Georges Polti or George Polti (15 December 1867 - June 1946) was a French writer, best-known today for his list of thirty-six dramatic situations.
Polti, Georges. The Thirty-Six Dramatic Situations. trans. Lucille Ray.
Polti claims to be trying to reconstruct the 36 plots that Goethe
alleges someone named [Carlo] Gozzi came up with. (In the following
list, the words in parentheses are our annotations to try to explain
some of the less helpful titles.):
Supplication (in which the Supplicant must beg something from Power in authority)
Deliverance
Crime Pursued by Vengeance
Vengeance taken for kindred upon kindred
Pursuit
Disaster
Falling Prey to Cruelty of Misfortune
Revolt
Daring Enterprise
Abduction
The Enigma (temptation or a riddle)
Obtaining
Enmity of Kinsmen
Rivalry of Kinsmen
Murderous Adultery
Madness
Fatal Imprudence
Involuntary Crimes of Love (example: discovery that one has married one’s mother, sister, etc.)
Apple has added Tamil Keyboard layout in iOS7. Interesting isn't? Yes, It is. No more 3rd Party App, Thanks to Sellinam who helped us typing Tamil for the iProducts for more than 3 years. Thanks to Muthu Nedumaran
How to set the Keyboard for Tamil in iOS 7
iPhone-->Settings-->General-->Keyboard-->Keyboards-->Add New Board-->Search for Tamil (Languages List in Alphabetical Order). and Select it.
That's it.
That's it? No there are couple more choices for us.
Tamil 99 keyboard has been selected as the default Layout, while adding the Tamil Keyboard.
How to Choose the Layout:
Phone-->Settings-->General-->Keyboard-->Keyboards-->Tamil. You got 2 options, Users are allowed to Use both the keyboards or better to use one which is convenient for you
When you select Tamil99:
You will go back to school for a while, because in this method க can be derived from க்+அ க்+அ=க, க்+ஊ=கூ, ப்+ஐ=பை
When you select Anjal Method:
For those eKalappai, Sellinam, NHM, Anjal users, Yes, You got a choice too. When you choose Only Anjal Option, you can type as ammaa=அம்மா, easy right?
Hold on How to choose the Keyboard to Type: For example I am using Notes- Default App comes with iPhone. Look at the image below and select the World(?!) button to choose which keyboard layout you need. Emoji users knows this option better
If you're tired of looking at brake lights and buildings, clear your mind with a drive on one of our favorite scenic roads.
These unforgettable routes take you around mountains, along the coast
and through national parks. No one will ask, "Are we there yet?" when
the drive is the main event. Fill up the tank, bring your camera, and
check out these stunning drives.
Overseas Highway – Florida
This 113–mile series of bridges and roads was originally intended to
be part of the Florida East Coast Railway, before a hurricane destroyed
much of the track. It was restored for vehicle traffic, and the Seven
Mile Bridge gives you some of the most unique views of the water you’ll
find from a car.
Historic Columbia River Highway – Oregon
This drive offers year-round views of the Columbia River Gorge has a
history dating back to the Oregon Trail. Be sure to stop at Vista
House — a historic rest stop that doubles as a memorial to Oregon Trail
pioneers.
Pacific Coast Highway – California
Also known as Highway 1, the Pacific Coast Highway runs along the
edge of sharp cliffs and coastlines, so drivers must stay alert. As one
of the most scenic highways in the world, you'll want to allow extra
time to safely pull over and enjoy the vista.
Blue Ridge Parkway – Virginia to North Carolina
Starting in Virginia, Skyline Drive is one of the best places to
watch the seasons change in spring and fall. This leisurely drive
features visitor centers, lookouts, and camping areas, so be sure to
allot plenty of time to experience it all.
Going-to-the-Sun Road – Montana
The 50–mile drive across Montana's Glacier National Park was built
specifically to traverse the park. The road is only open from June
through early fall because of heavy snow in the winter. The road crosses
the Continental Divide at Logan Pass, which is 6,646 feet high.
