王晓斐

2010年1月27日，美国作家杰罗姆-大卫-塞林格去世，享年91岁。

原文地址：http://www.webdesignerwall.com/trends/47-amazing-css3-animation-demos/

CSS3 Clock With jQuery

Analogue Clock

3D Cube That Rotates Using Arrow Keys

Multiple 3D Cubes (Slide In/Out)

CSS3 Accordion

Auto-Scrolling Parallax

Isocube

Image Gallery

Matrix

7 Javascript-effect Alternatives Using CSS3

Image Hover Effects

Turning Coke Can (Control With Scrollbar)

3D Meninas

Polaroid Gallery

Space

Note: this one is graphic intense and takes a while to load, but the result is crazy!

Mac Dock

Drop-In Modals

Sliding Vinyl

Zooming Polaroids

Animated Rocket

Poster Circle

Morphing Cubes

Falling Leaves

Animated Polaroid Gallery

Spotlight Cast Shadow

Colorful Clock

Lightbox Gallery (Draggable)

Elastic Thumbnail Menu

Coverflow

Snowflakes

jQuery DJ Hero

Dynamic Stacking Cards

Another Image Gallery

Snow Stack (Control With Arrow Keys)

Animated Pricing Column

Slick jQuery Menu

CSS3

CSS Tabs Without Javascript

Tab Menus Without Javascript

SVG Fisheye Menu

Dynamic Presentation Without Flash

Rotating Gallery

Dropdown Menu

Another Fisheye

Frame-by-Frame Animation (Hover to Play)

Another Accordion

AT-AT Walker (No Flash or Javascript)

Editor’s note: This is the fourth in a series of posts by guest writer Ashkan Karbasfrooshan.Previously, he wrote about the State of Online Video, 12 Surprising Things Holding Back Online Video Advertising, and Context is King: How Videos Are Found And Consumed Online.  In part 4 today, he examines where he thinks the sweet spot is for making money in onljne video. Karbasfrooshan is the founder and CEO of WatchMojo.

In Search of Profits

Ten years ago, web companies didn’t generate much revenue.   These days, web companies are some of the most profitable around.  Online video is where the Web was ten years ago: in investment mode as video companies that are generating high revenue are not necessarily the most profitable.

Are those companies suffering low margins because they’re investing in the future or are they fundamentally lower-margin businesses?

Ad Networks Are Low Margin Businesses

This week, video ad network Brightroll raised $10 million from Scale Venture Partners.  Ad networks aggregate audiences and sell ads to marketers, sharing the proceeds with publishers/producers.  Scale’s Rob Theis’ argues: “the most strategic Internet investments are those that compete not with other Internet businesses, but with the much larger amount of money still being spent offline.”

Brightroll’s CEO Tod Sacerdoti added: “I think by this time next year the majority of the top five to ten video properties by any measure will be aggregator networks.  The best example for this is display advertising.”  Indeed, networks have an unmatched ability to scale but can also crash to the ground awfully fast.

The low margin is the least of their problems; differentiation and defensibility are.  Blue Lithium and Right Media hit jackpots by selling to Yahoo!  But those who didn’t sell (Tribal Fusion, Valueclick) suddenly found themselves under pressure from search advertising on performance and video on branding.

Content Networks Have Little Differentiation

Similarly, aggregators gather videos from content providers, sharing ad revenues.  iFilm (sold to Viacom, renamed Spike), Guba, Grouper (sold to SONY, renamed Crackle), Revver, YouTube (sold to Google), Veoh, DailyMotion, Metacafe, Viddler, blip.tv, are all vying for content, audiences and dollars.

YouTube is master of this domain.  Hulu is giving YouTube a run for its money, but the business model is anything but certain and its long term exit strategy is murky (Disney, News Corp. and NBC Universal/Comcast are shareholders but also competitors).

