person:aaron sorkin

  • #aws for the #ciso — What you always wanted to ask but were too afraid of
    https://hackernoon.com/aws-for-the-ciso-what-you-always-wanted-to-ask-but-were-too-afraid-of-eb

    AWS for the CISO — What you always wanted to ask but were too afraid ofWe live in a world that has walls and those walls need to be guarded by men with guns. — Aaron SorkinIf you loved technology at one point of time but now are unable to be up to speed on account of management responsibilities -If the word “Cloud” (strictly in reference to computing) gives you bouts of paranoia around aspects of #security -If you are evaluating cloud proposals but with a lingering tinge of doubt around the security implications -Alone and scared — what lies ahead !!!!!ThenKeep calm and read onDuring the course of my employment wherein, I am involved in the assessment of cloud migration proposals from solution vendors for a global banking giant, I have noticed that there is still a tinge of insecurity amongst the (...)

    #aws-for-the-ciso #tips

  • Vu Le Grand Jeu, #film d’Aaron Sorkin

    J’ai trouvé ça juste mauvais.

    – Jessica Chastain, faudrait voir à lui donner autre chose que le rôle de la beauté fatale ultra-froide et arriviste, mais avec des sentiments sous la surface, qui à la fin fait le choix rédempteur de vivre en accord avec ses sentiments. Parce que bon, Miss Sloane, ça date d’il y a même pas deux mois (et elle était mieux habillée dans l’autre).

    – Je crois que tout le monde est d’accord : Aaron Sorkin ne sait pas filmer. C’est plat, c’est chiant, quand ça cause il filme des gens qui causent. Champ/contre-champ, emballé c’est pesé. (Et ça cause tout le temps.)

    – Mais surtout : je crois que je ne supporte pas Aaron Sorkin et ses scripts. Ça se veut malin et intelligent (et rempli de bons sentiments ricains, genre si tout le monde il faisait les choses bien, le système il serait trop chouette – The Newsroom, j’ai tenu 2 épisodes), mais surtout ça veut en permanence montrer que c’est intelligent. Et au final, ce ne sont pas les personnages qu’on veut montrer comme intelligents, c’est Aaron Sorkin lui-même.

    Le prototype, c’est la « psychanalyse en 3 minutes » à la fin entre Jessica Chastain et son père Kevin Costner. Il dit un truc, et elle fait mine de le reprendre : « Tu ne comprends pas l’ironie ? », et lui rétorque : « Non, toi tu ne comprends pas l’ironie » (« cassé », Brice), et hop on est censés se dire, à sa réplique à elle « oh, elle est maline », puis à sa réponse à lui : « oh, lui aussi il est trop intelligent », et surtout, comme si c’était écrit au néon au milieu de l’écran : « Aaron Sorkin est un scénariste encore plus intelligent et habile que ses personnages ». Genre Paul Auster. Sauf que là, ça marche pas. Les habilités de Paul Auster, j’arrive à être ému. Mais Aaron Sorkin me fait juste chier.

    Après, on a aussi Idris Elba qui baisse la tête avant le jugement en soufflant : « Wait for it ! » (oh, quel bon avocat, et expérimenté avec ça : lui aussi il a vu le gros plan pas subtile sur la tête déconfite du procureur…) ; le père qui insiste « I will tell you but you have to ask », et nous on n’a évidemment aucune idée de quoi il cause mais on devrait savoir si on était aussi intelligents que Sorkin ; et le père psychotruc qui retrouve sa fille à la patinoire pile-poil en pleine crise de nerf, parce qu’il est venu à New York pour la retrouver, alors la patinoire c’est pas moins hasardeux qu’un autre endroit (moi j’aurais tenté l’Apple Store de Grand Central Terminal, mais c’est juste moi). Et les flashbacks illustratifs/explicatifs sur des scènes que tu as déjà vues, mais maintenant tu comprends pourquoi elle disait ça (ahhh, en fait Aaron Sorkin lui il savait que ça allait resservir…).

