about, she was developing stress-related physical symptoms, and it was like, OK, let’s talk about the effect on your health. So then you may bring up to the person, “Do you want to keep visiting them?” Lots of times, that’s the first time that thought’s ever crossed their mind.
There’s a moral obligation that is not only implied but explicitly stated: If I have a need, you should be there because you’re my kid. I’m trying to get them to feel the cost of it to them, which often they have completely tuned out because they don’t want to be a bad person.
I think the book’s ongoing popularity has been due to the fact that it said something about the cultural stereotype that we’ve had about parents for eons: that all parents love their children; all parents only want the best for their children; all parents put their children first; children can depend on their parents to be there for them when no one else is. I think people’s actual experience is that these stereotypes and these tropes don’t match up with their emotional experience.
Once we call something something, we think we know all about it. On the other hand, sometimes when you reduce and isolate out the operative factors, it gives you a way to not only recognize it but to control it and do something about it. So it’s a valid point, David, but it is a point that you could say about anything where you have an effective categorization: that it oversimplifies and leads to black-and-white conclusions that are not helpful. I’ve just tried to moderate that by helping people see more of the big picture about why these people became emotionally immature, what they’re trying to do with that kind of behavior and what you can do about it.
Do children owe parents anything? I look at that question differently. I look at it as, do any of us owe anybody else anything? What’s the answer? The answer is, yes, I think we do. If I’m walking down the street and somebody trips and falls, I’m going to stop and help them get up. I wouldn’t want to live in a world where that wasn’t there, but what has happened is that there has been such an assumption that because you’re my child, you owe me something. Or, I’m entitled to your attention, and I can treat you any way I want because we’re family. That’s where you get to a point where there should be a boundary
People could decide, Hey, my unhappiness has to do with being raised by emotionally immature parents, and I’ll work on that. Then six months down the line, they realize there’s still a bunch of things they’re unhappy about. So how do we understand what our expectations for happiness should be? If you ever watch little kids, their default mode is happiness, and that’s because they’re spontaneously going and doing the next interesting thing. They naturally are following their energies. I think that’s what happens with people too. If they feel released to say no to the things that kill their energy, if they don’t feel guilted into acting more compassionate or loving than they really feel, if we take these things off of them, it’s like a cork that bobs to the top of the water.
When we can get the idea that we’re not in this world to function as a sort of auxiliary coping mechanism for people who can’t do it for themselves, we begin to feel our energy coming back. That’s what happiness is. Happiness is like free energy.
what I’m talking about is that with the people that I work with in psychotherapy, the adult children of these emotionally immature parents, the problem was really an excess of compassion. What I’ve seen is that the compassion takes over the instinctual self-preservation, and the person feels too guilty, too ashamed and too self-doubting to even think about what’s healthy for them.
don’t think there’s much possibility of change unless you have self-reflection, and you have self-reflection because you have a sense of self. You developed a sense of self because your emotional needs have been met and you have been responded to as a human being early enough that that sense of self gets in there.
I think there are earth-shattering moments that permanently shift your view of something or your way of thinking. That kind of change can happen in a flash. It’s like a joint goes back into place. There’s a click and it’s like, ah, everything starts to reorganize around that new realization. What I have found, though, is that the biggest change that people seem to have gotten from therapy is that they have a realization of their own inner experience. They now know how things affect them, what they really feel, what they really think, and they use that to guide themselves through relationships and their lives. The insight is not an intellectual exercise. It is like a becoming — an awareness that this is who I am.
What if I’ve come up with something that is most palatable for me? Well then you’ve got a problem, and what will happen is that reality will spank you. [Laughs.]
When we’re talking about relationships between people, is there such a thing as “the truth”? Just to use my own example: I have what I think is a truthful understanding of my relationship with my biological father and how it affected me as an adult. I think he has his own interpretation that is true for him. So what does truth mean in your context? Well, there’s no eye in the sky that’s going to one day give us the answer, but I think we can sense the truth for ourselves. Even if it’s a bad thing, even if it’s a painful thought, you still have those experiences of, I’ve touched on the truth of something. As far as human beings go, the best we can get is that internal sensing of what our truth is. And of course the next question’s going to be, What if I am a conspiracy theorist or a paranoid personality?
if our expectation about childhood is one where happiness is the default, might that retrospectively lead us to feelings of disappointment as adults? I think what I was trying to get at is that if children’s basic needs are met, they want to go and experience things that make them even happier.
you can mess it up early if you don’t pay attention to what something needs when it’s young
My mom and I have a great relationship because I was able to articulate to her, and was willing to, how she hurt me. She was blown away at first and we fought for months about it. Now she has come to terms with yes, she did some pretty terrible things. No she didn’t hit me, but what her and your generation doesn’t understand is there are many ways a parent can hurt their child without putting a finger on them, creating difficulties for them in later years. The fact that my mom could own those things, sit with them, accept that she had hurt me and accept that she had been the villain at times, saved our relationship. We never talk about it anymore. We never fight. We talk everyday. She is now not only the mother I want and need at 36 but my friend and confidant. My father however refuses to accept anything I tell him about how he hurt me. We can’t talk about it because he believes I’m making it up and the culture has taught me my parents are the root of all my problems, that he is the victim, that I have to do what is best for me if that means cutting him off. I did, and don’t regret it
When therapy knocks up against economic reality, one sees how meager therapy’s promise is. The most psychologically healthy person today is limited by destructive environments. If only my outlook was emotionally healthy— maybe then I would be able to—- able to what? Find an affordable rental, send my child to a good school, take time off when I am sick, feel secure about the steps taken to combat global warming, eat healthy food….
Has anyone in the comments actually read this book? The misplaced assumptions are astonishing. It is not about holding a grudge against your parents or about sidestepping personal responsibility. It is about better understanding the emotional landscape we come from so that we can understand what, specifically, we can take responsibility for, and how, specifically, we can truly and wholly forgive. I am a parent, and my mother fits the definition of emotionally immature. Reading this book has helped me have MORE compassion for her and more compassion for myself. It has not made me feel like I’m walking on eggshells around my daughters. It has helped me develop a roadmap for how I can repair our relationship when those rifts inevitably happen
My husband noticed when I was in my 30s that seeing or talking to my dad was hard for me. He said, ‘you get wound-up for a couple of weeks before you see him and it takes you a month to come down.’ So seeing my father once took me 6 weeks to cope. So I didn’t see him much. This story is clearly longer and more complex than the comments section can allow. In the end, I helped him - with his doctor appointments, hospitalizations, moving to assisted living, running errands. I did it for the basic idea of his humanity, and I excused his behavior to help him. But I exposed myself to a lot of toxicity in the process.
if a parent was not emotionally, physically, or mentally abusive then have a conversation. Let the parent know whats happening and how you’re thinking about the relationship. I did understand that she has her own journey and gets to choose those she will share it with. But she didn’t tell me any of that until i asked directly. I want my adult child to be satisfied with her life and to have autonomy. She didn’t have to break my heart to get there. Folks who write books like these make it black and white but people, families, are so many different shades in between. The author should recognize and callout the difference between extreme and repairable.
