“Have any of you all met Paul Ryan? I’m telling you this guy is amazing. He is honest; he is straightforward; he is sincere; and the budget he came forward with is just like Paul Ryan. It is a sensible, straightforward, honest, serious budget.”
Last weekend, I was talking to a friend in New York who is a top IT manager for an advertising firm. My friend is in the process of remaking the Web presence for a hair-products conglomerate, and his staff is divided among the firm’s offices in New York, Argentina, Singapore and London. On one level, he told me, it’s not a problem: The work can be shared via the Internet, and group conversations can take place on Skype. But here’s the catch: In order to manage people on three other continents, my friend is working at 2 a.m., 5 a.m., noon, 4 p.m. — around the clock. This isn’t “Mad Men,” with time for two-martini lunches, it’s insanity.
Sharon Waxman's new book, "Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System" (HarperEntertainment 2005). Waxman has covered Hollywood for The New York Times for a year and for The Washington Post for eight, and in her eminently readable and well-researched book, she encapsulates the 1990s through the breakout films of six young directors: Quentin Tarantino, Steven Soderbergh, David Fincher, Paul Thomas Anderson, David. O. Russell and Spike Jonze: "With their films, the rebels of the 1990s shattered the status quo, set new boundaries in the art of moviemaking, and managed to bend the risk-averse studio structure to their will. They created a new cinematic language, recast audience expectations, and surprised us -- and one another."
Dean's confusion about the location of the Book of Job generated a fair amount of ridicule at the time from commentators -- but not from William Safire, the Pulitzer Prize-winning columnist of The New York Times, who is speaking next week about Job at Sinai Temple.
The museum world in Los Angeles looks as though it is in for a significant challenge.