    Et ça dure 2h20 ces conneries. Nan, vraiment.

  • The Man Behind ‘Newsroom’ Anchor Will McAvoy’s Fake Tweets - The Daily Beast
    http://www.thedailybeast.com/articles/2013/07/21/the-man-behind-newsroom-anchor-will-mcavoy-s-fake-tweets.html

    @willmcavoyacn
    https://twitter.com/WillMcAvoyACN
    is the #Twitter handle of a 29-year-old man who wishes to remain nameless because he spends his day writing copy for a major airline.

    Although “McAvoy” declines to disclose his identity, he’s hoping to use his experience to get into television writing and is already working on a spec script for a Season 3 of The Newsroom. The original impetus for his Twitter accounts was a way to get rid of writer’s block and write more like Aaron Sorkin. It is a tribute to Sorkin’s writing that the characters he created can inspire such fully-formed fan tributes that they are able to wade into online debates untethered to their maker.

    « #The_Newsroom »
    http://blogs.mediapart.fr/blog/dominique-bry/210713/newsroom-tous-en-salle-des-nouvelles

    Série brillante et engagée sur le thème des médias, appelée « Salle des nouvelles » au Québec, « The Newsroom » plonge le spectateur dans le quotidien (plutôt nocturne d’ailleurs) de l’équipe de « News Night », le JT de la chaîne d’information en continu ACN, network qui se frotte à CNN et Fox News et qui, sous l’impulsion de Mackenzie McHale et de son présentateur-vedette Will McAvoy, entend délivrer une autre information. La série d’Aaron Sorkin mêle habilement les ressorts d’un drama bien huilé, qui tend vers le soap quand il s’agit de dérouler des intrigues amoureuses entre les personnages ou vers la comédie avec virtuosité et humour au long des joutes verbales incessantes. Dire que chaque épisode de « The Newsroom » est rythmé est un euphémisme, presque un pléonasme.

    #scénariste #tv_show #hbo #journalisme #télé #temps_réel #militer (McAvoy dirait plutôt #civiliser)

  • Farewell and Good Luck, Zuck!
    https://www.adbusters.org/blogs/happy-birthday-zuck.html

    When Aaron Sorkin, screenwriter for The Social Network (a movie based on Mark Zuckerberg and the founding years of Facebook), won for Best Screenplay at the Golden Globes, he stated: “I wanted to say to Mark Zuckerberg tonight, if you’re watching, Rooney Mara’s character makes a prediction at the beginning of the movie. She was wrong. You turned out to be a great entrepreneur, a visionary, and an incredible altruist.” Unfortunately, visionary and altruist no longer ring true, as Zuckerberg, (...)

  • The West Wing - Holy Land Map - YouTube

    http://www.youtube.com/watch?v=1k9IlR3-_-A

    Siganlé par Béatrice Collignon

    H. Con-172 - Season 3 - Episode 10

    Charlie presents the President with a map of the Holy Land that he found at a flea market. The map does not depict Israel as it was drawn in 1709. The President wants to frame the map and hang it outside the Oval Office. Toby, C.J. and Leo convince him otherwise.

    Copyright: Aaron Sorkin & NBC

    Note: I had to disable the comments on this video due to some very violant anti-Israel comments. This video is a funny commentary on perceptions and is not about the rights or wrongs of an Israeli state.

    SCENE 1.

    BARTLET Weren’t you going to a flea market?

    CHARLIE Yeah, I picked something up for you.

    BARTLET You didn’t have to do that.

    CHARLIE Yeah? It’s a map of the Holy Land that was drawn in 1709. It’s titled “Canaan, Palestine, or the Holy Land.”

    BARTLET Nice sucking up.

    CHARLIE Thank you, sir.

    BARTLET Look at these topographical details. Seriously, I’m going to have this framed, this is great.

    CHARLIE If you leave it here, I’ll send it out.

    BARTLET No, I’m going to play with it some more.

    LEO COMING IN Good morning.

