1. Joyous Exploration. This is the prototype of curiosity — the recognition and desire to seek out new knowledge and information, and the subsequent joy of learning and growing.
2. Deprivation Sensitivity. This dimension has a distinct emotional tone, with anxiety and tension being more prominent than joy — pondering abstract or complex ideas, trying to solve problems, and seeking to reduce gaps in knowledge.
3. Stress Tolerance. This dimension is about the willingness to embrace the doubt, confusion, anxiety, and other forms of distress that arise from exploring new, unexpected, complex, mysterious, or obscure events.
The Unbearable Lightness of Being Opaque to Ourselves: Milan Kundera on Writing and the Key to Great Storytelling
A torch for traversing “the territory where no one possesses the truth… but where everyone has the right to be understood.”
A novel examines not reality but existence. And existence is not what has occurred, existence is the realm of human possibilities, everything that man* can become, everything he’s capable of. Novelists draw up by discovering this or that human possibility. But… to exist means “being-in-the-world.” Thus the character his world must be understood as … [Novels] thereby make us see what we are, and what we are capable of.
The YouTube channel In Depth Cine has been looking at how directors like Spike Lee, Alfonso Cuarón, Martin Scorsese, and Wes Anderson shoot films at three different budget levels, from the on-a-shoestring films early in their careers to later blockbusters, to see the similarities and differences in their approaches. For instance, Wes Anderson made Bottle Rocket for $5 million, Rushmore for $10 million, and Grand Budapest Hotel for $25 million:
Steven Spielberg shot Duel for $450,000, Raiders of the Lost Ark for $20 million, and Saving Private Ryan for $70 million:
Christopher Nolan did Following for $6,000, Memento for $9 million, and Inception for $160 million:
You can find the full playlist of 3 Budget Levels videos here. (This list really needs some female directors — Ava DuVernay, Sofia Coppola, and Kathryn Bigelow would be easy to do, for starters. And Chloé Zhao, after The Eternals gets released