My own mother has started being able to talk with me about what she wishes she'd done differently while raising me, and that's helping me go easier on her. It's easier to forgive someone who says, "I'm sorry, I didn't handle that well," or, "If I'd known then what I know now," I would've handled that differently."
I think it’s fair to say that one of the problems with contemporary life is how we label other people in ways that are reductive or don’t acknowledge multidimensionality. Is there any part of you that thinks it’s not a good thing for the people who have read your book to be thinking about a parent, Oh, you’re emotionally immature, and that is what defines you now? Absolutely, I think it’s a danger. That is the problem with the categorizing part of our mind.
·nytimes.com·
‘The Interview’: Dr. Lindsay Gibson on ‘Emotionally Immature' Parents
Michael Shannon is trying to cultivate detachment
Michael Shannon is trying to cultivate detachment
Question 2: What does age teach you about love? Shannon: Oh my God. Oh, dear. Martin: Oh no. Is that a good "oh my God" or a bad one? Shannon: No, it just moved me. They're very linked obviously. I think when you're young, love can be very self-serving. You want love from other people. You want to have love. It's something you want for yourself because it feels, you know, wonderful to feel like you're loved. And then as you get older, you realize that it's probably ultimately more important to love others regardless of what you get in return. It becomes hopefully less transactional and more just a state of being, you know? Which is — can be hard to accept. It's actually kind of going back to that place that I was at when I was younger, where I was, you know, OK being alone — but with a new, with more, I don't know, more wisdom, some sort of wisdom that I've accrued along the way, hopefully.
You know, when you act, you create these little societies or civilizations to create some piece of art. And then you finish and they disappear. And it's kind of like the rhythm of my life. And there's certain relationships that carry on through those. Or people that you work with on multiple occasions. But for the most part, you get very accustomed to things not being stable or things changing.
·wfae.org·
Michael Shannon is trying to cultivate detachment
Alisa Cohn x Lenny's Newsletter Podcast
Alisa Cohn x Lenny's Newsletter Podcast
So I do have kind of an extensive questionnaire, so we just touch on a few things, but one thing I think first and foremost is, what are your values? And I think it's really essential to do some sort of values clarification exercise. You can find a ton of them online. You can find a list of values and just pull out your core values and just compare them with each other because when you are aligned, it's great. Or when you're adjacent, it's also great. I might care a lot about excellence, Lenny, you might care a lot about learning. Fantastic. Those are great values that we can kind of, go together. I might care about excellence and you might care about work-life balance. Wow, let's talk about that because I think it's going to be really important as we go through our startup journey that we understand both of us, what does work-life balance mean and what does excellence mean?
One of the founders I worked with, he would text or Slack his co-founder on weekends and the co-founder wouldn't respond. And that was extremely frustrating to the person, to the co-founder I was talking to. And it turned out, after they finally addressed it, it really was about wanting to have some downtime and some, quote unquote, "Balance."
I'm so great at bringing things up." But the person who's close to you might say, "You seethe until you're ready to bring something up and it's really uncomfortable in the seething period." So it just gives you a little more self-awareness about how you actually handle conflict.
The other person might be a person who totally wants to talk about the conflict but wants to let it settle first and wants to also go through their own thinking process about what's important to them and might actually feel like they've resolved it themselves without having to have a conversation with you.
And if you're the person who's like, "Let's talk about it, let's talk about it, let's talk about it." And they're like, "I'm working through it myself." Now you have conflict over the conflict and it just turns into dynamic that's not necessary.
·lennysnewsletter.com·
Alisa Cohn x Lenny's Newsletter Podcast
Lynch dives within
Lynch dives within
Maybe, suggests the defeated interviewer, "Inland Empire" should be approached like James Joyce's "Finnegans Wake": Accessible as lyrical art, but filled with puzzles for those wanting to go deeper. Lynch nods, swigging one of his tepid cappuccinos. "Yes, with James Joyce, word combinations conjure things. He uses them as an art form and a language for abstractions. Cinema is its own language. As the sound and picture get going and things begin to happen, it can get pretty abstract, but it's a language that says something that can't be said in words -- or maybe could, by a poet."
"I like films that hold abstractions," he says. " 'Getting it' is a subjective thing, because we're all different, and each interpretation is as valid as another. The audience is putting things together as they go. If there's a bump in the intellectual understanding, let it happen. Have that experience, and then later mull things over. Let intuition kick in. It's a higher knowingness. If you try to put it into concrete terms, you're gonna block it."
·sfgate.com·
Lynch dives within
The Promise of Life: Joachim Trier and Renate Reinsve on The Worst Person in the World | Interviews | Roger Ebert
The Promise of Life: Joachim Trier and Renate Reinsve on The Worst Person in the World | Interviews | Roger Ebert
One thing we read was a quote that I’ve known for years, and loved, from Søren Kierkegaard, the Danish philosopher, who said that we can only understand our life backwards, but we’re forced to live it forwards. And I think that’s the confusion we all feel, is that we always learn too late. We go through things that are completely inexplicable and mysterious. And then years later, we realize.
She suddenly starts realizing how she is building an experience of relationships, and how all the paradoxes that you see specifically in the film show how she is trapped in one role in one relationship then takes on a completely different role in the next one—maybe even the role of the other partner in the first one. You’re on different sides of the fence in certain discussions, going forward. And you become a richer person through those sometimes painful experiences, a more whole person and perhaps a more accepting person in terms of accepting others.
There’s a great book by a British writer and psychoanalyst Adam Phillips, which came out a few years ago, called Missing Out, where he says that, in the therapy room, what he experiences with people a lot is that he realizes that people live their whole life with this big, imagined part of themselves. All the what ifs that never happened. That relationship they think they might or should have had or would have in the future, if they only broke away from the relationship they were in. Or that job they’re going to start doing one day. And it actually becomes your self-perception and your feeling of identity. And, suddenly, life has passed. And that whole imagined self was also a part of who you were, but it was unspoken or unlived. And this is life.
I thought that was an interesting notion, the negotiation between the imagined self and the real self that plays out in time. That’s a big theme that I can make several films about, but this one was specifically through the character of Julie.
I don’t really believe that we can see ourselves fully. So much is subconscious. There’s so much history and so much memory that we can’t access.
