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Most recent 19 results returned for keyword: Dustin Hoffman (Search this on MAP)

https://plus.google.com/105133115201710238559 juanelcastello : Rain Man (1988) Rain Man (1988) Directed by Barry Levinson. With Dustin Hoffman, Tom Cruise, Valeria...
Rain Man (1988)
Rain Man (1988) Directed by Barry Levinson. With Dustin Hoffman, Tom Cruise, Valeria Golino, Gerald R. Molen. Selfish yuppie Charlie Babbitt's father left a fortune to his savant brother Raymond and a pittance to Charlie; they travel cross-country. IMDB.COM
Rain Man (1988)
Rain Man (1988) Directed by Barry Levinson. With Dustin Hoffman, Tom Cruise, Valeria Golino, Gerald R. Molen. Selfish yuppie Charlie Babbitt's father left a fortune to his savant brother Raymond and a pittance to Charlie; th...
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https://plus.google.com/101077867199014400162 vintage everyday : 29 Black and White Photos Shows Behind the Scenes of 'Midnight Cowboy' (1969) Midnight Cowboy is a 1969...
29 Black and White Photos Shows Behind the Scenes of 'Midnight Cowboy' (1969)
Midnight Cowboy is a 1969 American drama film based on the 1965 novel of the same name by James Leo Herlihy. The film was written by Waldo Salt, directed by John Schlesinger, and stars Jon Voight in the title role alongside Dustin Hoffman. Notable smaller r...
29 Black and White Photos Shows Behind the Scenes of 'Midnight Cowboy' (1969)
Midnight Cowboy is a 1969 American drama film based on the 1965 novel of the same name by James Leo Herlihy. The film was written by Waldo Salt, directed by John Schlesinger, and stars Jon Voight in the title role alongside D...
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https://plus.google.com/100992777441355862499 nour meghnine : On this day: At 24th November of 1993, "Mrs. Doubtfire", starring Robin Williams as a divorced father...
On this day:
At 24th November of 1993, "Mrs. Doubtfire", starring Robin Williams as a divorced father who disguises himself as an elderly British nanny in order to spend time with his children, opens in theaters. Directed by Chris Columbus ("Home Alone") and based on a 1987 novel by Anne Fine titled "Alias Madame Doubtfire", the film co-starred Sally Field, Harvey Fierstein and Pierce Brosnan. With Williams following in the footsteps of such actors-in-drag as Dustin Hoffman (1982’s "Tootsie") and Jack Lemmon and Tony Curtis (1959’s "Some Like It Hot"), "Mrs. Doubtfire" was a big commercial and critical success.

"Mrs. Doubtfire" is a comedy film that features the late Robin Williams and Sally Field.It was based on "Alias Madame Doubtfire",a novel written by Anne Fine. In it, we get to see a father who learns to keep in touch with his children in disguise of a sixty-year-old woman.

In terms of plot, the film is rather feeble, but sometimes there's more to a movie than story, and this is one of those rare occasions when all the other elements pull together and lift the production. "Mrs. Doubtfire" is great fun. Strictly speaking, it's not a top example of movie making, but it offers two hours of undeniably solid entertainment, and not too many viewers can argue with that.

Daniel Hillard (Robin Williams) loves his children deeply, but divorce proceedings reduce his interaction with them to one day a week only, which, as far as he's concerned, isn't enough. When his ex-wife Miranda (Sally Field) decides to hire a housekeeper, Daniel sees his chance, unorthodox as it may be. He gets his makeup artist brother Frank (Harvey Fierstein) to turn him into a woman, and he arrives at his old house as the redoubtable Scottish widow Mrs. Doubtfire, who rapidly becomes an indispensable fixture.

The plot of "Mrs. Doubtfire" is a combination of worn-out formulas, silly coincidences, and weary contrivances. The script doesn't exactly sparkle with originality, and this movie possesses all the signs of a disaster waiting to happen. Despite that, it triumphs. Winning performances and hilarious humor keep Mrs. Doubtfire's strengths far more visible than its weaknesses.

Robin Williams doesn't eclipse Dustin Hoffman, but he gives it a game try. He's not very funny when he plays with toy dinosaurs or does silly voices, but put him in drag and he's hilarious, especially when he's required to undergo a rapid-fire transformation. During the dramatic sequences, which are too numerous and cause the film to drag on longer than it should, Williams shows his lack of range, but at least he's subdued.

The children give solid performances; especially the two girls (Mara Wilson as young Nathalie and Lisa Jakub as Lydia). Robert Prosky and Pierce Brosnan manage to impress with exceptionally sketchy stereotypes.

One thing "Mrs. Doubtfire" does well is to avoid the often-used plot device of turning Pierce Brosnan's Stu (Miranda's new love interest) into a snake. He never comes across as anything but charming, and Daniel's dislike of him is based on purely selfish reasons. In fact, there really isn't a nasty or mean-spirited character in the movie. Imagine that a film without a villain. Everything comes back to comedy, and for the most part, that means Williams. Due in part to his ability and in part to Chris Columbus' sense of timing, most of "Mrs. Doubtfire" works.

As a film, "Mrs.Doubtfire" is definitely fun and entertaining.The late Robin Williams was definitely able to elicit a lot laughter for most part as Daniel and when disguised Mrs.Doubtfire. Give credit to his comedic abilities whether physically and his delivery of funny lines.Added to that, it was genuinely humorous as well as it happens to be a family-oriented film as the viewer also gets to deeply care for the situations that Daniel,Miranda and the children are into.

The screenplay was definitely realistic as far as a divorcing couple is concerned and the emotions that the children who loves their father deeply are into except of course when Robin Williams moves in and out of drag and his ability to fool the people around him as a sixty-year old nanny.

But still, one will surely appreciate the story and the movie as a whole as Mr. Williams was able to elevate the movie at a higher level. Credit should also be given to Sally Field for being a great complement to him as the wife who is fed up with her husband's immaturity. Overall, it is a great movie!