Ultimately, ad and content networks operate in a high-risk, winner-take-all game.   For publishers, it’s a lower risk world.  Consider the two acquisitions News Corp. made in 2005: Rupert Murdoch paid more for IGN ($650M) than for MySpace ($580 million), but MySpace’s subsequent growth made him look like a genius (for a while).  Today, MySpace is searching for its raison d’etre while IGN treks along as an unstoppable force in its sphere.

The Myth of Hyper Distribution?

In online video, producers are agnostic to distribution channel or platform.  To reduce risk, they diversify distribution, but the jury’s out on whether hyper distribution bears fruit.  Hyper distribution refers to syndicating one’s content as broadly as possible with little or no restrictions.

When it comes to generating revenues, is hyper-distribution wise?  Not according to Chris Pirillo, a prosumer video producer who leverages video to promote his empire but only counts YouTube as a commercial platform: “YouTube offers the largest audiences and generates most the revenue.  If you’re not YouTube, you have challenges in creating value for content producers”.  If that changes, look out for Freewheel, which according to CEO Doug Knopper allows “media companies and content owners to be able to monetize their video libraries across multiple channels and devices”.

Advertisers Follow Audiences…

Ex-Disney CEO Michael Eisner doesn’t pretend to know how the industry is going to play out, but he’s got no doubts what the end result will be: “I don’t know if the growth in content made for the Internet will be evolutionary or revolutionary, but it can’t not happen: a death march has been going on for other media who are in trouble because there is a more efficient way to share content around the world with the Internet.”

Business Models Take Time to Develop

Eisner made his fortune in television.  One VC who’s made his online has another opinion.  In Fred Wilson’s influential 2005 post “The Future of Media (aka Please Take My RSS Feed)”, he suggests to:

1 – Microchunk it – Reduce the content to its simplest form.
2 – Free it – Put it out there without walls around it or strings on it.
3 – Syndicate it – Let anyone take it and run with it.
4 – Monetize it – Put the monetization and tracking systems into the microchunk.

In theory, in the future when video streams monetize the way search queries have (whereby a search query is always associated with some kind of paid listing) then perhaps Wilson’s thesis will prove right.  But in practice, at least in the five years that have passed since the post, it’s been a recipe for financial disaster.

Hyper distribution is great for promotional purposes but not necessarily for commercial purposes.  Marketers do pay more attention as an audience grows, but they also pay a premium for scarcity and exclusivity.

This is the fundamental conundrum facing new media producers who rely on hyper-distribution to build brands and audiences but who weaken their pricing power and ability to secure guaranteed dollars by giving away their videos.  This can work if you can build ad-supported businesses, but that takes time and money.

Today, a few new media producers have managed to build ad-supported businesses, namely Revision3 and Next New Networks.  But between the two, they have raised over $30 million in venture capital.  Most producers don’t have that luxury.  For those others, I recommend creating content that other media companies will pay for, to buy them enough time to build a syndication business and eventually, a fully ad-supported business which commands the large ad dollars.

An imperfect but useful analogy I use is the banking model, where retail, corporate and investment banking fees can create a large business.

This diversified strategy provides:

• a safe income stream:  licensing, like retail banking, provides a recurring and non-volatile revenue base.
• a growth business: syndication, like corporate banking, requires other companies in the ecosystem to do well.  This can provide higher CPM rates by placing content in the right context.
• a wildly lucrative stream: advertising, like investment banking, takes time to develop, is speculative and seasonal, and risks drying up abruptly.  Notice how advertising revenue spikes each fourth quarter, for example.

The reason why I place content producers in the highest Profitability circle over time  in the first chart above is because only they can build such a business.  (The Profitability Index represented in the chart takes into account operating margins and total return on investment, including likelihood of a liquidity event).  And, yes, I am completely biased, since this is the kind of business I am trying to build with WatchMojo.  Aggregators and networks are solely advertising based businesses; just ask YouTube who generated $10,000 in a paid model test, even though it can generate billions in simpler ways.  Video advertising will be a bigger business, but not necessarily a higher-margin business.