    BARTLET Look at this map. 1709. The Dead Sea, Jordan River, Mount Sinai.

    LEO That’s beautiful.

    SCENE 2.

    BARTLET All right. Hey, you want to see something? Charlie gave this to me. It’s a map of the Holy Land, drawn in 1709. He got at a flea market. It’s hand-colored, copper engraved. I was going to put it in the outer office.

    TOBY This outer office?

    BARTLET Yeah.

    TOBY No.

    BARTLET Why?

    TOBY Why?

    BARTLET Yeah.

    TOBY ’Cause some people are going to find it offensive.

    BARTLET Why?

    TOBY It doesn’t recognize Israel.

    BARTLET It was drawn in 1709.

    TOBY Yeah.

    BARTLET There was no Israel. Israel wouldn’t happen for another 250 years.

    TOBY Right.

    BARTLET So, what’s the problem with the map?

    SCENE 3.

    BARTLET Wait. I want to show you this great map Charlie found.

    C.J. Sir, I know about it. You can’t put it up in the West Wing.

    BARTLETC.J. ?!

    C.J. It doesn’t recognize Israel.

    BARTLET There was no Israel in 1709.

    C.J. That’s right.

    BARTLET So, it’s not on the map.

    C.J. Which is what some people are going to find offensive.

    BARTLET That’s ridiculous.

    C.J. You know what would be great?

    BARTLET If I put it someplace else?

    C.J. Yes.

    BARTLET Leo has—in what used to be his house when he was married—a map of the United States. The first third of it is the 13 original colonies. The second third of it is the French territory of Louisiana. And the third third is Mexico. In this map of the United States, there is not a single state. That’s because when this map was made there was no United States.

    CHARLIE knocks and enters.

    BARTLET I am the President of the United States and I’m not offended by it.

    C.J. Well, you’re bigger than ten men, sir. What do you say we put it out of the way?

    BARTLET I’m having it enlarged and bolting it to the hood of my limo. They don’t want us to put up our map, Charlie. They’re philistines in the fight for freedom but that doesn’t bother us, does it?

    CHARLIE Huh?

    BARTLET Never mind.

    C.J. It’s not like I’m agreeing with the people who are going to be offended. It’s just that you’re asking for a whole lot of pain, in exchange for which you get nothing but an old map.

    BARTLET That’s the key. An old map. An old map. Spin that.

    C.J. See, now you got me out there spinning things.

    BARTLET Anything else?

  • ’The Hour’ And Women’s Culture v. Hard News - ThinkProgress
    http://thinkprogress.org/alyssa/2012/11/29/1258261/the-hour-the-newsroom-2

    I wrote earlier this year that The Hour, the BBC’s period drama about the producers, reporters, and anchor on a show of the same title trying to break through the BBC’s strictures and the stifling social environment of the late 1950s, was the show that Aaron Sorkin wanted his HBO drama The Newsroom to be. It was attuned to the actual rhythms and difficulties of reporting, the stories are legitimately revealing rather than pontificating, and the characters face genuine obstacles to getting those stories on the air. And in the second season of the show, which began its run on BBC America last night, I think that’s become even more true, particularly in the way that The Hour is handling the rise of a phenomenon that The Newsroom tried to critique decades later: the rise of commercial television programming aimed at women.

    I talked to Abi Morgan, The Hour‘s creator, about the show’s approach to gender in general, and about the kind of programming aimed at women like Marnie (Oona Chaplin), the upper-class wife of The Hour anchor Hector (Dominic West), who begins exploring a career as the host of a cooking show. She explained:

    I think if you look at the women, the on-screen talent at that time, on the whole they were either singing along to a puppet, or they were presenting the kind of soft magazine programs that were just starting to come up through the ’50s. I liked the idea of Marnie almost becoming quite literally this professional housewife. She’s this Fanny Cradock-esque character. It also felt like a kind of brilliant, brittle metaphor for this kind of life Marnie finds herself encased in. You’ll see that marriage really is tested through the course of the series….

    #femmes #médias #séries #couple