First of all, this:
Make sure you scroll down to the bottom and read Mike's part of the interview. We had tea with him last week and sat and talked about life, Edie, the 60's and 70's (he was there, despite the fact he remembers vast stretches of that time).
Second: Grey's Anatomy, whilst being one of my top three favorite shows (Lost, 24, possibly either Invasion or the train wreck that is Alias) has an excessive amount of uber-attractive people. This sounds great in theory; however the reality of it (for me) is this: I don't want to feel like a manatee every Sunday night while I watch alcoholic (?) self-absorbed, sex-obsessed interns battle for the Who Can Be the Most Adolescent This Week? prize. You know, I'd like to watch my McDreamy and ... eat pizza too? The chappie who played the Other Man this week was so, so, incredibly hott! HOTT! Toe-curling, lip-lickingly hot, "hot" with two T's, that I could barely stand to direct my full attention to the television screen. And am totally forced to make "mrrrowrrrrrr!" and "Do Behave, baby!" noises in full earshot of S., who says this entire show is ludicrous. Also, I love George. He is sweet.
Third: I got to hold an Oscar today. That little sumb*tch is heavy! You know how those little lollypop-headed gals with a thirty-thousand dollar dress, mink eyelashes and three pounds of makeup have to hoist it up there over their heads? As if they are doing their best impression of an Olympic weight lifter? There is a reason for that. It was this Oscar:
Farciot Edouart (special effects) I Wanted Wings - I looked him up and he won Acadamy awards every year, from 1938 to 1944, twice in 1940 and 1941, for his talents. Some of his inventions (or derivatives thereof) are still in use today.
"Farciot Edouart was a pioneer in the field of movie special effects. The son of a portrait photographer, Edouart was an assistant cameraman at the Realart Studios before reaching his twentieth birthday. He wanted to join the Signal Corps during World War I, but through a bureaucratic glitch he was sent to the Corps Columbia University cinematographers course, where he remained as an instructor. At Paramount in the 1920s, Edouart became adept at lining up "glass shots" (scenes in which small-scale models were seamlessly blended with life-size sets), then worked on the development of the blue-backing process, which allowed actors to be "matted" in front of an artificial background.
He also mastered the "process screen," a rear-projection technique creating the illusion of stationary actors driving, running, flying, etc... in front of a moving background. While others turned out plenty of bad or unconvincing process work in movies, Edouart was a master of the technique, and few of his films look blatantly "faked". To improve the technique, Edouart developed a triple-head process projector, which improved and sharpened the background image. Remaining as head of Paramount's "Transparency Department" until his retirement in 1968, Farciot Edouart won Academy Awards for I Wanted Wings (41) and Reap the Wild Wind (42), the latter film lensed in Technicolor. ~ Hal Erickson, All Movie Guide "
Enough of my pontificating - I'd like to direct y'all over to