That’s the feedback we’re getting from people who’ve watched the film, is that it’s okay to be ambivalent and feel that things are not in full order. If we can add a consoling notion around that, I think we’re good.
The idea in psychology of “good enough” can be fine. Maybe there is a life where not everyone becomes that unique snowflake that we are all raised to believe that we have to be to be anything. Maybe there is a place of acceptance in a simpler life, a less turbulent life, without feeling that we’re losing the progressivity of thought or humanity in our own personal life. Maybe the exterior appearance of that success is less interesting than fulfilling it on a more intimate level, in one’s personal life. I don’t know. These are big questions, and I don’t want to come off as pretentious. But I think you’re touching on something that we indirectly have talked about a lot in making this film. Julie is this slightly idealized child from early on. She has good grades. She got into medical school. And she feels this pressure to do something really special. That is complicated for her.
what if COVID allowed people to take that step that they had been yearning for, sometimes, to say that the meritocratic society that we live in—particularly in America but also in Norway, to a large extent—where we are feeling that we are so responsible for fulfilling the utmost potential of ourselves, and we carry that alone, that that is a quite a stifling notion for a lot of people? That’s quite a heavy burden to carry: to feel that if you don’t do the greatest thing you could do, you’re a loser.
·rogerebert.com·
The Promise of Life: Joachim Trier and Renate Reinsve on The Worst Person in the World | Interviews | Roger Ebert
Judith Butler, philosopher: ‘If you sacrifice a minority like trans people, you are operating within a fascist logic’
Judith Butler, philosopher: ‘If you sacrifice a minority like trans people, you are operating within a fascist logic’
Identity is, for me, a point of departure for alliances, which need to include all kinds of people, from trans to working people to those taxi drivers that J. K. Rowling is worried about. Identity is a great start for making connections and becoming part of larger communities. But you can’t have a politics of identity that is only about identity. If you do that, you draw sectarian lines, and you abandoned our interdependent ties.
·english.elpais.com·
Judith Butler, philosopher: ‘If you sacrifice a minority like trans people, you are operating within a fascist logic’
Trent Reznor and Atticus Ross on Working With Omar Apollo and Caetano Veloso for Luca Guadagnino’s ‘Queer’
Trent Reznor and Atticus Ross on Working With Omar Apollo and Caetano Veloso for Luca Guadagnino’s ‘Queer’
There wasn't that kind of clarity from a musical position on Queer. He threw out lots of different things that were kind of riddles to solve, but, eventually, what we decided on was leaning into Burroughs and the idea of the cut-up technique and using samplers. It felt like an organic way to tell the story musically.
Reznor: I just found some notes from a call with Luca. So I'll read [them to] you. Here was our directions: "Love could feel like dread—Stockhausen. Lee towards lover—engulfing, overwhelming, an uncompromising approach. He's a broken, lonely man—unknown reciprocation, unsure throughout, but still beautiful. I like the scale of an orchestra—bipolar. Make the score bipolar. Burroughs was like this, from Old America, but contemporary—the score should be like that. Maybe electronic element—Ayahuasca." Okay—go write a score.
the original cut was significantly longer, at least an hour longer than what's in theaters now. And a lot of what was taken out was a more surreal element that was exciting and alters the way the film feels quite a bit. When a lot of that got removed, it was hard for us to understand what the film became, because it shifted the tone of it quite a bit in certain ways.
It became disorienting at times to also quantify the impact the whole film has. You know what I mean? We're watching three-minute chunks, a week of this three-minute and then a week of that seven-minute segment, assuming it sits atop the scaffolding that got us there and leads to what's happening.
sometimes, when you start taking those pieces out, it becomes harder to understand. What you're working on is now affected because it doesn't have that stuff you know is there because you watched it, but it's not there. That's the part of filmmaking that I find tricky. We've experienced it with [David] Fincher as well on some things. To be able, as a director, to remain objective with that many moving parts, that's what feels... When people have said, “Do you ever think about directing?”—it's like, I've thought about how I know I couldn't do it. I thought about, “Well, I'd like to do it,” but it's like, the ability to be able to remain objective about so many things, that feels daunting to me. And as composers we feel like we're able to microscope in to get really close up on things.
·gq.com·
Trent Reznor and Atticus Ross on Working With Omar Apollo and Caetano Veloso for Luca Guadagnino’s ‘Queer’
Challengers : Press Conference with Zendaya & Mike Faist
Challengers : Press Conference with Zendaya & Mike Faist
I don’t know if it’s actually methodology. I’ve never wanted to be an actor as a source of income. I never cared about fame. I always wanted to do this, so I moved to New York to do theater because I loved it. When I read a script or I am considering a role, I’m going off of this compulsion that I feel. When I read something and I feel that overwhelming sense to be compelled to do it, I just get excited.
What is it about this role or this story that makes me so excited? What is this magnet and this drawn? I believe that the best way to get into a role, to figure out the thoughts and the understandings of another human being is by silencing the noise around yourself. It’s important to create an environment and a space for yourself to just be quiet, to start to really consider what those thoughts are and think about the role.
There’s so many different specific things about a character that let you know who they are. Something he does so beautifully is he’ll give you a very specific action or note to do, and it might feel so incredibly weird, and you’re like, “That makes no sense. Why would I do that then?” and then you do it and you’re like, “Oh my God, that totally worked, and why wasn’t that my instinct at first?” It made me think more about what a character can do in a space, it made me feel more open to the idea of trying things that might feel odd or different. He also edits in his head, which I think is really cool. He’s already editing the scene. That’s why he does two takes.
It was my job to find where her pain is stored, the trauma of losing your career, the idea of never allowing yourself the time to grieve, being in a marriage where she’s in charge all the time, she’s making all the decisions, being accountable for two people. Her life, since she was a kid, has felt so incomplete, because this one true love, which is tennis, has been ripped away from her.
·cinemadailyus.com·
Challengers : Press Conference with Zendaya & Mike Faist
“I’m Not Queer, I’m Disembodied” — Our Era Magazine
“I’m Not Queer, I’m Disembodied” — Our Era Magazine
Guadagnino said in a press release shared with Our Era, “What struck me most was the strangeness of it — it’s the most accessible of his works, but what connected me to it was something I could feel within myself at the time: the idea of craving contact with somebody who reflects you, who you connect with on the deepest conceivable level.”
Craig disclosed he would have worked with Guadagnino on any opportunity, but, to be able to work with him on this specific film, Craig felt incredibly gracious. He wanted to show viewers that Lee’s addiction doesn’t define him. His discomfort with who he is does; causing him to always look for an escape in something, someone or some place.
