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Category: Good Reads



A good background on Bob Odenkirk

Chicago Magazine: What About Bob

Saul Goodman survived four seasons, all the way through the series finale in 2013—and beyond. Gilligan and Gould could not let go of the character, and they began writing a spinoff series, also set in Albuquerque but before the action in Breaking Bad begins. “Vince and Peter clearly could have done anything they wanted after Breaking Bad,” says Odenkirk. “This was purely motivated by their desire to challenge themselves and figure out this character: Who did he start as? And how did he become that thing that we got to know?”

AMC has signed on for at least two seasons, and Odenkirk’s dramatic work in the first 10 episodes has been so strong that Gilligan found himself tearing up in the editing room during a few scenes. “We knew he was one of the funniest men alive,” says Gilligan, “but it wasn’t until we started shooting Better Call Saul that I realized the depth of drama and emotion he could truly put into this character. He only scratched the surface of that ability on Breaking Bad.”

Alexander Schaper

Alexander Schaper From Sneakers to Suits: Designer Alexander Schaper on His Transition From Adidas to Filippa K

Aexander Schaper formerly worked for the Adidas Fashion Group. In August 2014, Schaper joined Filippa K Man as its senior menswear designer, and today he showed his first collection for the brand.

What did you aim to achieve when you took on the senior designer role at Filippa K Man?

My aim has been to add a little bit more of an attitude to Filippa K Man; a true contemporary design, with a focus on quality and functionality; and a classic base of colors where the tones and hues are what is important for the overall look. Men like fashion to be easy and functional. It’s all about the total look of layering, and I like our design to come from that belief.

Loren Brichter

Loren Brichter

Loren Brichter is an app developer, he made the Letterpress app, & was the developer: create or help popularize app features such as pulling on a touch screen to refresh a page, panels that slide out from the side of a screen and the "cell swipe," which is swiping to uncover a list of hidden buttons.

In an interview this month he had this to say that caught my attention, in italic:

Do you mostly focus on one project at a time, or are you a multitasker?

I’d describe my work schedule as cooperatively single-threaded with a heavy context switch cost, so I try to keep time slices on the order of about a week. So I have lots of projects going at once that usually relate to each other in some way, but I only consciously work on one at a time.

I can’t consciously multitask at all, but I think my brain works a bit like libdispatch. The subconscious can chew on a lot of stuff in parallel. So when my conscious mind switches back to some other work it put aside earlier, there are usually a couple good ideas waiting for it.

The 'Underground' Arts Scene


The Guardian:

Before the digital revolution, experimental subcultures were far more hidden from view. Today they’re more accessible than ever – with consequences for artists and audiences


The internet has been wonderful for liberating alternative art forms and under-represented artists and their audiences from the gatekeepers of culture. But the problem with the internet is that the underground arts scene – that safe space where risk, dissent and difference are possible – is now only a click away. I’m curious about why these people clicked on those events and whether they asked themselves if what they had found really was for them. And if they did, what on earth were they thinking by attending if it wasn’t?

Sølve Sundsbø

Sølve Sundsbø

“I’m an opportunist, I’m good at seizing opportunities.”

BoF: The Creative Class | Sølve Sundsbø, Photographer

Sølve Sundsbø, who learned his craft as Nick Knight’s assistant in the 1990s, has made a name for himself with fantastical images that defy belief.

Top & Bottom 15 Sexiest Types Of Creativity


From Fast Company Design: A Scientific Ranking Of The Sexiest Types Of Creativity


Making clothes is at the bottom of the bottom list, and Making Ad campaigns is in slot #3 of the bottom list. Though Taking artistic photographs is on the top 15 list in slot #7.

I wonder where running a [fashion] blog weighs in.