#MrsDoubtfire #RobinWilliams #SallyField
#90sMovies #Movies #FamilyComedy
#Comedy #ComedyFilm #ComedyDrama
#Onthisday #MovieReview
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https://plus.google.com/115915657964320096921 MrDeegeezy : "Time passes in moments. Moments, which rushing past, define the path of a life... just as surely as...
"Time passes in moments. Moments, which rushing past, define the path of a life... just as surely as they lead towards its end. How rarely do we stop to examine that path to see the reasons why all things happen." | Featuring: Gillian Anderson, Lewis Black, Justin Long, Mark Wahlberg, Keanu Reeves, Dianne Wiest, Lily Tomlin and Dustin Hoffman. Music by Daft Punk. | https://vimeo.com/channels/feedthefire/199350652 |
Watch the video: Choose Another Path (FTF Films) in FeedTheFire Films
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"Time passes in moments. Moments, which rushing past, define the path of a life... just as surely as they lead towards its end. How rarely do we stop to examine…
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https://plus.google.com/115939350275091137429 Ashley L : Chef Blu-ray +Digital for $9.99 https://www.amazon.com/Chef-Blu-ray/dp/B00KQTHKQC This code can be ...
Chef Blu-ray +Digital for $9.99
https://www.amazon.com/Chef-Blu-ray/dp/B00KQTHKQC

This code can be hard to find. Not a bad deal for the digital and blu-ray. 
Amazon.com: Chef (Blu-ray + DVD + DIGITAL HD): Jon Favreau, Sofia Vergara, John Leguizamo, Scarlett Johansson, Dustin Hoffman, Oliver Platt, Bobby Cannavale, Amy Sedaris, Emjay Anthony, Jr. Robert Downey, Sergei Bespalov: Movies & TV
Amazon.com: Chef (Blu-ray + DVD + DIGITAL HD): Jon Favreau, Sofia Vergara, John Leguizamo, Scarlett Johansson, Dustin Hoffman, Oliver Platt, Bobby Cannavale, Amy Sedaris, Emjay Anthony, Jr. Robert Downey, Sergei Bespalov: Movies & TV
3 days ago - Via Community - View -
https://plus.google.com/114681581804353182530 Brock Gonzo : Mr Magorium's Wonder Emporium (2007) with Dustin Hoffman, Jason Bateman, Natalie Portman Movie
Mr Magorium's Wonder Emporium (2007) with Dustin Hoffman, Jason Bateman, Natalie Portman Movie 
Watch the video: Mr Magorium's Wonder Emporium (2007) with Dustin Hoffman, Jason Bateman, Natalie Portman Movie
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Magic flows freely through the walls and toys within the Wonder Emporium. But when Mr. Magorium, the 243-year-old eccentric who owns the store, decides to tu...
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https://plus.google.com/117305726550481607288 Keys 2 the Coast : LOMPOC UPSTAGED-By Donna Polizzi One of my favorite movies is Rain Man. The movie features two Hollywood...
LOMPOC UPSTAGED-By Donna Polizzi

One of my favorite movies is Rain Man. The movie features two Hollywood mega-stars in dueling leads. Raymond Babbitt, one of two main characters, played by Dustin Hoffman, is a middle aged, institutionalized autistic man with a scorching case of obsessive compulsive disorder. Ray is an idiot savant who can add with the accuracy of a calculator. Charlie Babbitt, the other main character, played by Tom Cruise, is Ray’s hyper-driven, wheeling dealing and irrepressibly self-centered, younger brother who kidnaps his older brother to settle a financial score with their recently deceased wealthy father, who, of course, leaves his entire estate to his autistic son, who has no concept of money.

Both performances are nothing short of spectacular. But Dustin Hoffman won the Oscar for his performance and Tom Cruise wasn’t even nominated. The reality, though, is that while Cruise’s performance was one of the best of his career, Hoffman’s performance playing a disabled man was so believable, that many people forgot Cruise was even in the movie.

I was recently reminded of this film when thinking about one of Santa Barbara County’s under-appreciated cities. The City of Lompoc. The Lompoc Valley, is sometimes forgotten, despite having one of the most important military assets in the world, the most extensively restored missions in California, world-class wineries, some of the most beautiful fields of flowers anywhere in the world, pristine beaches, coastal bluffs, endangered birds, and other rare species. To borrow from the immortal words of comedian Rodney Dangerfield, the Lompoc Valley gets no respect.

The hillsides covered in vibrant flowers, and scenic rolling vineyards are breath taking.

Perhaps the Lompoc Valley fails to receive the attention it deserves, because it eclipsed by too many shining “stars.” Millions of tourists from all over the world come to visit Santa Barbara or Pismo Beach and all too often these same travelers aren’t aware that if they travel a few extra miles they can explore some wonderful places in the Lompoc Valley. 
Do you enjoy hiking? La Purisima Mission State Park, founded in 1797, sits on nearly 2,000 acres of parkland, which is home to more than 20 miles of hiking trails. Do you like flowers? Come to Lompoc in from May through early September and you’ll feast your eyes on patches of vibrant colors as you drive through the Lompoc Valley – you’ll see Bells of Ireland, Stock, Larkspur, and Delphinium.

Do you like the beach? Jalama Beach, located 30 minutes from downtown Lompoc, is nothing short of an amazing spot for surfing, bird-watching, picnics, and fishing. If you are a photographer, Jalama Beach has gorgeous views of the Pacific Ocean. You’ll love Ocean Beach and Estuary…Ocean Beach boasts one of the most beautiful shorelines in California. If you are an amateur bird-watcher and nature photographer, flock to this destination (pun intended), because you’ll see all kinds of migratory sea birds.


“Wine Ghetto” in Lompoc is a fun and interesting place to visit. It is a unique collection of tasting rooms and wine cellars. It is located off Pacific Coast Highway, a few minutes from the center of town, and the has over 20 boutique tasting rooms to choose from. Several wineries are located adjacent to town, within the valley, with daily tasting and wine tours.Two of my personal favorites are Babcock and Melville.

I recently hosted a United Way fundraiser at La Purisima Golf Course, at 3455 E Highway 246 in Lompoc. It is a spectacular 18 hole, impressively beautiful, world class, championship course.Count on Lompoc exceeding your expectations. Have your friends drive…or you can drive… If you’re “an excellent driver”.

For more Blogs: http://keys2thecoast.com/blog/
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https://plus.google.com/108603062408443538810 Jake Hamilton : If Trump doesn't release his tax information before he is elected it will be another example of a rich...
If Trump doesn't release his tax information before he is elected it will be another example of a rich person acting outside the law, and by unfortunately a man that will be in control of our country. This hiding behind a tax review spanning over 30 years is another example of rich people's ability to act outside normal folks options. And is the biggest crock I've heard in a while. And will the guy please stop referring by default, the situation of money's involved in development of airplanes. With all the problems that exists to hold onto this irrelevant time filler is an insult. I suggest watching " Wag The Dog". Robert Dinero , Dustin Hoffman, and many others in a satire about the how the presidency and politics are manipulated. Out in the 90's it showed play by play what would soon materialize as absolute truth.
5 days ago - Via Google+ - View -
https://plus.google.com/102761428217087009797 Nigel Shindler : MAFIA HOLLYWOOD The intent of all forms of art is to cultivate the mind; the Mafia, on the contrary,...
MAFIA HOLLYWOOD
The intent of all forms of art is to cultivate the mind; the Mafia, on the contrary, uses the arts to dumb down the mind. The epic movie was once popular in Hollywood; people would flock to see movies three, four, hours long, with an intermission of around 15 minutes. Such movies typically had a greater number of characters than other movies, and, as common sense would dictate, it takes longer for the audience to become acquainted with them. Presently, movies are typically around 90 minutes in length, and camera shots change every few seconds; in the case of the blockbuster, "Armageddon", as the film critic Roger Ebert noted, there are portions of the movie in which the camera changes position every second - this is a stark contrast to the epic Ingmar Bergman movie "Fanny and Alexander", where the camera can be stationary for 5 -10 minutes.