For characters to fully come to life on-screen, as one sees with Starkey and Allerton and Craig and Lee, the cast needs to feel the story is in good hands. That comfortability and care oozing on set is what allowed Craig and Starkey to let go of who they are and go the distance emotionally and mentally to become their characters’ complicated selves.
While Queer depicts a very specific time and place, its themes - longing, loneliness, and the limits of what we can seek in another person; what they can do for us and what we must do for ourselves - remains universal.
“In my mind, the images and sets for Queer had to be coming through the eyes and mind of Burroughs,” says Guadagnino. “Thirty years after I started thinking about the novel as a movie, I was still committed to the idea of recreating Mexico City, Panama City and Ecuador as if these were artificial places reflecting the anguish and desire and imagery of Burroughs’ source material,” Guadagnino said in a press note shared with Our Era.
For the first two parts of the movie Lee has a certain undoneness to his clothing with his Hemingway silhouette. This contrast to Allerton’s uptight, refined and juvenile collegiate look creates a sort of sexual allure to him that captivates Lee upon laying eyes on Allerton for the first time. Their costumes highlight the two men’s stark incongruities - their age, their stations in life, their psychology.
The liberation created on set is what queer people seek to obtain.
There’s an oppressed feeling from both characters. Most times, it felt like Lee and Allerton were slightly cracking themselves open into who they were; always running to some place or to someone new. While the two men were able to open with one another at times, this film shows their personal struggles with being queer. Open queerness is a freedom that is priceless, but a price Lee and Allerton cannot afford. It’s this lack of freedom that many queer people experienced in the 20th century that creates a turmoil in them that leads them to feel that freedom through other means: seeking what others can offer.
·oureramag.com·
“I’m Not Queer, I’m Disembodied” — Our Era Magazine
“I Felt Like a Student Again”: Jonathan Anderson on Designing Queer’s Sensual (and Sensational) Costumes
“I Felt Like a Student Again”: Jonathan Anderson on Designing Queer’s Sensual (and Sensational) Costumes
Now that I have more of an understanding of filmmaking and an understanding of costume within film, it’s helped me build a team around it—and I would like to continue doing it, because for me, it’s a great escape from my job. It helps me balance out a bit, and being creative without the commerce element feels like a very different exercise—it’s about characterization, and there’s no preciousness around it representing just one vision.
That’s what I love about very good cinema: Those textures you find in the 1950s or ’60s with the clothing—it’s never just a flat surface. You have Lee, played by Daniel, at the beginning wearing this shirt that’s optic white…. [There’s] this idea of it being pristine, like cocaine. By the end of it, after his heroin trip and everything else getting darker and darker, it becomes dirtier…. I like following those threads. With costume, you can do things like that which are more subtle, whereas sometimes with fashion, it has to be loud for people to grab on. In film, you have to lure the audience in and let them know who the character is in a way that unfolds. It’s not about the bang of fashion where it’s a 15-minute show that has to sell you this one idea.
What I find amazing about these pieces is that, as you said, they could be plucked out of a store today, and I did quite like having those things in the film—because sometimes we feel like we’re inventing everything now, but then you realize there were people in the past who were even further ahead than we are.
As the creative director of a fashion house—or two fashion houses—you’re always the decision-maker and the person everyone is turning to to weigh in on everything and have the final say. Working as the costume designer, did it feel pleasant to relinquish that total control for a little while? Yes, I enjoy it. It’s quite nice sometimes to be submissive in life. [Laughs.] I quite like not being in that driving seat all the time, because it makes you think differently when you’re back in the driving seat. I think it’s really helped me with my journey within fashion. It’s nice to restart—it keeps your feet on the ground. I think, in fashion, it’s very easy to levitate off the ground. It helped me to rechallenge myself, and to have those moments in Rome where I really felt like a student again, saying, “I don’t know how this works—but how do I make it work?”
I think with Loewe, for example, it might have affected the way I really reduced the menswear down in the recent show. It became a form of textural classicism—very precise. And I think Allerton may have inspired this idea of building a perfection that is almost like an armor, but then ultimately, you see that there are holes in it—in the trouser, in the sweater. It all looks very together at first, but then you realize it’s not.
I think it’s really important for me to keep doing my day job, because it sharpens my knife outside of it. And I think they can dovetail into one another.
We were actually introduced by Karla Otto. It was one of those meetings where I felt like I had known Luca all my life. We were meant to just have a coffee, but then we chatted all afternoon. I just feel like we are searching for the same things but in different fields, so it’s really nice to be able to collaborate in this way—which requires a huge amount of trust in each other—but pushing each other too. And there are not many people, I think, who understand clothing as deeply as Luca does.
I think Allerton may have inspired this idea of building a perfection that is almost like an armor, but then ultimately, you see that there are holes in it—in the trouser, in the sweater. It all looks very together at first, but then you realize it’s not.
there were plenty of memorable moments for Jonathan Anderson—but few were quite as awe-inspiring as his first day of filming, walking through the back lot of Rome’s legendary Cinecittà Studios. “One of my favorite films is Sunset Boulevard, and it reminded me of the scene when Norma goes to the studios, and there’s just cinema happening,” Anderson says over Zoom from Los Angeles, where Queer had premiered the night before, with genuine wide-eyed wonderment. “You enter into one of those dark spaces and find a stage lit as a 1950s Mexican street. Then you’re in the middle of the jungle. If you were to ask a child what cinema is, it would be this.”
·vogue.com·
“I Felt Like a Student Again”: Jonathan Anderson on Designing Queer’s Sensual (and Sensational) Costumes
Making 'Queer' required openness. Daniel Craig was ready
Making 'Queer' required openness. Daniel Craig was ready
“Maybe another portal is his open chest. He just goes, ‘Please come in, come in,’” says Craig. “It applies to art. It applies to everything. Letting one’s self go. If you don’t do it, how can you ever know? That tragedy of not doing that is greater than the embarrassment of doing it. We’re defined by those moments in our lives.”
“I’m really interested in the repression of others,” Guadagnino says. “I realize many, many times I go back to the theme. The idea of being so vulnerable and ready to be. He doesn’t have a sense of pride or a protection of social codes.”
Starkey, the 31-year-old “Outer Banks” actor, was met with the very different challenge of playing a character with few words on the page and a cryptic presence. He theorized that Allerton is in retreat because it’s “as if you’ve lived your whole life and never seen your own reflection, and someone puts a mirror in front of your face.” “A question I asked early on was: Is Allerton aware of the game that he’s playing? Is he aware that he may have some power over Lee, and does he like it?” says Starkey. “Luca’s answer to that was: ‘That’s a very good question.’”
