TIME Jurassic World

Jurassic World Will Get a Sequel in 2018

Chris Pratt and Bryce Dallas Howard in Jurassic World.

It's already the third-highest grossing film of all-time

Jurassic World, the latest movie in Steven Spielberg’s popular Jurassic Park franchise, has already made Universal Pictures a tidy profit.

The film, with a budget of $150 million, has raked in a jaw-dropping $1.5 billion worldwide. That comes out to a neat 1,000% return, just six weeks into its run.

Unsurprisingly, Universal Pictures has decided that this sort of performance warrants another go, with the studio announcing that it has given the unnamed sequel a green light, the BBC reports. The movie, slated for 2018, will once again feature star Chris Pratt, Executive Producer Steven Spielberg, and writer/director Colin Trevorrow.

TIME Media

Top Hollywood Movie Studios Smacked With Antitrust Charges

Disney, Warner Bros., Fox and more are accused of violating European law

Is the European Union about to add Hollywood’s finest to its collection of antitrust scalps?

After 18 months gathering material, the European Commission’s Competition directorate has accused six of Hollywood’s largest movie-makers of sabotaging the E.U.’s single market by signing country-specific deals with pay-TV providers.

The first so-called “statement of objections” have been sent out to the studios because of their licensing contracts with Sky U.K., the main operating asset of Sky Plc, but investigations into pay-TV providers in France, Germany, Spain and Italy are still ongoing and may yield further accusations.

The pay-TV companies in Germany and Italy are now 100%-owned owned by Sky, although they weren’t at the time the investigation was launched. Vivendi SA’s Canal Plus is the company under investigation in France.

The Commission’s beef is a variation on a theme of the charges it has laid at the door of Russian gas monopoly PAO Gazprom, in that country-specific deals forbid the free flow of goods and services, denying consumers the freedom of choice and, ultimately, their pricing power.

The accusations could be one of the first serious blows struck by the regulators in a campaign to modernize the E.U.’s digital economy, an area where Europe is badly lagging. The new Commission earlier this year identified the breaking down of nationally-defined copyright and licensing laws as one of the key elements of that campaign.

A prime example of this is the phenomenon of ‘geo-blocking': at present, a subscriber to an online pay-TV service in, for example, the U.K. can’t access that service in France or (more importantly for expatriated civil servants, lobbyists and politicians) Belgium because copyright and licensing law is still handled by national governments.

The Commission says it wants to ensure that users who buy online content such as films, music or articles at home can also access them while travelling across Europe.

The objections sent out this week by the E.U. don’t go as far as cutting that particular Gordian knot in one fell swoop. Instead, they zero in on contractual clauses which stop providers from selling outside a specific country. The regulators’ expectation is that if they pull on this loose end enough, the knot will unravel in time as the broader effort to modernize the Digital Single Market gains momentum.

In theory, if customers have the right to buy across borders, then the prices for products such as ESPN or Sky Atlantic will even themselves out across the E.U..

In practice, though, even after the contractual hurdle has been cleared away, companies will still be able to say ‘no’ on commercial grounds to customers who are trying to get a better deal than the one offered in their home countries (if, for example, the administrative cost would outweigh the benefits for the company).

The six studios to have received the so-called “Statement of Objections” are:

  • Walt Disney
  • 20th Century Fox
  • Warner Bros.
  • Paramount Pictures (a unit of Viacom Inc.)
  • Sony Pictures
  • NBCUniversal (Comcast Corp.)

Sky Thursday confirmed it had received the Commission’s objections and said: “We will consider this and respond in due course.”

Under the E.U.’s rules, it can fine companies up to 10% of their global annual revenue for antitrust violations.

This article originally appeared on Fortune.com

TIME Hillary Clinton

How Hillary Clinton Is Shifting Hollywood Fundraising Strategy

Hillary Rodham Clinton at the U.S. Capitol on July 14, 2015.
Bill Clark—CQ Roll Call/AP Hillary Rodham Clinton at the U.S. Capitol on July 14, 2015.

Clinton is using backyard meet-and-greets to reintroduce herself to industry donors — and it's working

Four years ago, Barack Obama was packing L.A. hotel ballrooms for fast cash for his re-election campaign. But Hillary Clinton is taking a different approach in her second bid for the White House. The former secretary of state is opting for more intimate gatherings in the backyards of such longtime Hollywood friends as producer Steven Bochco and HBO’s Michael Lombardo, where she’s able to spend more one-on-one time with guests willing to donate $2,700 apiece.

Clinton’s approach has served to build a deeper list of small donors who can be tapped again as the campaign progresses and to reintroduce herself to Hollywood — which largely abandoned her for Obama in 2008 — as a warmer, more approachable candidate.

So far, both efforts seem to be working for Clinton, 67, who raised a record $47.5 million during the second quarter, including $4 million from such L.A. donors as Tobey Maguire, Robert Iger,Harvey Weinstein, former ambassador (and wife of Netflix’s Ted Sarandos) Nicole Avant, Lionsgate’s Jon Feltheimer and Rob Friedman. CAA was particularly active, with more than 50 employees donating, including Kevin Huvane and new Clinton bundler Michael Kives. Even the pickiest Obama supporters have come away from Clinton’s events feeling better about her candidacy.

“Her performance at local events has created a nice progression in enthusiasm,” says Tennis Channel CEO Ken Solomon, one of Obama’s top fundraisers. “In the earliest days of this cycle, people were saying, ‘Well, she’s not that exciting.’ But I have heard it from others and have seen it myself: She’s really connecting with people.”