Patchwork Parkway – Utah
Drive the route once traveled by Native Americans and Pioneers as
they hunted. The scenery offers remarkable canyons, plateaus and
forests. The plateau provides views that extend for hundreds of miles in
some of the darkest night skies in the country.
Highway 61 along Lake Superior – Minnesota
Highway 61 runs along the shores of Lake Superior and gives views of
natural forests and granite cliffs over the lake. It’s part of the Lake
Superior Circle Tour that runs through Minnesota, Ontario, Michigan and
Wisconsin.
Chennai, June 26 Facing up to the reality of a digital age in which interest in greeting cards is diminishing, ITC has exited the category. Launched in the year 2000 under the brand Expressions when the category was estimated at Rs 300 crore and growing at 15-20 per cent, the move comes in the wake of the market size shrivelling to Rs 100 crore.
ITC has also re-branded this business as the Education & Stationery Products Business (earlier known as Greeting, Gifting & Stationery) to accurately reflect its current focus on the Rs 9,000-crore market that comprises notebooks, copier and printer paper, writing instruments and ‘scholastic products’ (erasers, geometry boxes, sharpeners and the like). In the previous fiscal, greeting cards contributed only 5 per cent of the business unit’s turnover. Cheaper telephony and cell phone SMS services have proved to be a double whammy for greeting cards, while e-greetings has also contributed to the decline.
Mr Chand Das, Chief Executive, ITC-Education & Stationery Products Business, told Business Line that the company decided sometime last year to withdraw from the category and has since stopped production. ITC’s paperboards and speciality papers facility at Bhadrachalam has invested in equipment worth Rs 500 crore that will manufacture and supply the paper. Mr Das said ITC is the largest national player in the Rs 3,000-crore notebooks market with a market share of 8 per cent, followed by Navneet Publications at 5 per cent and Ballarpur Industries Ltd (BILT) at 2 per cent. Considering that these national brands account for just 15 per cent of the market, there is a huge opportunity for turning a commodity market into a branded market, he said. Also, given that the segment is growing at 9-10 per cent every year, he expects it to double in size over 6-7 years. “The notebooks, branded Classmate and PaperKraft, will cater to the student and executive segment. The printer and copier paper will also be branded PaperKraft. This category is estimated at Rs 1,800 crore, where JK Paper, BILT and Tamil Nadu Newsprint and Papers account for 70 per cent of the market. ITC’s notebooks business has been growing at 100 per cent every year for the last three years, Mr Das said, pointing out, though, that the growth came on a small base. In general, branded notebooks are priced 10-20 per cent higher than unbranded ones.
Most of the categories that are aimed at students will go by the Classmate name, including pencils and scholastic products, some of which will be outsourced from China. Of the Rs 9,000-crore market, writing instruments are the next biggest category, estimated at Rs 2,500 crore. Between October and December of this year, ITC will launch pens and pencils (the latter a Rs 400-crore market) that straddle the low-end, mid-range and premium segments of this category, Mr Das said. This business unit has, over the years, set up a separate distribution chain to market its stationery products.
Mr Das expects the education and business products unit to cross the Rs 1,000-crore turnover mark in five years from now. The business unit ended the previous financial year with a turnover of Rs 180 crore and expects to double that by the end of the current fiscal.
Archies, a leading player in the greeting cards business which has a 50 per cent plus market share, has also seen a steady decline in its profit margins in this business over the past few years. Between 2003-04 and 2006-07, even though Archies’ greeting cards sales rose from Rs 34 crore to Rs 38 crore, its profits from this business slid from Rs 9.78 crore to Rs 8.12 crore.
1. A DIRECTOR MUST BE A PEOPLE PERSON • Ninety-five
percent of your job is handling personnel. People who’ve never done it
imagine that it’s some act, like painting a Picasso from a blank canvas,
but it’s not like that. Directing is mostly about handling people’s
egos, vulnerabilities and moods. It’s all about trying to bring
everybody to a boil at the right moment. You’ve got to make sure
everyone is in the same film. It sounds stupidly simple, like ‘Of course
they’re in the same film!’ But you see films all the time where people
are clearly not in the same film together. 2. HIRE TALENTED PEOPLE • Your main job as a
director is to hire talented people and get the space right for them to
work in. I have a lot of respect for actors when they’re performing, and
I expect people to behave. I don’t want to see people reading
newspapers behind the camera or whispering or anything like that. 3. LEARN TO TRUST YOUR INSTINCTS • Ideally, you make
a film up as you go along. I don’t mean that you’re irresponsible and
you’ve literally got no idea, but the ideal is that you’ve covered
everything—every angle—so that you’re free to do it any of those ways.