Video will be Everywhere: on all Websites

Video on the Web is no longer just about entertainment.  It is also about marketing, instruction, and conveying information of all kinds.

• Content bellwether Wikipedia announced it will be rolling out videos soon enough.
• e-Commerce leader Zappos encourages users to submit their video experiences which increase sales 6% to 30%.  In 2010, it will create 50,000 videos.
• It won’t be long before organizations feature their accountants, lawyers, management, VCs in videos too.

Video will be Everywhere: in Ads

Videos won’t simply be on all websites; video ads will converge with rich media and display banners.  Publishers and ad networks will swap out low yield ad placements for videos that sell at a premium.  Rupert Murdoch is right to say that there isn’t enough advertising to make all publishing online profitable, but if you insert a video-enabled ad where a display banner exists today, maybe it will become more profitable, as video rates tend to generate a tenfold premium over display banners.  Of course, the flip side of that argument is that if video ad inventory lost all scarcity as display banners have, then it rates would also see a steep drop.

Video is the Anti-Search

Google’s dominance of the Web today stems from a perfect storm.  Search benefitted from low expectations.   Whereas Google’s competitors threw in the towel to focus on portaldom (or outright handed them the business), online video companies’ war chests seemingly have no bottom as they wage the war for the online audience.

With YouTube being a unit of Google, it’s hard to compete being a pure video aggregator.  Those who have tried are flailing badly.  Yet video’s expectations have always been high and will only get higher.

History Repeats Itself

Video will follow search in two ways though.

Search is software and Google is the only successful ad-supported technology company.  Video is media, which has a natural disposition to embrace ad-supported models.  As such, advertising will monetize video streams.  In fact, as large ad agencies and marketers shift online, they’ll embrace branding campaigns and push video advertising could eventually top search advertising.  Once that starts, online advertising will surpass television, it’s already happened in the UK.

Search for The Leading Ad Format

Everyone agrees that video advertising will be huge but what will the prevailing ad format be?

Stakeholders are obsessed with finding the ad format likely to follow television’s 30-second ad spot and search’s paid listings.

What might lead the way?

Pre-rolls are the equivalent of pop-ups (and mid/post rolls the equivalent of pop-unders) in that users hate them, but unlike pop-ups, I actually think pre-rolls won’t disappear, mainly because

• They’re the most in-demand ad format (according to Brightroll CEO Tod Sacerdoti)
• It is easier to include a pre-roll when you’re syndicating to other websites and platforms (says blip.tv co-founder Dina Kaplan)
• But largely because they’ll get more user-friendly: the 30-second ad will make way for 5-10 second interactive pre-rolls (SpotXchange CEO Michael Shehan).

However, there will always be properties which will forego pre-roll revenue to improve the user experience in order to build audiences, and all else being equal users will migrate to those sites.  So I’m not sure the pre-roll will remain all that ubiquitous.  The other problem with pre-rolls is lack of attention.  When a pre-roll starts, I tune out and look for my headphones or go grab a coffee.

That’s why I like the contextual display banner (and not necessarily the companion banner).  A companion banner comes bundled with the video pre-roll, but sits alongside the video  A contextual banner comes without the pre-roll.  Whereas most banners disappear quickly next to text with one downward scroll of the mouse, alongside a video player, that banner becomes quite valuable and top-of-mind since people are just staring at the video.

We’ve also seen the rise (and fall) of overlays, which is basically an expanded Picture-in-Picture (PIP) format; we know how that fared.

Of course, content producers are also salivating over branded content (more than product integration and product placement, the brand becomes central to the story) or outright sponsorships.