Here are 15 sexiest creative behaviors, as rated by female participants:

1. Playing sports
2. Taking a date on a spontaneous road trip
3. Recording music
4. Making a clever remark
5. Writing music
6. Performing in a band
7. Taking artistic photographs
8. Performing in comedy
9. Dressing in a unique style
10. Writing poetry
11. Inventing new recipes
12. Drawing pictures
13. Making sculptures
14. Writing short stories
15. Styling your hair in an interesting way

And here's the bottom 15 (with lowest-ranking at the top):

1. Making clothes
2. Entering a science contest
3. Making ad campaigns
4. Interior decorating
5. Writing an original computer program
6. Making websites
7. Growing and gardening
8. Presenting scientific or mathematical papers
9. Exterior decorating
10. Applying math in an original way to solve a practical problem
11. Developing experimental designs
12. Participating in a drama production
13. Directing a short film
14. Participating in an orchestra
15. Event planning

Stella McCartney Fragrance & Sex

Stella-fragrance-campaign Stella McCartney Explains Why Fragrance “Isn’t All About Sex”

Do you think most fragrance campaigns are geared toward a man’s idealization of a woman?

I think they’re sort of geared to make you feel a little bit insecure and bad about yourself. And it’s all about sex. For me, fragrance isn’t all about sex. It’s about me. It’s about you. And of course, sex is extraordinarily important, but I think it’s not what drives me in beauty.

Wes Anderson’s Cinematographer Details

Robert Yeoman

Vulture: How Wes Anderson’s Cinematographer Shot These 9 Great Scenes

There are few directors with a visual style as distinctive as Wes Anderson's, and to find out just what goes into his carefully composed shots, you'll want to talk to Robert Yeoman. The 63-year-old cinematographer has shot every one of Anderson's films (save for the stop-motion Fantastic Mr. Fox); though, astoundingly, he's never been nominated for an Academy Award. Still, with The Grand Budapest Hotel in the hunt for multiple Oscar nods next week, what better time to talk to Yeoman about his storied career, using nine of Anderson's most famous scenes and shots as prompts?


The Grand Budapest Hotel

Could this film have been Anderson's most pastel confection yet? In a shot like this, where Zero (Tony Revolori) and Agatha (Saoirse Ronan) embrace in a car filled with pastry boxes, "There was so much pink in there, between the boxes and skin tones, that I tried to use bounce cards and white light so that their skin tones wouldn't be overly red." It's a shot that incorporates a lot of Wes Anderson trademarks like deep focus and incredibly specific prop placement, but these boxes are all arranged in a frame far boxier than Anderson typically uses, since he adopted the Academy ratio — 1:37 — for the Grand Budapest sections set in the 1930s. "The aspect-ratio thing came up after I got to Germany for prep," says Yeoman. "We'd been talking, and Wes wasn't sure yet what aspect ratio he wanted shoot in. He'd been so influenced by the Ernst Lubitsch comedies of the '30s, and he was in love with that style." For the scenes set in the 1960s, Yeoman found old anamorphic lenses in Paris to shoot in the wider 2:40 ratio, and he filmed the 1980s sequences in 1:85, though he admits he wasn't initially sure whether it would all cut together well. "But I've seen the film several times now and I never really question it," he says, adding a comment that could sum up his cinematography in a nutshell: "Whether you're aware of it or not, it has an effect on you."

Monopolists Of Customer Trust


Great Perspective


But this is false for the same reason that the attributes of a buyer do not determine their buying behavior. Buyer attributes[1]  are easy to measure and they may correlate to purchasing behavior but they don’t cause it.

Similarly, product or company attributes are easy to measure and they may correlate to competitive behavior but they don’t cause the substitution of a purchase.

Therefore, appealing to Apple to change its strategy, operations or even its core beliefs in response to a competitor’s behavior is deeply misguided. The cause of success and failure in the marketplace is based on being hired by the customer to get a job done. Once hired, the chances are that the trust is secured and the relationship continues even if alternatives are available. There is comfort in the knowledge of whom you’re working with.

This aspect of trusted relationship between the buyer and the product and the interweaving of ‘brand’ (aka intentions) of the hired is the root of loyalty. Of course, loyalties can be betrayed and trust can be lost. But that implies that the primary responsibility of the manager is the creation and preservation of trust. When seen in this light, an alternative axiom becomes clear:

“Great companies don’t have any competition.”

Stefan Simchowitz


The Art World’s Patron Satan