The best actors, and actresses, in the movie industry for decades, till the mid-eighties, were, without exception, character actors; most modeled themselves on Marlon Brando's method acting style made famous in such movies as “A Streetcar Named Desire”, and, “On the Waterfront”; both were made in the 1950’s; (he put cotton balls in his cheeks for his role in "The Godfather Part 1" in order to create a memorable, distinctive, accent). It is extraordinary to witness since that time how the acting talent that was once teeming in all quarters of the movie industry has been wasted, and how the most promising directors, Michael Cimino, was among them, who directed “The Deer Hunter”, have been thwarted in their efforts to make movies that are grand in scope; “Heaven’s Gate”, was such a burden to make, it scarcely got off the ground, never mind, soar to the outer realms of the sky. Meryl Streep is the best actress ever; no actress, as far as I'm concerned, has surpassed her performances in the 70's, and early 80's; from her co-starring role with Dustin Hoffman in “Kramer vs, Kramer”, to “Falling in Love” with Robert DeNiro. Unfortunately, she has not been challenged as an actress since, and as a consequence, she is not aware, due in large part to the fact she's still being given awards, (most recently a Golden Globe Cecil B. DeMille Award), for movies that early in her career she wouldn't have considered wasting a second of her time on.

Evidence of her deterioration is present in her acceptance speech for her most recent award; she gave a discourse on Donald Trump's, as she perceived it, untactful, to put it mildly, imitation of a "disabled" reporter; obviously, she should have been thanking those who helped her career; this is a wonderful expression of humility; she used her time instead to disparage the future president's character, and, at the same time, exposed her present ineptness as an actress - she doesn't know Donald Trump. She’s no longer involved in movies that spend time developing a character; most movies, on the contrary, "cut to chase", (have a constant stream of action), so the audience doesn't get bored. Her remarks about Donald Trump, and the disabled, are prejudicial. No matter the “disability" a person may have, he/she is the same as everybody else; they have to develop a backbone, and put up with the taunts; “put downs”, and other such nonsense that is customary among people, no matter their back ground. It is normal for people to fear of the unknown, and natural to lessen fear by labeling, and stereotyping, people we've just met; (in my opinion, it's denigrating to insinuate a person can't take an insult); there is nothing wrong in doing this, what is important, however, is that we don't take our preconceived notions about people too seriously.
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https://plus.google.com/105493787566268742616 Tom Farrell : Steve McQueen and Dustin Hoffman in "Papillon" (1973)
Steve McQueen and Dustin Hoffman in "Papillon" (1973)
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https://plus.google.com/100809889354894496544 Brandon Reed : Today, it's big-time celebration of major film studio label, #ColumbiaPictures in especially 93 years...
Today, it's big-time celebration of major film studio label, #ColumbiaPictures in especially 93 years. Owned by #SonyPictures

Became an American film studio, production company and film distributor that is a member of the Sony Pictures Motion Picture Group, a division of Sony Entertainment's Sony Pictures subsidiary of the Japanese conglomerate Sony.

The studio was founded in 1918 as Cohn-Brandt-Cohn Film Sales by brothers Jack and Harry Cohn and Jack's best friend Joe Brandt, released its first feature film in August 1922. It adopted the Columbia Pictures name in 1924, and went public two years later. Its name is derived from "Columbia", a national personification of the United States, which is used as the studio's logo.[citation needed] In its early years, it was a minor player in Hollywood, but began to grow in the late 1920s, spurred by a successful association with director Frank Capra. With Capra and others, Columbia became one of the primary homes of the screwball comedy. In the 1930s, Columbia's major contract stars were Jean Arthur and Cary Grant. In the 1940s, Rita Hayworth became the studio's premier star and propelled their fortunes into the late 1950s. Rosalind Russell, Glenn Ford, and William Holden also became major stars at the studio.

In 1982, the studio was purchased by The Coca-Cola Company, and launched TriStar Pictures as a joint venture with HBO and CBS[citation needed]. Five years later, Coca-Cola spun off Columbia, which was sold to Tri-Star, as the latter became Columbia Pictures Entertainment. After a brief period of independence with Coca-Cola maintaining a financial interest, the combined studio was acquired by Sony in 1989.

It is one of the leading film studios in the world, and is a member of the "Big Six" major American film studios. It was one of the so-called "Little Three" among the eight major film studios of Hollywood's Golden Age.

Today, it has become the world's fifth largest major film studio.

What would eventually become Columbia Pictures, CBC Film Sales Corporation, was founded on June 19, 1918 by Harry Cohn, his brother Jack Cohn, and Joe Brandt.[5][6]

Brandt was president of CBC Film Sales, handling sales, marketing and distribution from New York along with Jack Cohn, while Harry Cohn ran production in Hollywood. The studio's early productions were low-budget short subjects: "Screen Snapshots", the "Hall Room Boys" (the vaudeville duo of Edward Flanagan and Neely Edwards), and the Chaplin imitator Billy West.[7] The start-up CBC leased space in a Poverty Row studio on Hollywood's famously low-rent Gower Street. Among Hollywood's elite, the studio's small-time reputation led some to joke that "CBC" stood for "Corned Beef and Cabbage".[5]

Reorganization and new name[edit]
Brandt eventually tired of dealing with the Cohn brothers, and sold his one-third stake to Harry Cohn, who took over as president. In an effort to improve its image, the Cohn brothers renamed the company Columbia Pictures Corporation on January 10, 1924.[8] Cohn remained head of production as well, thus concentrating enormous power in his hands. He would run Columbia for the next 34 years, the second-longest tenure of any studio chief, behind only Warner Bros.' Jack L. Warner. Even in an industry rife with nepotism, Columbia was particularly notorious for having a number of Harry and Jack's relatives in high positions. Humorist Robert Benchley called it the Pine Tree Studio, "because it has so many Cohns".[9]

Columbia's product line consisted mostly of moderately budgeted features and short subjects including comedies, sports films, various serials, and cartoons. Columbia gradually moved into the production of higher-budget fare, eventually joining the second tier of Hollywood studios along with United Artists and Universal. Like United Artists and Universal, Columbia was a horizontally integrated company. It controlled production and distribution; it did not own any theaters.

Helping Columbia's climb was the arrival of an ambitious director, Frank Capra. Between 1927 and 1939, Capra constantly pushed Cohn for better material and bigger budgets. A string of hits he directed in the early and mid 1930s solidified Columbia's status as a major studio. In particular, It Happened One Night, which nearly swept the 1934 Oscars, put Columbia on the map. Until then, Columbia's very existence had depended on theater owners willing to take its films, since as mentioned above it didn't have a theater network of its own. Other Capra-directed hits followed, including the original version of Lost Horizon (1937), with Ronald Colman, and Mr. Smith Goes to Washington (1939), which made James Stewart a major star.