Finally, there’s the Web’s favorite offspring: the viral video.  Viral video is not an ad format, of course, but it is not quite branded content nor is it supported by ads.  As these become more common, achieving success with content alone becomes a sure-fire recipe for failure.  All content will need to be supported by a media buy or some kind of promotional push.  After all, on TV you spend millions creating an ad but you need to buy media spots to promote it.  It’s not going to be that different online.  Yes, it’s a meritocracy, but it’s a loud, cluttered one.

KISS: Keep It Simple Stupid

There won’t be a single dominant ad format but the holy grail will prove simpler than expected.  It always does.

Remember Don Lapre’s infomercials?  He would go on and on about placing “Tiny Classified Ads” in newspapers.  I never thought much of those ads until Google’s adoption of (essentially) little text ads next to search results led to their explosive growth.

Sometimes in business, the solution is simpler than you can imagine.

小蓓前几天晚上问我：你前几天去银行的时候和苗苗到底说了什么？

我一脸疑惑回答道：啊呀，我说的是在太多了，怎么了？

下午苗苗要让我给你买糖吃，我说妈妈身上忘记带钱了，等晚上再说。小蓓一脸坏笑的问我：你知道她接着回答了我什么？

回答什么？我蛮有兴致的问道

她回答我，妈妈，没带钱没关系的，只要和机器做好朋友就行了。小蓓边说边笑的不行了

哦，我想起来了，我也笑的不行：对对对，那天他看我在ATM前取钱，她问我在干什么，我回答她：爸爸和机器在交朋友啊，当我们成为好朋友之后，机器就会吐出钱来了呀。

敢情她用在小蓓的身上了。

下午陪苗苗一起泡澡，她指着我腿上的毛说：爸爸，这是什么呀？好长啊。我说不好意思的反问：苗苗，你说这是什么呀？

过了一会儿，她边把水泼在我脸上边说：爸爸我知道了，这是脚上长头发了。

晚上，小蓓在她床边讲故事，说完了海绵宝宝之后，她煞有介事的说：妈妈我也给你讲一个故事，好吗？小蓓点头示意。苗苗说：妈妈我给你讲一个腿上长了什么的故事。小蓓一脸迷惑的问：长了什么呀？你猜猜看呀？苗苗一本正经的回答。

正当小蓓一头雾水，苗苗把小腿从被子里伸了出来说：你看啊，长了什么呀？小蓓看了半天没瞧出什么异样，于是问道：长了什么呢？

长了头发呀～苗苗指着自己腿上的汗毛说：长了和爸爸一样的头发呀。

用法说明：

1. 把下载到的压缩包解压，然后为 StandaloneStack.exe 创建个快捷方式或者发送到桌面快捷方式。 
2. 右击快捷方式，选择“属性”，然后在目标后面加上个参数：[空格]Appinn（请把[空格]替换为真实的空格），或者是你的名字，支持中文。比如我这里这样设置：
   F:\standalonestack\StandaloneStack.exe sfufoet 

   小提示：这个参数的好处就是，可以建立无限多个快捷方式，并设置为含有不同快捷方式的文件夹：游戏、软件等等。

3. 第一次运行会出现设置对话框，设置好文件夹（Folder）。
   

   Sort by 是图标排序；Mode 是弹出效果，有两种效果（fan 效果如右图，Grid 效果见下图，Automatic 是根据文件多少自动选择效果。）

   
4. 最后丢到桌面或者快速启动栏。
5. 按住 Ctrl 运行 StandaloneStack 会出现配置界面。

继首届深圳城市建筑双年展采用了独立策展人负责制以来，先后聘请了国际著名华人建筑师张永和教授、马清运先生以及跨领域文化实践者欧宁先生担任总策展人，策划前三届双年展，并分别以“城市开门”、“城市再生”、“城市动员”作为展览主题，重点围绕深圳进行 “城市与城市化”的探讨，通过展览展示研究城市建设及生活的策略和成果。三届深圳双年展的成功举办，体现了与深圳特区创办建设一脉相传的开放态度、创新精神和探索勇气；为深圳初步构建了一个国际艺术交流的平台，探索了建立按国际惯例运作、具备国际水平的艺术展览制度的可能；为深圳乃至当代艺术中提供了一个新的品种；为打造深圳的文化品牌、提升城市的文化竞争力做了有益的尝试。