Even on low-budget films, you have financial responsibilities. Should
you fuck it up, you can still fall back on one of those ways of doing
it. You’ve got Plan A to go back to, even though you should always make
it with Plan B if you can. That way keeps it fresh for the actors, and
for you. 4. FILM HAPPENS IN THE MOMENT • What’s extraordinary
about film is that you make it on the day, and then it’s like that
forever more. On that day, the actor may have broken up with his wife
the night before, so he’s inevitably going to read a scene differently.
He’s going to be a different person.
I come from theater, which is live and changes every night. I thought
film was going to be the opposite of that, but it’s not. It changes
every time you watch it: Different audiences, different places,
different moods that you’re in. The thing is logically fixed, but it
still changes all the time. You have to get your head around that. 5. IF YOUR LAST FILM WAS A SMASH HIT, DON’T PANIC • I had an obsession with the story of 127 Hours, which pre-dated Slumdog Millionaire. But I know—because I’m not an idiot—that the only reason [the studio] allowed us to make it was because Slumdog
made buckets of money for them and they felt an obligation of sorts.
Not an obligation to let me do whatever I want, but you kind of get a
free go on the merry-go-round. 6. DON’T BE AFRAID TO TELL STORIES ABOUT OTHER CULTURES
• You can’t just hijack a culture for your story, but you can benefit
from it. If you go into it with the right attitude, you can learn a lot
about yourself, as well as about the potential of film in other
cultures, which is something we tried to do with Slumdog Millionaire… Most films are still made in America, about Americans, and that’s fine. But things are changing and I think Slumdog was evidence of that. There will be more evidence as we go on. 7. USE YOUR POWER FOR GOOD • You have so much power
as director that if you’re any good at all, you should be able to use
that to the benefit of everyone. You have so much power to shape the
movie the way you want it that, if you’re on form and you’ve done your
prep right and you’re ready, you should be able to make a decent job of
it with the other people. 8. DON’T HAVE AN EGO • Your working process—the way
you treat people, your belief in people—will ultimately be reflected in
the product itself. The means of production are just as important as
what you produce. Not everyone believes that, but I do. I won’t stand
for anyone being treated badly by anyone. I don’t like anyone shouting
or abusing people or anything like that. You see people sometimes who
are waiting for you to be like that, because they’ve had an experience
like that in the past, but I’m not a believer in that. The texture of a
film is affected very much by the honor with which you make it. 9. MAKE THE TEST SCREENING PROCESS WORK FOR YOU •
Test screenings are tough. It makes you nervous, exposing the film, but
they’re very important and I’ve learned a great deal from using them.
Not so much from the whole process of cards and the discussions
afterwards, but the live experience of sitting in an auditorium with an
audience that doesn’t know much about the story you’re going to tell
them—I find that so valuable. I’ve learned not so much to like it, but
to value how important it is. I think you have to, really. 10. COME TO THE SET WITH A LOOK BOOK • I always have
a bible of photographs, images by which I illustrate a film. I don’t
mean strict storyboards, I just mean for inspiration for scenes, for
images, for ideas, for characters, for costumes, even for props. These
images can come from anywhere. They can come from obvious places like
great photographers, or they can come from magazine
advertisements—anywhere, really. I compile them into a book and I always
have it with me and I show it to the actors, the crew, everybody! 11. EVEN PERFECT FORMULAS DON’T ALWAYS WORK • As a
director your job is to find the pulse of the film through the actors,
which is partly linked to their talent and partly to their charisma.