In 1938, the addition of B. B. Kahane as Vice President would produce Charles Vidor's Those High Gray Walls (1939), and The Lady in Question (1940), the first joint film of Rita Hayworth and Glenn Ford. Kahane would late become the President of Academy of Motion Picture Arts and Sciences in 1959, until his death a year later.

Columbia could not afford to keep a huge roster of contract stars, so Cohn usually borrowed them from other studios. At Metro-Goldwyn-Mayer, the industry's most prestigious studio, Columbia was nicknamed "Siberia", as Louis B. Mayer would use the loan out to Columbia as a way to punish his less-obedient signings. In the 1930s, it signed Jean Arthur to a long-term contract, and after The Whole Town's Talking (1935), Arthur became a major comedy star. Ann Sothern's lustrous career was launched when Columbia signed her to a contract in 1936. Cary Grant signed a contract in 1937 and soon after it was altered to a non-exclusive contract shared with RKO.

Many theaters relied on westerns to attract big weekend audiences, and Columbia always recognized this market. Its first cowboy star was Buck Jones, who signed with Columbia in 1930 for a fraction of his former big-studio salary. Over the next two decades Columbia released scores of outdoor adventures with Jones, Tim McCoy, Ken Maynard, Jack Luden, Bob Allen (Robert (Tex) Allen), Russell Hayden, Tex Ritter, Ken Curtis, and Gene Autry. Columbia's most popular cowboy was Charles Starrett, who signed with Columbia in 1935 and starred in 131 western features over 17 years.

Short subjects[edit]
At Harry Cohn's insistence the studio signed The Three Stooges in 1934. Rejected by MGM (which kept straight-man Ted Healy but let the Stooges go),[10] the Stooges made 190 shorts for Columbia between 1934 and 1957. Columbia's short-subject department employed many famous comedians, including Buster Keaton, Charley Chase, Harry Langdon, Andy Clyde, and Hugh Herbert. Almost 400 of Columbia's 529 two-reel comedies were released to television between 1958 and 1961; to date, all of the Stooges, Keaton, Charley Chase, Shemp Howard, Joe Besser, and Joe DeRita subjects have been released to home video.

In the early 1930s, Columbia distributed Walt Disney's famous Mickey Mouse cartoons. In 1933, the studio established its own animation house, under the Screen Gems brand; Columbia's leading cartoon series were Krazy Kat, Scrappy, The Fox and the Crow, and (very briefly) Li'l Abner.[11] In 1949, Columbia agreed to release animated shorts from United Productions of America; these new shorts were more sophisticated than Columbia's older cartoons, and many won critical praise and industry awards.

According to Bob Thomas's book King Cohn, studio chief Harry Cohn always placed a high priority on serials. Beginning in 1937, Columbia entered the lucrative serial market, and kept making these episodic adventures until 1956, after other studios had discontinued them. The most famous Columbia serials are based on comic-strip or radio characters: Mandrake the Magician, The Shadow, Terry and the Pirates, Captain Midnight, The Phantom, Batman, and Superman, among many others.

Columbia also produced musical shorts, sports reels (usually narrated by sportscaster Bill Stern), and travelogues. Its "Screen Snapshots" series, showing behind-the-scenes footage of Hollywood stars, was a Columbia perennial; producer-director Ralph Staub kept this series going through 1958.

1940s[edit]
In the 1940s, propelled in part by their film's surge in audiences during the war, the studio also benefited from the popularity of its biggest star, Rita Hayworth. Columbia maintained a long list of contractees well into the 1950s: Glenn Ford, Penny Singleton, William Holden, Judy Holliday, The Three Stooges, Ann Miller, Evelyn Keyes, Ann Doran, Jack Lemmon, Cleo Moore, Barbara Hale, Adele Jergens, Larry Parks, Arthur Lake, Lucille Ball, Kerwin Mathews, and Kim Novak.

Harry Cohn monitored the budgets of his films, and the studio got the maximum use out of costly sets, costumes, and props by reusing them in other films. Many of Columbia's low-budget "B" pictures and short subjects have an expensive look, thanks to Columbia's efficient recycling policy. Cohn was reluctant to spend lavish sums on even his most important pictures, and it was not until 1943 that he agreed to use three-strip Technicolor in a live-action feature. (Columbia was the last major studio to employ the expensive color process.) Columbia's first Technicolor feature was the western The Desperadoes, starring Randolph Scott and Glenn Ford. Cohn quickly used Technicolor again for Cover Girl, a Hayworth vehicle that instantly was a smash hit, released in 1944, and for the fanciful biography of Frédéric Chopin, A Song to Remember, with Cornel Wilde, released in 1945. Another biopic, 1946's The Jolson Story with Larry Parks and Evelyn Keyes, was started in black-and-white, but when Cohn saw how well the project was proceeding, he scrapped the footage and insisted on filming in Technicolor.

In 1948, the United States v. Paramount Pictures, Inc. anti-trust decision forced Hollywood motion picture companies to divest themselves of the theatre chains that they owned. Since Columbia did not own any theaters, it was now on equal terms with the largest studios, and soon replaced RKO on the list of the "Big Five" studios.

Screen Gems[edit]
In 1946, Columbia dropped the Screen Gems brand from its cartoon line, but retained the Screen Gems name for various ancillary activities, including a 16 mm film-rental agency and a TV-commercial production company. In November 1948, Columbia adopted the Screen Gems name for its television production subsidiary when the studio acquired Pioneer Telefilms, a television commercial company founded by Harry Cohn's nephew, Ralph Cohn.[12] Pioneer was originally founded in 1947, later reorganized as Screen Gems.[12] The studio opened its doors for business in New York on April 15, 1949.[12] By 1951, Screen Gems became a fully-fledged television studio and became a major producer of situation comedies for TV, beginning with Father Knows Best and followed by The Donna Reed Show, The Partridge Family, Bewitched, I Dream of Jeannie, and The Monkees.

On July 1, 1956, studio veteran Irving Briskin stepped down as stage manager of Columbia Pictures and form his production company Briskin Productions, Inc. to release series through Screen Gems and supervise all of its productions.[13] On December 10, Screen Gems expanded into television syndication by acquiring Hygo Television Films (a.k.a. Serials Inc.) and its affiliated company United Television Films, Inc. Hygo Television Films was founded in 1951 by Jerome Hyams, who also acquired United Television Films in 1955 that was founded by Archie Mayers.[14]

In 1957, after its parent company Columbia dropped UPA, Screen Gems entered a distribution deal with Hanna-Barbera Productions, which produced classic TV cartoon shows such as The Flintstones, Ruff and Reddy, The Huckleberry Hound Show, Yogi Bear, Jonny Quest, The Jetsons and others. Screen Gems would distribute until 1967, when Hanna-Barbera was sold to Taft Broadcasting.

In 1960, the studio became a publicly traded company under the name Screen Gems, Inc., when Columbia spun off an 18% stake.