双城双年展将延续和进一步强化“城市与城市化”这一固定主题方向，公开向社会各界征询“2011双城双年展”策展人。根据历届的实际操作经验，本届策展人的资格考查标准主要包括：1、学术界与社会间的成就和影响力；2、专业创新能力；3、国内外策展经验；4、丰富综合资源，如调动高端专业人员的能力，国内外媒体关系等。

深圳城市\建筑双年展组委会诚挚邀请有识之士的参与，期待您对“2011双城双年展”提出独特的看法，表达您的策展应征意向，为市民带来和让人期待的策展构想。应征方法具体如下：

（1） 即日起登陆“深圳双年展”网站www.szhkbiennale.org,下载《2011双城双年展策展应征回复函》，或联系双年展组委会办公室索取相关资料。

（2） 1月11日前向本组委会提交《征询回复函》和策展草案。

（3） 1月23日前由深圳双年展学术委员会审议意见，提交组委会确定并在2009双城双年展闭幕式上宣布征询结果。

详细材料和展览咨询请联系：

深圳城市\建筑双年展组委会办公室

联系人：孔雁

电话：+86-755-83953209 传真：+86-755-83953210

征询专用邮箱：2011szhkbiennale@gmail.com

规定太多“不准”都没法解决问题时,很容易让人丧心病狂嘛,于是只能倚仗强权和势力允许什么“准”了.当准许什么都没办法控制的时候，那么接着的就是獠面青牙的撕破脸皮的灭杀。“小样，你是哪根葱！”

咱们举个例子，例如:一家人围桌吃饭,小孩玩心难抑,东拉西扯,不好好吃饭, 作为家长都会先禁止:别钻台子底下,别舞筷子,别把饭搞得到处都是,别…面对孩子一而再三就范,家长就会失去耐心,露出狰狞面目:你丫给我吃饭.

其间的潜台词就是：灭了丫的，随时随地哦

美联社报道，参议院民主党第二号人物、伊利诺伊州参议员Dick Durbin要求30家领先的技术、互联网和通信企业提供在华运作和人权政策的详细信息。

收到询问信函的科技企业包括了苹果、Facebook、Twitter、亚马逊、eBay、AT&T和Verizon，要求它们提供在线业务的信息，以及它们保护人权、言论自由和隐私的计划。AT&T和Facebook表示它们将会在2月19日最后期限回复询问。Twitter在中国没有办事处，但表示很乐意分享它对于审查问题的观点。苹果没有发表评论。Durbin表示他收集信息是为了准备有关Google在中国所采取行动的听证会。

由于社交网站的兴起，社交网络研究过去几年也有许多令人惊讶的发现。与1980年代的“小世界网络”不同（多数节点彼此不连接，但可在几步内实现接触），现代网络中的个人是随机的、不受任何规则管制的连接形成网络。在一项新的研究中，波士顿大学的研究人员分析了谁才是社交网络中最佳的信息传播源（预印本）。

他们观察网络中谁起着枢纽作用，即他比其他人获得更多连接，因此在传播信息或病毒中起着重要的推波助澜作用。他们的发现与常识并不一致。也许你会认为社交网络中的名人显然受到最大的关注，那么他或她在信息传播中的影响力显然也更大。其实不然，信息的最重要传播者不是受人簇拥的骄子，而是网络中的边缘人物。

原文地址：http://science.solidot.org/article.pl?sid=10/02/03/090202&from=rss

曾介绍过 10 个基于 JavaScript 的 WYSIWYG（所见即所得） 编辑器，这些 Web 编辑器可以在线编辑和处理富 Web 内容，包括格式文本，表格，图片，媒体，链接等等，非常适合集成到 CMS 网站内容管理系统中使用。本文又搜集了 22 个 Web 在线编辑器，它们基本代表了当前 Web 编辑器的现状。