·apnews.com·
Making 'Queer' required openness. Daniel Craig was ready
‘Sexuality is as individual as a fingerprint’: Daniel Craig and Luca Guadagnino on Queer
‘Sexuality is as individual as a fingerprint’: Daniel Craig and Luca Guadagnino on Queer
They are simply lovers who experience a passing connection. Their search for something deeper (which eventually takes them on an ayahuasca trip overseen by a shaman played by an unrecognisable Lesley Manville) is thwarted by what the director calls the “asynchronous” nature of their dynamic.
How loud was the conversation back then over authentic casting? “It was never even discussed,” Craig says, looking askance. Guadagnino is equally dismissive: “Sexuality is not one thing. Is it five things, is it seven? There is no such thing as ‘the gay’.” Craig has another thought: “Sexuality is a very modern idea,” he says. “People’s sexuality, or whatever they desire, is as individual as a fingerprint.”
Does sharing a vocation reduce the chances of being asynchronous? “No, it enhances them because film-makers are radical narcissists who just want to do their own thing. It’s a disaster.”
Guadagnino goes into splutter mode again. “I would never put myself on the same shelf as Daniel. Come on, he’s an icon! I’m a grey, balding Italian-Algerian director who’s made some movies. I’m boring.” Craig leans forward: “So am I. Let’s say I wasn’t famous, and I was a free agent. It either happens or it doesn’t happen. Those moments are magic. I think of moments like that from my life and, my God, they’re electrifying. Whereas if you’re out on the prowl, that’s really sad. And look, Lee sort of was on the prowl. But he wasn’t looking for what he found with Allerton. That’s what I’m interested in capturing as an artist. The moment where you go, ‘Oh fuck!’”
·theguardian.com·
‘Sexuality is as individual as a fingerprint’: Daniel Craig and Luca Guadagnino on Queer
‘The Interview’: Nancy Pelosi Insists the Election Was Not a Rebuke of the Democrats
‘The Interview’: Nancy Pelosi Insists the Election Was Not a Rebuke of the Democrats
I don’t think we were clear enough by saying fewer people came in under President Biden than came under Donald Trump. It’s clarity of the message, and if that’s what Bernie’s talking about, and that’s what Joe Manchin’s talking about, we weren’t clear in our message as to what things are, then I agree with that. And that was one of the concerns I expressed about saying we haven’t put forth what was done. It’s our legacy, too. [Pelosi bangs on the table.] The rescue package. [Pelosi bangs on the table.] Infrastructure Bill. [Pelosi bangs on the table again.] The CHIPS Act. But that didn’t come across as well as it should have. So I think if you’re talking about messaging, you’re talking about communications, that’s one thing. If you’re talking about what we stand for versus what they stand for, the public’s in for a big surprise.
I think that any vice president is, like it or not, tied to the record of the president. I think what Biden did was great, and being tied to his record is a great thing but not the way the record was perceived. This is a record of job creation. Sixteen million jobs as opposed to the record of her opponent who had the worst job-creation record since Herbert Hoover. Yes, 16 million jobs, turning around inflation, all the things that we did to build the infrastructure of America, reduce the cost of prescription drugs.
President Trump has promised to use the Justice Department and the attorney general to go after his perceived enemies. He has said that over and over again, and you’re one of them. Well, you would think that that would be enough reason for people not to vote for him. But that’s what he said. So when people say to me, “Why do you think our democracy is in danger?” I’ll say, well, let’s define our democracy. What is democracy? Free and fair elections? Peaceful transfer of power, independence of the judiciary, the rule of law, all of those kinds of things are part of a democracy. So if he’s going after those things, and thank God, the only, shall we say, peace of mind that we have today is that we don’t have the assault on the system that would have been there had Kamala Harris won. That isn’t right. It shouldn’t be that way. And that he would say — maybe thought it, might even want to do it, but to say it and the American people will say, “That’s OK with me ”?
·nytimes.com·
‘The Interview’: Nancy Pelosi Insists the Election Was Not a Rebuke of the Democrats
Alpine Loop: the fruit of collaboration between Fukui craftsmanship and Apple
Alpine Loop: the fruit of collaboration between Fukui craftsmanship and Apple
These ribbons, upon closer inspection, appear to be two layers of machine-made fabric sewn together to form a single piece with one side puffed out like an arch in bridges, the “Alpine Loop” band that symbolizes the Apple Watch Ultra, which was just announced in the fall of 2022. The band is made of lightweight yet sturdy polyester fiber, the band is designed for outdoor activities by threading a metal hook through a hole in the fabric that expands in arch pattern, which prevents it from being pulled out in any direction. The fact that this intricate and delicate band is woven is astonishing.
The “Alpine Loop” uses 520 warp threads, which is far more than the number of threads used in ordinary fabrics, and this first process alone takes about six full days even for experienced employees.
After inspecting the heat treatment process on the first floor of the factory, I asked Tim Cook about his impressions of the company. “I love the the ability to scale something that is so intricate, something that is so detailed. And you know they’re making a lot of these as you can, tell but they’re doing it in such a high quality way. And the yields are very high.”
“They were very flexible, and willing to try new processes, new ways of doing things. This was the first time that this particular process was ever used. And so they have to be very nimble but that nimbleness has to be underpinned by great expertise. And they have that great expertise here. And I can’t stress enough the attention to detail and quality. These are the things that make the products look so great right out of the box.”
Apple prefers to use the term “supplier” over alternatives such as “subcontractor” because they believe in equal business partnership.
“What sets Apple apart [from other companies] is that they let us work as a team. If we have a problem, we spend time together to come up with a solution.” Seiji Inoue, managing director of Inoue Ribbon Industry, spoke from the opposite side of Cook’s statement.
In addition to bands for the Apple Watch, the company also produces handles made from woven paper for “Mac Pro” product packaging. Normally, nylon or other materials would be mixed into paper to give sturdiness, but Apple places importance on recyclability, so they need to make them from 100% paper. The team worked together with the Apple staff to find a way to meet these requirements, and when we introduced a manufacturer that could produce paper, they said, “Great,” and accompanied us to the manufacturer.
The first product they worked on was a band for the Apple Watch called “Woven Nylon.” It took four years to develop. At first, Mr. Inoue was fed up with the high quality requirements. Compared to other industries, the textile industry is not very strict about size control.
at some point the front-line workers became accustomed to Apple’s standards, and are now saying, “We have to do this much, don’t we?” and aiming for higher quality manufacturing. He added, “Apple taught me from scratch about quantification and other things. They taught me how to manage, how to make a table like this, how to do standard deviation like this, how to take data like this, and so on. You can’t learn so much even if you paid someone. But Apple shared all those knowledges sayin we are on the same team.”