1950s[edit]
By 1950 Columbia had discontinued most of its popular series films (Boston Blackie, Blondie, The Lone Wolf, The Crime Doctor, Rusty, etc.) Only Jungle Jim, launched by producer Sam Katzman in 1949, kept going through 1955. Katzman contributed greatly to Columbia's success by producing dozens of topical feature films, including crime dramas, science-fiction stories, and rock-'n'-roll musicals. Columbia kept making serials until 1956 and two-reel comedies until 1957, after other studios had abandoned them.

As the larger studios declined in the 1950s, Columbia's position improved. This was largely because it did not suffer from the massive loss of income that the other major studios suffered from the loss of their theaters (well over 90 percent, in some cases). Columbia continued to produce 40-plus pictures a year, offering productions that often broke ground and kept audiences coming to theaters such as its adaptation of the controversial James Jones novel, From Here to Eternity (1953), On the Waterfront (1954), and The Bridge on the River Kwai (1957) with William Holden and Alec Guinness. All three films won the Best Picture Oscar.

Columbia also released the made-in-England Warwick Films by producers Irving Allen and Albert R. Broccoli as well as many films by producer Carl Foreman who resided in England. Columbia also distributed some films made by Hammer.

In 1958, Columbia established its own record label, Colpix Records, initially run by Jonie Taps, who headed Columbia's music department, and later Paul Wexler and Lester Sill. Colpix was active until 1966 when Columbia entered into a joint agreement with RCA Victor and discontinued Colpix in favor of its new label, Colgems Records.

After Harry Cohn's death[edit]
Shortly after closing their short subjects department, Columbia president Harry Cohn died of a heart attack in February 1958.

By the late 1960s, Columbia had an ambiguous identity, offering old-fashioned fare like A Man for All Seasons and Oliver! along with the more contemporary Easy Rider and The Monkees. After turning down releasing Albert R. Broccoli's Eon Productions James Bond films, Columbia hired Broccoli's former partner Irving Allen to produce the Matt Helm series with Dean Martin. Columbia also produced a James Bond spoof, Casino Royale (1967), in conjunction with Charles K. Feldman, which held the adaptation rights for that novel.

By 1966, the studio was suffering from box-office failures, and takeover rumors began surfacing. Columbia was surviving solely on the profits made from Screen Gems, whose holdings also included radio and television stations.[15] On December 23, 1968, Screen Gems merged with Columbia Pictures Corporation and became part of the newly formed Columbia Pictures Industries, Inc. for $24.5 million.

Nearly bankrupt by the early 1970s, the studio was saved via a radical overhaul: the Gower Street Studios (now called "Sunset Gower Studios") were sold and a new management team was brought in. In 1972, Columbia and Warner Bros. formed a partnership called "The Burbank Studios" in which both companies shared the Warner studio lot in Burbank. While fiscal health was restored through a careful choice of star-driven vehicles,[citation needed] the studio's image was badly hurt by the David Begelman check-forging scandal. Begelman eventually resigned (later ending up at Metro-Goldwyn-Mayer before committing suicide in 1995), and the studio's fortunes gradually recovered.

From 1971 until the end of 1987, Columbia's international distribution operations were a joint venture with Warner Bros., and in some countries, this joint venture also distributed films from other companies (like EMI Films and Cannon Films in the UK). Warners pulled out of the venture in 1988 to join up with Walt Disney Pictures.[citation needed]

On May 6, 1974, Columbia retired the Screen Gems name from television, renaming its television division Columbia Pictures Television. The name was suggested by David Gerber, who was then-president of Columbia's television division.[17] The same year, Columbia Pictures acquired Rastar Pictures, which included Rastar Productions, Rastar Features, and Rastar Television. Ray Stark then founded Rastar Films, the reincarnation of Rastar Pictures and it was acquired by Columbia Pictures in February 1980.[18]

In December 1976, Columbia Pictures acquired the arcade game company D. Gottlieb & Co. for $50 million.[19]

In fall 1978, Kirk Kerkorian, a Vegas casino mogul who also controlled Metro-Goldwyn-Mayer, acquired a 5.5% stake in Columbia Pictures.[20] He then announced on November 20, to launch a tender offer to acquire another 20% for the studio.[20] On December 14, a standstill agreement was reached with Columbia by promising not to go beyond 25% or seeking control for at least three years.[20]

On January 15, 1979, the Justice Department filed an antitrust suit against Kerkorian, to block him from holding stake in Columbia, while controlling MGM.[20] On February 19, 1979, Columbia Pictures Television acquired TOY Productions; the production company founded by Bud Yorkin and writers Saul Turteltaub and Bernie Orenstein in 1976.[21] In May, Kerkorian acquired an additional 214,000 shares in Columbia, raising his stake to 25%.[20] On August 2, the suit trial opened at the Justice Department, however, on August 14, the court ruled in favor for Kerkorian.[20]

1980s: Coca-Cola, Tri-Star, and other acquisitions and ventures[edit]
On September 30, 1980, Kerkorian sued Columbia for ignoring shareholders' interest and violating an agreement with him.[20] Columbia later accused him on October 2, for scheming with Nelson Bunker hunt to gain control of Columbia.

In 1981, Kerkorian sold his 25% stake in Columbia back to CPI.[20] Columbia Pictures later acquired 81% of The Walter Reade Organization, which owned 11 theaters; it purchased the remaining 19% in 1985.

In May 1982, Columbia Pictures acquired Spelling-Goldberg Productions.[22] With a healthier balance-sheet (due in large part to box office hits like Stir Crazy, The Blue Lagoon, and Stripes) Columbia was bought by Coca-Cola on June 22, 1982 for $750 million,[23] after having considered buying the struggling Walt Disney Productions.[citation needed] Studio head Frank Price mixed big hits like Tootsie, The Karate Kid, The Big Chill, and Ghostbusters with many costly flops. To share the increasing cost of film production, Coke brought in two outside investors whose earlier efforts in Hollywood had come to nothing. In 1982, Columbia, Time Inc.'s HBO and CBS announced, as a joint venture, "Nova Pictures"; this enterprise was to be renamed Tri-Star Pictures. In 1983, Frank Price left Columbia Pictures after a dispute with Coca-Cola and went back to Universal.[24]

On June 18, 1985, Columbia acquired Norman Lear and Jerry Perenchio's Embassy Communications, Inc. (included Embassy Pictures, Embassy Television, Tandem Productions, and Embassy Home Entertainment), mostly for its library of highly successful television series such as All in the Family and The Jeffersons for $485 million.[25] On November 16, 1985, CBS dropped out of the Tri-Star venture.[26]

