静斯·田

我的心情，犹如断了线的风筝，在空际中，摇曳的窜来窜去；

迷茫的时候，总是闷闷不乐的，那些烦恼的痛苦的事情，
就如同一个个小蚂蚁似的，就在你的心上爬来爬去；

靠在床上就入睡了，天亮了就醒了；

答案似乎永远都是在躲迷藏的...
因为这样，我才会去懂得珍惜！

最近，太多的问题摆在了面前，问题越来越多，可是，没有一样得到真正的解答；

好像，我已经走入了一个死胡同，执拙的本性，促使我要拼命的向前，
可事实，面前是一条死胡同；

也许，我该回头了，不然，撞的鼻青脸肿的人，还是，我！

有气无力的生活着，思考着，
问题的本质，已经得不到清晰的还原，只剩下那残存的悲伤。。。

塾是塾非，似乎在一些人看来已经不重要，
重要的是，避让！

原本我已有气无力，可仍旧被周围的事物所牵盼着，那周围的人，拽着我走东走西，
脑子里已经一片空白，仍凭风把我任意的吹撒！

也许，当问题解决不了的时候，轻轻的拨开，是当下最好的办法！

好罪恶，现在不是金融危机吗？
可是，金融危机下的特卖，一波一波，
我赶了一场又一场，我好罪恶啊～～

大件小件，单件套装，是一个接这一个！

The rollercoaster, rags-to-riches story of a remarkable animation studio

PIXAR'S characters—whether the heroic toys of “Toy Story”, the father and son fish of “Finding Nemo”, the insects in “A Bug's Life” or the rat-chef of “Ratatouille”—are full of yearning; for a child to play with, a lost family member, or to become something that seems far out of reach. The small company that imagined them is just the same. Right from the beginning, Pixar, officially a computer-hardware business, secretly dreamed of a more creative life making feature films.

Ed Catmull's ambition at school had been to become an animator at Disney, but he gave up because he couldn't draw. Computer animation, he realised, having graduated in computer science and physics, could be a way to overcome this. So Mr Catmull brought together a small group of people to form a computer-graphics group, which later became Pixar. Their early attempts were uninspiring, however. Two years in the making, the 1977 film, “Tubby the Tuba”, looked bad and the story did not work. Mr Catmull and his colleagues quickly realised that fancy technology was not enough, and that story-telling was just as vital to computer animation as to the hand-drawn sort. Under John Lasseter, a young animator rejected by Disney, Pixar started to develop a new kind of cartoon, which eschewed fairy-tale plots and entertained adults as well as children.

Pixar soon drew the attention of George Lucas, director of the “Star Wars” films, and its future seemed assured. But all Mr Lucas really wanted was for the little company to make whizzy special effects for Lucasfilm's movies, not expensive computer-animated films of its own. At one point, in 1985, Pixar, losing money fast, was nearly sold to General Motors and Philips Electronics, which wanted its computer-graphics modelling tools to help design cars and transform medical scans into three-dimensional images. Even when Steve Jobs, a co-founder of Apple, came to the rescue, Pixar was still in danger. Its pretence to be a computer company was going badly: sales of the Pixar Image Computer were slow. The only significant way the company was earning money was by making cartoon advertisements to sell other companies' products.

But there was reason for hope. “Tin Toy”, a short animated film, won an Oscar in 1988, and that was enough to keep Pixar alive and, crucially, to attract the interest of Disney. Together, the two studios made “Toy Story”, which became a critical and financial success.

Several more hits followed, and Pixar astounded Hollywood with its consistency. The studio became widely revered for its creative culture and for its insistence on originality. There are few American companies with as saintly a reputation. In 2006 Disney bought Pixar for $7.4 billion, and promptly put Messrs Catmull and Lasseter in charge of Disney's own animation unit.

A number of interesting things about Disney emerge in this excellent, readable account of Pixar's early years. David Price claims, for instance, that Disney's chief executive, Michael Eisner, considered shutting down the company's animation unit after he took over as chief executive in 1984, an astonishing fact given the subsequent success of cartoon films such as “The Lion King”. Mr Price also makes clear just how much Pixar owes to Disney: it was the larger company's marketing for “Toy Story”, for instance, that gave Mr Jobs the confidence to launch an initial public offering of shares in Pixar in 2005.

Mr Price leaves Pixar and its animators in the arms of Mickey Mouse and friends, and assumes that all will be well. So far, the acquisition has undoubtedly benefited Disney. Creative types who left the animation giant in recent years are beginning to return, and morale is high at the company as Pixar prepares next month to launch its ninth feature film, “Wall-E”, about a robot in the year 2700. But will the company have the same energy in future, and what will happen when Mr Lasseter has his next “creative” spat with Disney? Pixar's life from here on, safely tucked away inside a powerful corporation, is likely to be less visible. But that does not mean it will be any less interesting.