Mr. Nobunari Sawanobori, the president of Teikoku Ink, which supplies white ink for the iPhone, once said, “The loss of learning through working with Apple is a bigger loss than the loss of orders from Apple.”
After working for so long with Apple, recently Inoue Ribbon Industry began to make proposal or provide supplement data when they work with other clients, Most of those clients are surprised and delighted.
·medium.com·
Alpine Loop: the fruit of collaboration between Fukui craftsmanship and Apple
Pricing of Webflow freelancers : r/webflow
Pricing of Webflow freelancers : r/webflow
Some good questions to ask: Can they show you some examples of past projects they've built in Webflow? Do some checking if their work looks good on smaller devices (Webflow cascades styles down from desktop, so mobile design can sometimes get overlooked) Are they using a class framework (e.g., Client-first, Mast, Lumos, or custom)? And are they comfortable building the site with a level of modularity that enables easy reuse of sections, components, and styles? This approach simplifies future design updates and makes it easier for your team to manage and expand the site after the handover. What's their approach to SEO in Webflow? What do they do to ensure performance and loading speed are optimized? Do they have a process QA and testing before launching a site? How do they handle client feedback and revisions? Do they have a process for educating you on how to use and manage the site they built?
·reddit.com·
Pricing of Webflow freelancers : r/webflow
The Complex Problem Of Lying For Jobs — Ludicity
The Complex Problem Of Lying For Jobs — Ludicity

Claude summary: Key takeaway Lying on job applications is pervasive in the tech industry due to systemic issues, but it creates an "Infinite Lie Vortex" that erodes integrity and job satisfaction. While honesty may limit short-term opportunities, it's crucial for long-term career fulfillment and ethical work environments.

Summary

  • The author responds to Nat Bennett's article against lying in job interviews, acknowledging its validity while exploring the nuances of the issue.
  • Most people in the tech industry are already lying or misrepresenting themselves on their CVs and in interviews, often through "technically true" statements.
  • The job market is flooded with candidates who are "cosplaying" at engineering, making it difficult for honest, competent individuals to compete.
  • Many employers and interviewers are not seriously engaged in engineering and overlook actual competence in favor of congratulatory conversation and superficial criteria
  • Most tech projects are "default dead," making it challenging for honest candidates to present impressive achievements without embellishment.
  • The author suggests that escaping the "Infinite Lie Vortex" requires building financial security, maintaining low expenses, and cultivating relationships with like-minded professionals.
  • Honesty in job applications may limit short-term opportunities but leads to more fulfilling and ethical work environments in the long run.
  • The author shares personal experiences of navigating the tech job market, including instances of misrepresentation and the challenges of maintaining integrity.
  • The piece concludes with a satirical, honest version of the author's CV, highlighting the absurdity of common resume claims and the value of authenticity.
  • Throughout the article, the author maintains a cynical, humorous tone while addressing serious issues in the tech industry's hiring practices and work culture.
  • The author emphasizes the importance of self-awareness, continuous learning, and valuing personal integrity over financial gain or status.
If your model is "it's okay to lie if I've been lied to" then we're all knee deep in bullshit forever and can never escape Transaction Cost Hell.
Do I agree that entering The Infinite Lie Vortex is wise or good for you spiritually? No, not at all, just look at what it's called.
it is very common practice on the job market to have a CV that obfuscates the reality of your contribution at previous workplaces. Putting aside whether you're a professional web developer because you got paid $20 by your uncle to fix some HTML, the issue with lying lies in the intent behind it. If you have a good idea of what impression you are leaving your interlocutor with, and you are crafting statements such that the image in their head does not map to reality, then you are lying.
Unfortunately thanks to our dear leader's masterful consummation of toxicity and incompetence, the truth of the matter is that: They left their previous job due to burnout related to extensive bullying, which future employers would like to know because they would prefer to blacklist everyone involved to minimize their chances of getting the bad actor. Everyone involved thinks that they were the victim, and an employer does not have access to my direct observations, so this is not even an unreasonable strategy All their projects were failures through no fault of their own, in a market where everyone has "successfully designed and implemented" their data governance initiatives, as indicated previously
What I am trying to say is that I currently believe that there are not enough employers who will appreciate honesty and competence for a strategy of honesty to reliably pay your rent. My concern, with regards to Nat's original article, is that the industry is so primed with nonsense that we effectively have two industries. We have a real engineering market, where people are fairly serious and gather in small conclaves (only two of which I have seen, and one of those was through a blog reader's introduction), and then a gigantic field of people that are cosplaying at engineering. The real market is large in absolute terms, but tiny relative to the number of candidates and companies out there. The fake market is all people that haven't cultivated the discipline to engineer but nonetheless want software engineering salaries and clout.
There are some companies where your interviewer is going to be a reasonable person, and there you can be totally honest. For example, it is a good thing to admit that the last project didn't go that well, because the kind of person that sees the industry for what it is, and who doesn't endorse bullshit, and who works on themselves diligently - that person is going to hear your honesty, and is probably reasonably good at detecting when candidates are revealing just enough fake problems to fake honesty, and then they will hire you. You will both put down your weapons and embrace. This is very rare. A strategy that is based on assuming this happens if you keep repeatedly engaging with random companies on the market is overwhelmingly going to result in a long, long search. For the most part, you will be engaged in a twisted, adversarial game with actors who will relentlessly try to do things like make you say a number first in case you say one that's too low.
Suffice it to say that, if you grin in just the right way and keep a straight face, there is a large class of person that will hear you say "Hah, you know, I'm just reflecting on how nice it is to be in a room full of people who are asking the right questions after all my other terrible interviews." and then they will shake your hand even as they shatter the other one patting themselves on the back at Mach 10. I know, I know, it sounds like that doesn't work but it absolutely does.
Neil Gaiman On Lying People get hired because, somehow, they get hired. In my case I did something which these days would be easy to check, and would get me into trouble, and when I started out, in those pre-internet days, seemed like a sensible career strategy: when I was asked by editors who I'd worked for, I lied. I listed a handful of magazines that sounded likely, and I sounded confident, and I got jobs. I then made it a point of honour to have written something for each of the magazines I'd listed to get that first job, so that I hadn't actually lied, I'd just been chronologically challenged... You get work however you get work.
Nat Bennett, of Start Of This Article fame, writes: If you want to be the kind of person who walks away from your job when you're asked to do something that doesn't fit your values, you need to save money. You need to maintain low fixed expenses. Acting with integrity – or whatever it is that you value – mostly isn't about making the right decision in the moment. It's mostly about the decisions that you make leading up to that moment, that prepare you to be able to make the decision that you feel is right.
As a rough rule, if I've let my relationship with a job deteriorate to the point that I must leave, I have already waited way too long, and will be forced to move to another place that is similarly upsetting.