Lots of changes took place in 1986. Expanding its television franchise, on May 5, Columbia also bought Merv Griffin Enterprises, notable for successful shows: Wheel of Fortune, Jeopardy!, Dance Fever, and The Merv Griffin Show for $250 million.[27][28] Months later on August 28, the Columbia Pictures Television Group acquired Danny Arnold's Danny Arnold Productions, Inc. including the rights to the successful sitcom Barney Miller (Four D Productions) among other produced series such as Fish (The Mimus Corporation), A.E.S. Hudson Street (Triseme Corporation), and Joe Bash (Tetagram Ltd.), after Arnold dropped the federal and state lawsuits against the television studio accusing them for antitrust violations, fraud, and breach of fiduciary duty.[29][30][31] Coca-Cola sold the Embassy Pictures division to Dino de Laurentiis, who later folded Embassy Pictures into Dino de Laurentiis Productions, Inc. and became De Laurentiis Entertainment Group. Coca-Cola also sold Embassy Home Entertainment to Nelson Entertainment. Coke however, retained the Embassy Pictures name, logo, and trademark. HBO was the last partner drop out of the Tri-Star venture and sold its shares to Columbia [32] Tri-Star later expanded into the television business with its new Tri-Star Television division. The same year, Columbia recruited British producer David Puttnam to head the studio. Puttnam attempted to defy Hollywood filmmaking by making smaller films instead of big tentpole pictures. His criticism of American film production, in addition to the fact that the films he greenlit were mostly flops, left Coke and Hollywood discerned [clarification needed] that Puttnam was ousted from the position after only one year.[33]

On June 26, 1987, Coca-Cola sold The Walter Reade Organization to Cineplex Odeon Corporation.[34] On October 14, 1987, Coca-Cola's entertainment division invested in $30 million in Castle Rock Entertainment with five Hollywood executives. Coke's entertainment business division owned 40% in Castle Rock, while the execs owned 60%.[35]

Columbia Pictures Entertainment era (1987-1989)[edit]
The volatile film business made Coke shareholders nervous, and following the box-office failure Ishtar, Coke spun off its entertainment holdings on December 21, 1987 and sold it to Tri-Star Pictures for $3.1 billion, also creating Columbia/Tri-Star by merging Columbia and Tri-Star. Tri-Star Pictures, Inc. was renamed to Columbia Pictures Entertainment, Inc. (CPE), with Coke owning 80% of the company.[36] Both studios continued to produce and distribute films under their separate names.[37] Puttnam was succeeded by Dawn Steel, the first woman to run a Hollywood motion picture studio. Other small-scale, "boutique" entities were created: Nelson Entertainment, a joint venture with British and Canadian partners, Triumph Films, jointly owned with French studio Gaumont, and which is now a low-budget label, and Castle Rock Entertainment. On January 4, 1988, Columbia/Embassy Television and Tri-Star Television were formed into the new Columbia Pictures Television and Embassy Communications was renamed to ELP Communications. On January 16, 1988, CPE's stock fell slightly in the market on its first day trading in the New York Stock Exchange. Coke spun off 34.1 million of its Columbia shares to its shareholders by reducing its stake in CPE from 80% to 49%.[38] On April 13, 1988, CPE spun off Tri-Star Pictures, Inc. as a reformed company of the Tri-Star studio.[39]

On February 2, 1989, Columbia Pictures Television formed a joint-venture with Norman Lear's Act III Communications called Act III Television to produce television series instead of managing.[40][41]

Sony era (1989-present)[edit]
The Columbia Pictures empire was sold on September 28, 1989 to electronics giant Sony for the amount of $3.4 billion, one of several Japanese firms then buying American properties. The sale netted Coca-Cola a handsome profit from its investment in the studio.[42] Sony then hired two producers, Peter Guber and Jon Peters, to serve as co-heads of production when Sony also acquired the Guber-Peters Entertainment Company (the former game show production company, Barris Industries, Inc.) for $200 million on September 29, 1989.[43] Guber and Peters had just signed a long-term contract with Warner Bros. in 1989, having been with the company since 1983. To extricate them from this contract, Steve Ross, Warner Bros.'s boss sued Sony for $1 billion.[44] Sony completed CPE's acquisition on November 8 and the Guber-Peters acquisition was completed on the following day.

On December 1, 1989, Guber and Peters hired longtime lawyer of GPEC Alan J. Levine, to the post of president and COO of Columbia's newly formed company Filmed Entertainment Group (FEG).[45] FEG consisted of Columbia Pictures, Tri-Star Pictures, Triumph Releasing, Columbia Pictures Television, CPTD, Merv Griffin Enterprises, RCA/Columbia Pictures Home Video, Guber-Peters Entertainment Company, and ancillary and distribution companies.

1990s
In 1990, Sony ended up paying hundreds of millions of dollars, gave up a half-interest in its Columbia House Records Club mail-order business, and bought from Time Warner the former Metro-Goldwyn-Mayer studio in Culver City, which Warner Communications had acquired in its takeover of Lorimar-Telepictures in 1989, thus ending the Burbank Studios partnership. Initially renamed Columbia Studios, Sony spent $100 million to refurbish the rechristened Sony Pictures Studios. Guber and Peters set out to prove they were worth this fortune, but though there were to be some successes, there were also many costly flops. The same year, Frank Price was made as the chairman of Columbia Pictures. His company Price Entertainment, Inc. that he founded in 1987, was merged with Columbia in March 1991. Price left Columbia on October 4, 1991 and was replaced by Warner Bros. executive Mark Canton and reactivated Price Entertainment as Price Entertainment Company with a non-exclusive deal with SPE.[46] Peters was fired by his partner Guber in 1991, but Guber later resigned in 1994 to form Mandalay Entertainment the following year.[47] The entire operation was reorganized and renamed Sony Pictures Entertainment (SPE) on August 7, 1991,[48] and at the same time, TriStar (which had officially lost its hyphen) relaunched its television division in October. In December 1991, SPE created Sony Pictures Classics for arthouse fare and was headed by Michael Barker, Tom Bernard, and Marcie Bloom,[49] whom previously operated United Artists Classics and Orion Classics. Publicly humiliated, Sony suffered an enormous loss on its investment in Columbia, taking a $2.7 billion write-off in 1994. John Calley took over as SPE president in November 1996, installing Amy Pascal as Columbia Pictures president and Chris Lee as president of production at TriStar. By the next spring, the studios were clearly rebounding, setting a record pace at the box office.[50] On December 7, 1992, Sony Pictures acquired the Barry & Enright game show library.[51]

On February 21, 1994, Columbia Pictures Television and TriStar Television were merged into Columbia TriStar Television (CTT),[52][53][54] including the rights to Wheel of Fortune and Jeopardy! after CTT folded Merv Griffin Enterprises.[55][56] In 1994 as well, the company also purchased Stewart Television. On July 21, 1995, Sony Pictures teamed up with Jim Henson Productions and created the joint venture Jim Henson Pictures.[57][58]

In the 1990s, Columbia announced plans of a rival James Bond franchise, since they owned the rights of Casino Royale and were planning to make a third version of Thunderball with Kevin McClory. MGM and Danjaq, LLC, owners of the franchise, sued Sony Pictures in 1997, with the legal dispute ending two years later in an out-of-court settlement. Sony traded the Casino Royale rights for $10 million, and the Spider-Man filming rights.[59] The superhero has since become Columbia's most successful franchise,[60] with the first movie coming out in 2002 and having since gained two sequels, with plans for two more. Ironically, between the releases of the first and second sequels, Sony Corporation led a consortium that purchased MGM – giving it distribution rights to the James Bond franchise.