Charisma is a bit indefinable, thank God, or else it would be prescribed
in the way that you chemically make a new painkiller. In the movies—and
this leads to a lot of tragedy and heartache—you can sometimes have the
most perfect formula and it still doesn’t work. That’s a reality that
we are all victims of sometimes and benefit from at other times. But if
you follow your own instincts and make a leap of faith, then you can at
least be proud of the way you did it. 12. TAKE INSPIRATION WHERE YOU FIND IT • When we were promoting Slumdog Millionaire, we were kind of side-by-side with Darren Aronofsky, who was also with Fox Searchlight and was promoting The Wrestler.
I watched it and it was really interesting; Darren just decided that he
was going to follow this actor around, and it was wonderful. I thought,
‘I want to make a film like that. I want to see if I can make a film
like that.’ It’s a film about one actor. It’s about the monolithic
nature of film sometimes, you know? It’s about a dominant performance. 13. PUSH THE PRAM • I think you should always try to
push things as far as you can, really. I call it “pushing the pram.”
You know, like a stroller that you push a baby around in? I think you
should always push the pram to the edge of the cliff—that’s what people
go to the cinema for. This could apply to a romantic comedy; you push
anything as far as it will stretch. I think that’s one of your duties as
a director… You’ll only ever regret not doing that, not having pushed
it. If you do your job well, you’ll be amazed at how far the audience
will go with you. They’ll go a long, long way—they’ve already come a
long way just to see your movie! 14. ALWAYS GIVE 100 PERCENT • You should be working
at your absolute maximum, all the time. Whether you’re credited with
stuff in the end doesn’t really matter. Focus on pushing yourself as
much as you can. I tend not to write, but I love bouncing off of
writing; I love having the writers write and then me bouncing off of it.
I bounce off writers the same way I bounce off actors. 15. FIND YOUR OWN “ESQUE” • A lesson I learned from A Life Less Ordinary
was about changing a tone—I’m not sure you can do that. We changed the
tone to a kind of Capra-esque tone, and whenever you do anything more
“esque,” you’re in trouble. That would be one of my rules: No “esques.”
Don’t try to Coen-esque anything or Capra-esque anything or
Tarkovsky-esque anything, because you’ll just get yourself in a lot of
trouble. You have to find your own “esque” and then stick to it.
Source and Thanks to http://www.moviemaker.com/articles-directing/danny-boyle-15-golden-rules-filmmaking/
When
I got home that night as my wife served dinner, I held her hand and
said, "I’ve got something to tell you". She sat down and ate quietly.
Again I observed the hurt in her eyes. Suddenly
I didn’t know how to open my mouth. But I had to let her know what I
was thinking. "I want a divorce". I raised the topic calmly.
She didn’t seem to be annoyed by my words, instead she asked me softly," why?" I
avoided her question. This made her angry. She threw away the
chopsticks and shouted at me, "You are not a man!" That night, we didn’t
talk to each other. She was weeping. I knew she wanted to find out what
had happened to our marriage. But I could hardly give her a
satisfactory answer; she had lost my heart to Jane. I didn’t love her
anymore. I just pitied her!
With
a deep sense of guilt, I drafted a divorce agreement which stated that
she could own our house, our car, and 30% stake of my company. She
glanced at it and then tore it into pieces. The woman who had spent ten
years of her life with me had become a stranger. I felt sorry for her
wasted time, resources and energy but I could not take back what I had
said for I loved Jane so dearly. Finally she cried loudly in front of
me, which was what I had expected to see. To me her cry was actually a
kind of release. The idea of divorce which had obsessed me for several
weeks seemed to be firmer and clearer now.
The
next day, I came back home very late and found her writing something at
the table. I didn’t have supper but went straight to sleep and fell
asleep very fast because I was tired after an eventful day with Jane. When I woke up, she was still there at the table writing. I just did not care so I turned over and was asleep again.
In
the morning she presented her divorce conditions: she didn’t want
anything from me, but needed a month’s notice before the divorce. She
requested that in that one month we both struggle to live as normal a
life as possible. Her reasons were simple: our son had his exams in a
month’s time and she didn’t want to disrupt him with our broken
marriage. This was agreeable to me.