1. TinyMCE

免费，开源，轻量，基于 JavaScript，高度可定制，跨平台。

2. FCKEditor

免费，开源，用户量庞大，有良好的社区支持。

3. YUI Editor

属于 Yahoo! YUI 的一部分，能输出纯净 XHTML 代码。

4. NicEdit

简单，易用，轻量，外观漂亮。

5. Kupu

开源，支持 Ajax 保存，跨平台，易于集成，由 OSCOM 推出。

6. Free Rich Text Editor

非常容易部署，输出 XHTML 代码，功能丰富。

7. WebWiz RichTextEditor

这是一个商业产品，并不免费，但功能非常丰富，基于 ASP，JavaScript 和 DHTML。

8. XStandard

故名思意，这个编辑器会生成符合标准的纯净 XHTML 代码。

9. Damn Small Rich Text Editor

基于 jQuery 和 PHP 后台，非常小巧（~18K），但功能丰富。

10. WidgEditor

简单，易用，开源，即使浏览器不支持 JavaScript，仍能很好地工作。

11. Kevin Roth’s Cross Browser Rich Text Editor

一个不错的编辑器，支持皮肤，符合 XHTML 标准，跨浏览器兼容，分免费版和收费版两个版本。

12. OpenWYSIWYG

拥有许多出色的功能，容易部署，速度极快。

13. CodePlex Rich Text Editor

基于 ASP.NET，目前只支持 IE 和 Firefox。

14. FreeTextBox

集成了相册，拼写检查等功能，尤其适合 ASP.NET 项目。

15. Silverlight Rich Text Editor

适合与微软的 Silverlight 一起使用，功能丰富，不过，似乎原作者已经不再更新这个项目了。

16. BXE (Bitflux Editor)

从 2002 年以来一直开源，拥有一批非常忠实的用户和社区，据称是目前最好的 WYSIWYG 编辑器之一。

17. MarkItUp!

基于 jQuery，轻量，支持键盘快捷键，支持多种代码，包括 HTML, Textile, Wiki Syntax, Markdown, BBcode。

18. Dijit Editor for Dojo

基于 Dojo JavaScript 框架，输出干净 HTML 代码，支持插件，拥有清新的按钮。

19. EditArea

易于集成，干净代码，实时语法加亮，自动缩进，多语种支持，多实例支持，全屏模式等功能。

20. WYMeditor

输出干净的 XHTML + SCTRICT 代码，注重结构与语义，在输出结构化 XHTML 代码方面是最佳方案。

21. Whizzywig

多浏览器支持，Web 安全色选择器，支持表格，图片，Word 代码清洁，拼写检查等功能。

22. Xinha

基于 BSD协议，易于部署与扩展，拥有很好的社区支持。

本文来源：http://sixrevisions.com/user-interface/rich-text-editors-for-2010-and-beyond/

圣丹斯电影节于2010年1月21日至31日在美国犹他州帕克城举行，为期11天。

美国纪录片单元入围名单 U.S DOCUMENTARY COMPETITION

《恶魔》Bhutto

《金钱美利坚》Casino Jack and the United States of Money

《家庭事件》Family Affair

《自由骑士》Freedom Riders”

《煤气地》Gas Land

《我是帕特-蒂尔曼》I’m Pat ——- Tillman

《活力四射的孩子》Jean-Michel Basquiat: The Radiant Child”