In 1997, Columbia Pictures ranked as the highest-grossing movie studio in the United States with a gross of $1.256 billion. In 1998, Columbia and TriStar merged to form the Columbia TriStar Motion Picture Group (a.k.a. Columbia TriStar Pictures), though both studios still produce and distribute under their own names. Pascal retained her position as president of the newly united Columbia Pictures, while Lee became the combined studio's head of production. On December 8, 1998, Sony Pictures Entertainment relaunched the Screen Gems brand as a horror and independent film distribution company after shutting down Triumph Films. In 1999, TriStar Television was folded into CTT. Two years later, CPT was folded into CTT as well.

2000s[edit]
In the 2000s, Sony broadened its release schedule by backing Revolution Studios, the production/distribution company headed by Joe Roth. On October 25, 2001 CTT and CTTD merged to form Columbia TriStar Domestic Television.[63] On September 16, 2002, Columbia TriStar Domestic Television was renamed to Sony Pictures Television.[64] Also in 2002, Columbia broke the record for biggest domestic theatrical gross, with a tally of $1.575 billion, coincidentally breaking its own record of $1.256 billion set in 1997, which was raised by such blockbusters as Spider-Man, Men in Black II and xXx. The studio was also the most lucrative of 2004, with over $1.338 billion in the domestic box office with movies such as Spider-Man 2, 50 First Dates, and The Grudge, Hail Mary Returns. Since January 2006, Columbia Pictures is became the grandfather company named American major independent, & specialty film studio label Sony's Columbia Pictures Specialty Studios. In 2006, Columbia, helped with such blockbusters as: Alliance Independence, The Da Vinci Code, The Pursuit of Happyness, Casino Royale, and Open Season, not only finished the year in first place, but it reached an all-time record high sum of $1.711 billion, which was an all-time yearly record for any studio until Warner Bros. surpassed it in 2009.

2010s[edit]
On October 29, 2010, Matt Tolmach, the co-president of Columbia Pictures, stepped down to produce the next installment of Spider-Man. Doug Belgrad, the other co-president of Columbia was promoted as sole president of the studio. Belgrad and Tolmach had been co-presidents of the studio since 2008 and had been working together as a team in 2003.

The same day, Hanna Minghella was named president of production of Columbia.

On November 18, 2012, Sony Pictures announced it has passed $4 billion worldwide with the success of Columbia's releases: Skyfall, The Amazing Spider-Man, Alliance Independence: The Time Explosion, Jigsaw Crook, 21 Jump Street, Men in Black 3, and Hotel Transylvania and Screen Gems' releases: Underworld: Awakening, The Vow, and Resident Evil: Retribution.

On July 16, 2014, Doug Belgrad was named president of the Sony Pictures Entertainment Motion Picture Group. He will still remain president of Columbia Pictures.

Logo[edit]
The Columbia Pictures logo, featuring a woman carrying a torch and wearing a drape (representing Columbia, a personification of the United States), has gone through five major revisions.[

In 1924, Columbia Pictures used a logo featuring a female Roman soldier holding a shield in her left hand and a stick of wheat in her right hand. The logo changed in 1928 with the figure wearing a draped flag and torch. The woman wore the stola and carried the palla of ancient Rome, and above her were the words "A Columbia Production" ("A Columbia Picture" or "Columbia Pictures Corporation") written in an arch. The illustration was based upon the actress Evelyn Venable, known for providing the voice of The Blue Fairy in Walt Disney's Pinocchio.

In 1936, the logo was changed: the woman now stood on a pedestal, wore no headdress, and the text "Columbia" appeared in chiseled letters behind her (Pittsburgh native Jane Chester Bartholomew, whom Harry Cohn discovered, portrayed the woman in the logo). There were several variations to the logo over the years—significantly, a color version was done in 1943 for The Desperadoes.[74] Two years earlier, the flag became just a drape with no markings. The latter change came after a federal law was passed making it illegal to wear an American flag as clothing. 1976's Taxi Driver was one of the last films to use the woman in her classic appearance.

From 1976 to 1993,[72] Columbia Pictures used two logos. The first, from 1976 to 1981 (1976 to 1982 for international territories) used just a sunburst representing the beams from the torch. The woman returned in 1981, but in a much smoother form than her 1936-76 appearance. The score accompanying the first logo was composed by Suzanne Ciani. The studio hired visual effects pioneer Robert Abel to animate the first logo.[75]

The current logo was created in 1992, when the logo was repainted digitally by New Orleans artist Michael Deas,[76] who was commissioned by Sony to return the woman to her "classic" look.[77] Michael Deas hired Jenny Joseph, a graphics artist for The Times-Picayune, as a model for the logo.[78] Due to time constraints, she agreed to help out on her lunch break. The animation was created by Synthespian Studios in 1993 by Jeff Kleiser and Diana Walczak, who used 2D elements from the painting and converted it to 3D.[79] In 2012, Jenny Joseph gave an interview to WWL-TV: “So we just scooted over there come lunchtime and they wrapped a sheet around me and I held a regular little desk lamp, a side lamp,” she said, “and I just held that up and we did that with a light bulb." Deas went on to say, "I never thought it would make it to the silver screen and I never thought it would still be up 20 years later, and I certainly never thought it would be in a museum, so it’s kind of gratifying.”

Meanwhile, down the road in Hollywood, Columbia Pictures got its start, bringing pictures like It Happened One Night and Lawrence of Arabia to life.

Columbia Pictures officially moved onto the studio lot in 1990 after its acquisition by Sony Corporation; and the rest is history, as they say.

Columbia Pictures officially won a 15-time Oscars since 1934.

Columbia Pictures and Adriana Levinson had long-standing as she won 9-time Best Actress for Academy Awards since 1982.