But she had something more, she asked me to recall how I had carried
her into out bridal room on our wedding day.
She
requested that every day for the month’s duration I carry her out of
our bedroom to the front door ever morning. I thought she was going
crazy. Just to make our last days together bearable I accepted her odd
request.
I
told Jane about my wife’s divorce conditions. She laughed loudly and
thought it was absurd. "No matter what tricks she applies, she has to
face the divorce", she said scornfully.
My
wife and I hadn’t had any body contact since my divorce intention was
explicitly expressed. So when I carried her out on the first day, we
both appeared clumsy. Our son clapped behind us, daddy is holding mommy
in his arms. His words brought me a sense of pain. From the bedroom to
the sitting room, then to the door, I walked over ten meters with her in
my arms. She closed her eyes and said softly; don’t tell our son about
the divorce. I nodded, feeling somewhat upset. I put her down outside the door. She went to wait for the bus to work. I drove alone to the office.
On
the second day, both of us acted much more easily. She leaned on my
chest. I could smell the fragrance of her blouse. I realized that I
hadn’t looked at this woman carefully for a long time. I realized she
was not young any more. There were fine wrinkles on her face, her hair
was graying! Our marriage had taken its toll on her. For a minute I
wondered what I had done to her.
On
the fourth day, when I lifted her up, I felt a sense of intimacy
returning. This was the woman who had given ten years of her life to
me. On the fifth and sixth day, I
realized that our sense of intimacy was growing again. I didn’t tell
Jane about this. It became easier to carry her as the month slipped by.
Perhaps the everyday workout made me stronger.
She
was choosing what to wear one morning. She tried on quite a few dresses
but could not find a suitable one. Then she sighed and said to herself,
" All my dresses have grown bigger." I suddenly realized that she had
grown so thin, that was the reason why I could carry her more easily. Suddenly it hit me… she had buried so much pain and bitterness in her heart. Subconsciously I reached out and touched her head.
Our
son came in at the moment and said, Dad, it’s time to carry mom out. To
him, seeing his father carrying his mother out had become an essential
part of his life. My wife gestured to our son to come closer and hugged
him tightly. I turned my face away because I was afraid I might change
my mind at this last minute. I then held her in my arms, walking from
the bedroom, through the sitting room, to the hallway. Her hand
surrounded my neck softly and naturally. I held her body tightly; it was
just like our wedding day.
But
her much lighter weight made me sad. On the last day, when I held her
in my arms I could hardly move a step. Our son had gone to school. I
held her tightly and said, I hadn’t noticed that our life lacked
intimacy.
I
drove to office…. jumped out of the car swiftly without locking the
door. I was afraid any delay would make me change my mind…I walked
upstairs. Jane opened the door and I said to her, "Sorry, Jane, I do not
want the divorce anymore".
She
looked at me, astonished, and then touched my forehead. "Do you have a
fever?" She said. I moved her hand off my head. "Sorry, Jane", I said,
"I won’t divorce. My marriage life was boring probably because she and I
didn’t value the details of our lives, not because we didn’t love each
other anymore. Now I realize that since I carried her into my home on
our wedding day I am supposed to hold her until death do us apart".
Jane
seemed to suddenly wake up. She gave me a loud slap and then slammed
the door and burst into tears. I walked downstairs and drove away.
At
the floral shop on the way, I ordered a bouquet of flowers for my wife.
The salesgirl asked me what to write on the card. I smiled and wrote, 'I’ll carry you out every morning until death do us apart'.
That evening I arrived home, flowers in my hands, a smile on my face, I run up stairs, only to find my wife in the bed – dead.
My
wife had been fighting CANCER for months and I was so busy with Jane to
even notice. She knew that she would die soon and she wanted to save me
from the whatever negative reaction from our son, in case we push
through with the divorce.– At least, in the eyes of our son— I’m a
loving husband….
The
small details of your lives are what really matter in a relationship.
It is not the mansion, the car, property, the money in the bank. These
create an environment conducive for happiness but cannot give happiness
in themselves. So find time to be your spouse’s friend and do those
little things for each other that build intimacy. Do have a real happy
marriage!
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