And that is, of course, what had gradually happened. I very painfully navigated the immigration process, trimmed my expenses, found a position that is frequently silly but tolerable for extended periods of time, and started looking for work before the new gig, mostly the same as the last gig, became unbearable. Everything other than the immigration process was burnout induced, so I can't claim that it was a clever strategy, but the net effect is that I kept sacrificing things at the altar of Being Okay With Less, and now I am in an apartment so small that I think I almost fractured my little toe banging it on the side of my bed frame, but I have the luxury of not lying.
If I had to write down what a potential exit pathway looks like, it might be: Find a job even if you must navigate the Vortex, and it doesn't matter if it's bad because there's a grace period where your brain is not soaking up the local brand of madness, i.e, when you don't even understand the local politics yet Meet good programmers that appreciate things like mindfulness in your local area - you're going to have to figure out how to do this one Repeat Step 1 and Step 2 on a loop, building yourself up as a person, engineer, and friend, until someone who knows you for you hires you based on your personality and values, rather than "I have seven years doing bullshit in React that clearly should have been ten raw HTML pages served off one Django server"
A CEO here told me that he asks people to self-evaluate their skill on a scale of 1 to 10, but he actually has solid measures. You're at 10 at Python if you're a core maintainer. 9 if you speak at major international conferences, etc. On that scale, I'm a 4, or maybe a 5 on my best day ever, and that's the sad truth. We'll get there one day.
I will always hate writing code that moves the overall product further from Quality. I'll write a basic feature and take shortcuts, but not the kind that we are going to build on top of, which is unattractive to employers because sacrificing the long-term health of a product is a big part of status laundering.
The only piece of software I've written that is unambiguously helpful is this dumb hack that I used to cut up episodes of the Glass Cannon Podcast into one minute segments so that my skip track button on my underwater headphones is now a janky fast forward one minute button. It took me like ten minutes to write, and is my greatest pride.
Have I actually worked with Google? My CV says so, but guess what, not quite! I worked on one project where the money came from Google, but we really had one call with one guy who said we were probably on track, which we definitely were not!
Did I salvage a A$1.2M project? Technically yes, but only because I forced the previous developer to actually give us his code before he quit! This is not replicable, and then the whole engineering team quit over a mandatory return to office, so the application never shipped!
Did I save a half million dollars in Snowflake expenses? CV says yes, reality says I can only repeat that trick if someone decided to set another pile of money on fire and hand me the fire extinguisher! Did I really receive departmental recognition for this? Yes, but only in that they gave me A$30 and a pat on the head and told me that a raise wasn't on the table.
Was I the most highly paid senior engineer at that company? Yes, but only because I had insider information that four people quit in the same week, and used that to negotiate a 20% raise over the next highest salary - the decision was based around executive KPIs, not my competence!
·ludic.mataroa.blog·
The Complex Problem Of Lying For Jobs — Ludicity
‘I Just Want a Dumb Job’
‘I Just Want a Dumb Job’
I realized that the more “luxury” a company is that you’re working for, whether it’s consumer or editorial, the worse the attitudes are. It’s like, “Well, you’re lucky to be an ambassador of this brand.”
There’s training around how you give feedback and how you receive it, how you tackle problems, and how you behave. Seeing all these systems in place, when I first arrived, I was just like, “Wow. I didn’t know work could be like this.
·thecut.com·
‘I Just Want a Dumb Job’
After Apple, Jony Ive Is Building an Empire of His Own
After Apple, Jony Ive Is Building an Empire of His Own
Wealthy tech executives spending their fortunes on real estate or more imaginative adventures is a staple of Silicon Valley culture. Some buy islands, others build yachts longer than a football field or fund quixotic flying car projects. Mr. Ive’s fixation on a single city block, by comparison, seems modest.
At LoveFrom, he has tried to trust his instincts. Buying one building led to buying another. A discussion about a new yarn led to his first fashion apparel. Work with one client, Brian Chesky, the chief executive of Airbnb, led to meeting Sam Altman, the chief executive of OpenAI.
He bought it for $8.5 million and discovered its backdoor led to a parking lot encircled by the block’s buildings. He wanted to turn the parking lot into a green space, but learned that he needed to own another building on the block to control the parking lot. So a year later, he bought a neighboring, 33,000-square-foot building for $17 million.
Mr. Weeks cringed. San Francisco’s commercial real estate market would crash during the pandemic, and more than a third of its offices remain vacant. “I don’t really think you need to do that,” Mr. Weeks told Mr. Ive. “I can get you office space.”
worries faded after neighbors met Mr. Ive. He offered to reduce some tenants’ rents, did free design work for others and won over Mr. Peskin, a frequent critic of development in his district, with his plans to preserve the existing buildings.
Over five years, Mr. Ive and Mr. Newson hired architects, graphic designers, writers and a cinematic special effects developer who work across three areas: work for the love of it, which they do without pay; work for clients, which includes Airbnb and Ferrari; and work for themselves, which includes the building renovation.
The project has given Mr. Elkann an appreciation for LoveFrom’s process. In January, he visited the firm’s studio for an hourslong meeting about the car’s steering wheel. He listened as Mr. Ive and others talked about the appropriate steering wheel length and how a driver should hold it. Ferrari’s chief test driver tested an early prototype of the wheel, which borrowed design elements from the company’s sports car and racecar history, to assess how it would perform. “Paying attention to the steering wheel in a car that you want to drive and what the physicality of what that means is something that Jony was very clear about,” Mr. Elkann said. He added that the result is “something really, really different.”
·nytimes.com·
After Apple, Jony Ive Is Building an Empire of His Own
M. Night Shyamalan Says Bad Reviews of ‘Glass’ Made Him Cry
M. Night Shyamalan Says Bad Reviews of ‘Glass’ Made Him Cry
“What do you want to be?” Shyamalan asked. “Writer? Director?” “Director,” the student said. “But that’s really hard to accomplish.” Shyamalan shot back with a heated response. “Dude, I don’t like the way you talk, bro,” he said. “How can you tell me that it’s going to be hard? Do you see a lot of people like you writing stories? Give me a break, bro. That’s your strength, that you’re not like us. Go out there and tell your stories. Don’t go out there and try to be like Quentin or me or anybody else. We need you. Tell me what makes you angry, why you’re arrogant, or fearful, whatever it is. Don’t hide anything. Be honest. What is that thing that bothers you and makes you distinct? Everyone’s looking for you. A Mexican point of view to tell a story right now? I’m telling you, everybody wants that right now.”