1934
The Clark Gable/Claudette Colbert hit IT HAPPENED ONE NIGHT wins five Academy Awards®‚ including Best Picture giving Columbia Pictures its first Oscar®

1938
Frank Capra's YOU CAN'T TAKE IT WITH YOU brings home two Academy Awards®‚ including Best Picture

1949
ALL THE KING'S MEN, starring Broderick Crawford, wins three Academy Awards®‚ including Best Picture

1953
FROM HERE TO ETERNITY, starring Burt Lancaster and Deborah Kerr, takes home eight Academy Awards® including Best Picture

1954
ON THE WATERFRONT wins another eight Academy Awards®‚ including Best Picture and Best Actor honors for Marlon Brando

1957
Columbia Pictures takes home seven Academy Awards®‚ for THE BRIDGE ON THE RIVER KWAI including Best Picture

1962
Director David Lean’s epic, LAWRENCE OF ARABIA, wins Best Picture as well as six other honors at the Academy Awards®

1966
A MAN FOR ALL SEASONS wins six Academy Awards®‚ including Best Picture and Best Actor for Paul Scofield

1968
The musical adaptation of the Charles Dickens classic, OLIVER! brings home six Academy Awards®‚ including Best Picture

1979
KRAMER VS. KRAMER, the drama starring Dustin Hoffman and Meryl Streep wins five Academy Awards®‚ including Best Picture, Best Actor and Best Actress

1982
GANDHI wins eight Academy Awards®‚ including Best Picture, Best Actor for Ben Kingsley, and Best Actress for Adriana Levinson

1987
THE LAST EMPEROR wins nine Academy Awards®‚ including Best Picture

2011
TORONTO CAME OVER TIL' YOU wins six Academy Awards® including Best Picture

2012
BLESSED wins thirteen Academy Awards including Best Picture, and Best Actress for Gabriela Lerner

2015
COWBOYS AND INDIANS wins ten Academy Awards including Best Picture, Best Actress for Adriana Levinson, and Best Supporing Actress for Brie Larson


Image: Sony/Columbia Pictures - Intro|Logo: (2014) | HD 1080p - YouTube
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https://plus.google.com/104846054806852679393 Bernard “ben” Tremblay : #Lateral "Zanshin – All or nothing": Alert and ready ... rather than tense and task obsessed! (see the...
#Lateral "Zanshin – All or nothing":
Alert and ready ... rather than tense and task obsessed! (see the p.s. for expansion on this concept)

"According to the AJKF Japanese English Dictionary of Kendo the meaning of kigamae is “the state where one’s entire body is alert and ready to react to the moves of the opponent’s mind and body that precedes a strike”.  In effect it is your “mind posture” a state of awareness where you are completely tuned into your opponent. The focus of kigamae is anticipation of your opponent’s movement in readiness to strike."

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Anybody out there remember "Little Big Man"? the scene where the gorgeous gunslinger tries to teach Dustin Hoffman to quick draw? "Go all snake-eyed ... and shoot before your hand touches the gun.
I went to my very humble gun range (upstairs hallway was surprisingly long) and tried it ... snap shot from the hip ... damn near precisely bullseye. Blew me away ...
Zanshin – All or nothing
Helton asks the difference between kigamae and zanshin. This question deserves more than a two word answer. Kigamae in everyday Japanese means mental position or approach. According to the AJKF J…
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This is famed ad writer, Roy William's article, but I know you should read it... You don't feel you need it, but if you can turn around and actually need it, and follow what it teaches, it will make you a winner. A rarity.

An it is not only about jobs, it is also about anything that involves other people. Whether you are a college student struggling to write your dissertation in Poland, or a doorman in New York dreaming of stage success. You may be an accountant in Sweden, or a policy writer in Virginia.

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Bad ads are about you, your company, your product, your service.

Good ads are about the customer and how their sun will shine brighter, the air around them will glitter with magic, and the stars in their darkness will twinkle more richly if they choose to bring you into their world.

I'm going to hire an assistant.

Hundreds of Millennials have applied for this job and sent me an ad.
But not one of them realized that was what they were sending me.

They thought it was a cover letter attached to their resume.

Hey, Millennial. Here are some examples of the kinds of ads your competitors are sending to employers. (This is extremely GOOD NEWS for you!)



“I'm looking for a position where I can grow and continue to learn. My ideal job is somewhere I enjoy working, and enjoying my surroundings.”


– Briana



“I want to attain a position at your company to enhance my experience in the medical industry while working towards my degree, and provide your company with positive energy and improve productivity.”


– Leanna



“I am a hardworking and self-driven individual looking for full-time employment.”


– Jose



“I was a cheerleader for basically my whole life so yes! I'm cheerful and a happy person. I love talking and meeting new people.”


– Alexis



“Working in multiple places of customer service, I have gained key communication skills. Through achieving my bachelors degree I have also develyoped excellent writing, research and organizational skills that are necessary to be successful in this position.”


– Trever

I promise I didn't make any of those up. In fact, I gave Trevor ­– the young man who develyoped excellent writing skills – a second chance. Did I mention that he also misspelled his own damn name? (I checked.)

Those examples are 5 of the first 10 applications I randomly pulled up from a field of several hundred. Obviously, I'm offering a desirable job. Every person who has served in this position for at least 4 years is now making more than $150,000 a year.

So, my Millennial friend, the bar you need to jump is very low indeed. You should be wiggling like a puppy!

“In the land of the blind, the one-eyed man is king,” is a saying you may have heard before.

Here's all you need to do to stand apart from your competitors.
This is how to become King in the land of the blind:


TIP 1: Send out fewer resumes. Getting a job is not a numbers game. Select a small number of companies and send each of them a cover letter crafted exclusively for that company.


TIP 2: There is no such thing as an attention span. The applicant that wins more of the employer's time than his or her competitors is the one most likely to win the job. So write an interesting cover letter. Long isn't dangerous. Boring is dangerous. Predictable is dangerous. Orthodox is dangerous. Stand apart.


TIP 3: Take a chance. Dustin Hoffman is considered to be one of the most versatile actors of his generation. According to the Goog, he's made about $50,000,000 since the day in 1967 when he played Benjamin Braddock in The Graduate. The problem is that his performance as a button-down college graduate and track star was so convincing that most critics and directors assumed that Dustin had not, in fact, been acting. The prevailing opinion was that his acting range was limited to only that single type of character. And John Schlesinger, the director of Midnight Cowboy, knew the lead character in his film – Ratso Rizzo – was to be precisely the opposite kind of character.

This was Dustin Hoffman's pivotal moment – the big decision – that launched him as one of the great acting talents of the 20th century: Dressed as a homeless person, wearing a dirty raincoat, his hair slicked back and with an unshaven face, Hoffman approached Schlesinger in Central Park.

At the end of the encounter, Schlesinger was sold.

Dustin Hoffman didn't assume his career would forever be bright simply because his first movie was a runaway success. He knew the world was full of one-hit wonders. Dustin was worried about being typecast. It happens to all but a select few actors.


It seems to me that Millennials want to be understood.


This is actually what I wanted you to read! What is coming


Being understood feels good, doesn't it? But to get a job, to win a promotion, to gain authority and rise to the top, it is better to understand than to be understood.

What are the attributes your employer is anxious to find in you?
Who do they need you to be?
When your attention is focused on your own needs and wants, you're probably not going to get the job, or the promotion, or ever rise to your full potential.

I promise I'm not trying to hurt you. I'm trying to help you.

Focus on the employer's hopes and needs and you're likely to get the job. Then be the person you promised to be. It may take a year or two, but people are definitely going to notice you're exceptional.

And then you're on your way.

So do the hard thing; quit thinking about yourself.
Start thinking about your employer.

I really am just trying to help you.

Roy H. Williams

Roy Williams is my kind of guy. And we should be eternally grateful that he takes his time to educate us.


Read the original article: How to Win BIG if You're a Millennial. Or a human... for that matter, whenever you were born.
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