《琼-利维丝：一件作品》Joan Rivers: A Piece of Work

《幸运》Lucky

《我的改革》My Perestroika

《誓言》The Oath

《休憩》Restrepo

《小动作》A Small Act

《相机艺术》Smash His Camera

《特拉华》12th and Delaware

《等待超人》Waiting for Superman

世界纪录片单元入围名单WORLD CINEMA DOCUMENTARY COMPETITION

《未完成的电影》A Film Unfinished-德国/以色列

《人民的敌人》Enemies of the People-柬埔寨/英国

《修理我》Fix Me-法国

《他的和她的》His and Hers-爱尔兰

《进入伊朗》Kick in Iran-德国

《最后的车厢》Last Train Home-加拿大

《红色教堂》The Red Chapel-丹麦

《俄罗斯课程》Russian Lessons

《部落探秘》Secrets of the Tribe-巴西

《父亲的罪孽》Sins of My Father-阿根廷/哥伦比亚

《空间旅行者》Space Tourists-瑞士

《荒地》Waste Land-英国

圣丹斯电影节是全美最大的独立电影节，由导演、演员罗伯特.雷德福于1984年创办，每年一月在犹他州帕克市举行。经过20多年的积累，这个美国本土的小电影节已俨然成为独立制片业的精神支柱，许多知名导演，优秀影片都以圣丹斯为跳板，在戛纳、艾美等国际更大的舞台大放异彩。

每年都有超过9,000部来自世界各地的优秀影片汇集于此，其中将会精挑细选出200部在电影节上放映，超过50,000人来到帕克参加影展。

圣丹斯电影节设有专门的纪录片单元，今年的纪录片单元特别关注点将放在跨媒体与纪实影像上，除此之外，3D与纪录片及反暴政纪录片也在今年的主题之列。最终将有16部纪录片从1,058部送选纪录片中脱颖而出参加到最后的角逐。

第21届圣丹斯电影节增了一个项目基金以加大对小成本影片及独立制片人的扶持，并积极拉近纪录片与观众的距离，展开与观影者的互动，为此圣丹斯电影节举办方特邀8名纪录片导演带着他们的作品在全美8个城市进行巡回影展，各影院的观众将有与8位导演进行面对面交流的机会。

YOUGOTNOPROOF~~

呵呵，A different sort of “White House” resident will be getting some play in Times Square this month, even though a controversial outerwear advertisement in which a certain Leader of the Free World was featured is due to be taken down. Its replacement — a new and edgy ad from AMC — features Walt White, the chemistry teacher turned drug kingpin from the network’s Emmy Award-winning series Breaking Bad, the third season of which premieres on Sun., Mar. 21 at 10PM | 9C.
Decked out in black jacket against the backdrop of the Great Wall of China, series star Bryan Cranston dresses things up with the latest in gas mask headgear, the most critical accoutrement in the drug-making biz. The tag line on AMC’s version, “Getting Away With It Since 2008,” references the first season the series debuted.

“Breaking Bad’s Walt White is Mr. Chips, but he’s taken a wrong turn along the way and turned into Scarface,” says Charlie Collier, President of AMC. “This was an irresistible opportunity to get attention for a critically acclaimed and award-winning series.”

下载了许久的兰道纪录片：押井守：赋妄想以有形NHKハイビジョン特集映画监督。刚才抽空看了。


片名应该取名为《押井守2.0 赋妄想以有形》似乎更为恰当。

印象最为深刻的是他对在《空中杀手》中需要制作出“静止中运动”的描述是对动画叙事手法的创新。当时看的时候，能感受到角色之间细微神情的流露，以为就是停顿的效果，原来是押井守把人在最为无意识下做出的小动作（掩饰神情的动作等等）通过动画呈现出来，淋漓尽致。

他提到的那些关于创作动画片的“美的统一论”和动画必须具备的“真实现实感”也很切合自己对动画片的期望。

喀麦隆对押井守有几句评价，从我的角度是这样理解的，押井守，他是一个违背了基本好莱坞商业电影工业制造流程，在优先考虑叙述他自己的世界观为主要创作核心理念的同时，却又能在商业上成功的一位日本导演。

呈现一个完整的世界观，向观众呈现一个自己眼中的完整的世界观。

真狠！

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