·indiewire.com·
M. Night Shyamalan Says Bad Reviews of ‘Glass’ Made Him Cry
Richard Linklater Sees the Killer Inside Us All
Richard Linklater Sees the Killer Inside Us All
What’s your relationship now to the work back then? Are you as passionate? I really had to think about that. My analysis of that is, you’re a different person with different needs. A lot of that is based on confidence. When you’re starting out in an art form or anything in life, you can’t have confidence because you don’t have experience, and you can only get confidence through experience. But you have to be pretty confident to make a film. So the only way you counterbalance that lack of experience and confidence is absolute passion, fanatical spirit. And I’ve had this conversation over the years with filmmaker friends: Am I as passionate as I was in my 20s? Would I risk my whole life? If it was my best friend or my negative drowning, which do I save? The 20-something self goes, I’m saving my film! Now it’s not that answer. I’m not ashamed to say that, because all that passion doesn’t go away. It disperses a little healthfully. I’m passionate about more things in the world. I care about more things, and that serves me. The most fascinating relationship we all have is to ourselves at different times in our lives. You look back, and it’s like, I’m not as passionate as I was at 25. Thank God. That person was very insecure, very unkind. You’re better than that now. Hopefully.
·nytimes.com·
Richard Linklater Sees the Killer Inside Us All
How to Make a Great Government Website—Asterisk
How to Make a Great Government Website—Asterisk
Summary: Dave Guarino, who has worked extensively on improving government benefits programs like SNAP in California, discusses the challenges and opportunities in civic technology. He explains how a simplified online application, GetCalFresh.org, was designed to address barriers that prevent eligible people from accessing SNAP benefits, such as a complex application process, required interviews, and document submission. Guarino argues that while technology alone cannot solve institutional problems, it provides valuable tools for measuring and mitigating administrative burdens. He sees promise in using large language models to help navigate complex policy rules. Guarino also reflects on California's ambitious approach to benefits policy and the structural challenges, like Prop 13 property tax limits, that impact the state's ability to build up implementation capacity.
there are three big categories of barriers. The application barrier, the interview barrier, and the document barrier. And that’s what we spent most of our time iterating on and building a system that could slowly learn about those barriers and then intervene against them.
The application is asking, “Are you convicted of this? Are you convicted of that? Are you convicted of this other thing?” What is that saying to you, as a person, about what the system thinks of you?
Often they’ll call from a blocked number. They’ll send you a notice of when your interview is scheduled for, but this notice will sometimes arrive after the actual date of the interview. Most state agencies are really slammed right now for a bunch of reasons, including Medicaid unwinding. And many of the people assisting on Medicaid are the same workers who process SNAP applications. If you missed your phone interview, you have to call to reschedule it. But in many states, you can’t get through, or you have to call over and over and over again. For a lot of people, if they don’t catch that first interview call, they’re screwed and they’re not going to be approved.
getting to your point about how a website can fix this —  the end result was lowest-burden application form that actually gets a caseworker what they need to efficiently and effectively process it. We did a lot of iteration to figure out that sweet spot.
We didn’t need to do some hard system integration that would potentially take years to develop — we were just using the system as it existed. Another big advantage was that we had to do a lot of built-in data validation because we could not submit anything that was going to fail the county application. We discovered some weird edge cases by doing this.
A lot of times when you want to build a new front end for these programs, it becomes this multiyear, massive project where you’re replacing everything all at once. But if you think about it, there’s a lot of potential in just taking the interfaces you have today, building better ones on top of them, and then using those existing ones as the point of integration.
Government tends to take a more high-modernist approach to the software it builds, which is like “we’re going to plan and know up front how everything is, and that way we’re never going to have to make changes.” In terms of accreting layers — yes, you can get to that point. But I think a lot of the arguments I hear that call for a fundamental transformation suffer from the same high-modernist thinking that is the source of much of the status quo.
If you slowly do this kind of stuff, you can build resilient and durable interventions in the system without knocking it over wholesale. For example, I mentioned procedural denials. It would be adding regulations, it would be making technology systems changes, blah, blah, blah, to have every state report why people are denied, at what rate, across every state up to the federal government. It would take years to do that, but that would be a really, really powerful change in terms of guiding feedback loops that the program has.
Guarino argues that attempts to fundamentally transform government technology often suffer from the same "high-modernist" thinking that created problematic legacy systems in the first place. He advocates for incremental improvements that provide better measurement and feedback loops.
when you start to read about civic technology, it very, very quickly becomes clear that things that look like they are tech problems are actually about institutional culture, or about policy, or about regulatory requirements.
If you have an application where you think people are struggling, you can measure how much time people take on each page. A lot of what technology provides is more rigorous measurement of the burdens themselves. A lot of these technologies have been developed in commercial software because there’s such a massive incentive to get people who start a transaction to finish it. But we can transplant a lot of those into government services and have orders of magnitude better situational awareness.
There’s this starting point thesis: Tech can solve these government problems, right? There’s healthcare.gov and the call to bring techies into government, blah, blah, blah. Then there’s the antithesis, where all these people say, well, no, it’s institutional problems. It’s legal problems. It’s political problems. I think either is sort of an extreme distortion of reality. I see a lot of more oblique levers that technology can pull in this area.
LLMs seem to be a fundamental breakthrough in manipulating words, and at the end of the day, a lot of government is words. I’ve been doing some active experimentation with this because I find it very promising. One common question people have is, “Who’s in my household for the purposes of SNAP?” That’s actually really complicated when you think about people who are living in poverty — they might be staying with a neighbor some of the time, or have roommates but don’t share food, or had to move back home because they lost their job.
I’ve been taking verbatim posts from Reddit that are related to the household question and inputting them into LLMs with some custom prompts that I’ve been iterating on, as well as with the full verbatim federal regulations about household definition. And these models do seem pretty capable at doing some base-level reasoning over complex, convoluted policy words in a way that I think could be really promising.
caseworkers are spending a lot of their time figuring out, wait, what rule in this 200-page policy manual is actually relevant in this specific circumstance? I think LLMS are going to be really impactful there.
It is certainly the case that I’ve seen some productive tensions in counties where there’s more of a mix of that and what you might consider California-style Republicans who are like, “We want to run this like a business, we want to be efficient.” That tension between efficiency and big, ambitious policies can be a healthy, productive one. I don’t know to what extent that exists at the state level, and I think there’s hints of more of an interest in focusing on state-level government working better and getting those fundamentals right, and then doing the more ambitious things on a more steady foundation.
California seemed to really try to take every ambitious option that the feds give us on a whole lot of fronts. I think the corollary of that is that we don’t necessarily get the fundamental operational execution of these programs to a strong place, and we then go and start adding tons and tons of additional complexity on top of them.
·asteriskmag.com·
How to Make a Great Government Website—Asterisk