By law, Clinton is prohibited from holding big-dollar fundraisers (typically $33,400 a ticket via the DNC) until she wins the Democratic primary. But she is allowed to pack three ballrooms at The Beverly Hilton on one night, as Obama did in 2008. Instead, explains Solomon, “The campaign wants a long ramp-up” with additional smaller events. Strategist Lara Bergthold, who representsNorman Lear and Rob Reiner, says Clinton is giving those in Obama’s camp a new view: “People are getting really excited about her here.”

But Clinton’s meet-and-greet strategy presents a unique challenge: With Clinton unable to raise money for the DNC, Hollywood fundraisers are tasked with bringing in the big dollars, primarily through the pro-Clinton super PAC Priorities USA Action and DNC events often hosted by Obama. A big push, independent of Clinton, is planned in Hollywood later this summer, largely for Priorities USA Action. Jeffrey Katzenberg and adviser Andy Spahn already have begun raising money for the PAC (Haim Saban reportedly has given the group $2 million.)

Until then, some moguls are enjoying playing politics on a budget. After all the complaints Tom Rothman made in the hacked Sony emails about being hit up for donations, he gave the max, $2,700, last quarter.

This article originally appeared on The Hollywood Reporter

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TIME movies

An Actual Emoji Movie Is in the Works

Hong Kong Rugby Sevens: beer, costumes and, somewhere, a result
Stringer—AP Fans wearing emoji masks watch a Hong Kong Seven rugby match in Hong Kong on March 28, 2015

No word yet on which members of Apple's vast emoji library will be making an appearance

Hollywood is impeccably good at turning a profit on insipid fads. In the five years since Universal Pictures released the animated film Despicable Me, a cultish cottage industry has sprung up around the Minions, the film’s manic yellow lozenges who ultimately proved lucrative enough to earn their own spinoff. They’re globally ubiquitous — you have Minion Tic Tacs, Minion-themed weddings in Britain, a curious Minion-inspired burger at McDonald’s restaurants in Hong Kong — and the producers are laughing all the way to the bank.

It’s not terribly surprising, then, that Sony Pictures Animation will be making a movie about emoji, the delightful little ideograms you use to caption your Instagrams or pepper your messages. The planned project, Deadline reports, comes after a supposedly heated bidding process between Sony, Warner Bros. and Paramount Pictures that culminated in a deal in the high six figures. There’s money to be made in twee hieroglyphics.

Or maybe it’s simply low-hanging fruit, given that the emoji library is less a typeface and more a means of illustrating the world at large. Your cast, setting and props are ready to go. The ensemble could be colossal: Apple’s emoji library is populated by 93 individual little yellow people, 15 families of four, 10 happy couples and seven anthropomorphic cats. Santa Claus could make an appearance. The library’s latest iteration offers 42 national flags, so it could be set anywhere — Israel! South Korea!

In any event, the movie won’t be completely revolutionary. The emoji-as-medium approach to filmmaking has earned some mileage as a music video strategy already, the best example thus far coming in Beyoncé and Jay-Z’s “Drunk in Love.”

TIME Theater

Jack Gleeson, King Joffrey on Game of Thrones, Snubs Hollywood for London Stage

"Game Of Thrones" Season 4 New York Premiere
Taylor Hill—FilmMagic/Getty Images Actor Jack Gleeson attends the 'Game Of Thrones' Season 4 premiere at Avery Fisher Hall, Lincoln Center on March 18, 2014 in New York City

The 23-year-old Cork native says he's turned down top roles to trend the boards

Jack Gleeson has kept busy in the year since his hated character on Game of Thrones was dramatically killed off.

The Irish star, who played King Joffrey in the HBO drama, has taken a break from the silver screen to found his own theater company and is preparing to debut the off-beat comedy Bears in Space at London’s Soho Theatre.

Gleeson started the Collapsing Horse Theatre Company with friends he met while at university, quashing rumors that the star would retire after his grisly Game of Thrones exit.

“Offers [for blockbuster roles] came in, but I just had a lack of desire to do a big action movie. What I enjoy most is this kind of thing, where I can have fun with my friends,” Gleeson told the London Evening Standard.

His latest production is about the thawing of two cryogenically frozen bears and their subsequent romp through space. The play has been well-received and was deemed a “must-see” by a review in Edinburgh Festivals Magazine.

Bears in Space plays at the Soho Theatre from Aug. 3 to 22.

TIME On Our Radar

Los Angeles’ Complex, Gleaming Facets Revealed in a New Photo Book

125 master photographers present a collective portrait of the City of Angels

Los Angeles is a city of contrasts and contradictions, where the curving lines of the golden coast, its palm tree-dotted boulevards, challenge the harshness of the Hollywood hiking trails, and the spotless stucco townhouses of Bel Air starkly contrast the cavernous corporate alleys of Downtown. Like an iridescent kaleidoscope where the tiles change shape at each turn, Los Angeles is the vibrant, fickle sum of its very different parts – capricious, wild, indulgent, sad, roaring, sweet, complex.

A postwar Los Angeles of “extremes and dualities” is portrayed in the new photobook Both Sides of Sunset: Photographing Los Angeles (a spinoff of Looking at Los Angeles, both published by Metropolis Books). The pictures in this collection were captured by the lenses of more than 125 master photographers – Bruce Davidson, Elliott Erwitt, Jim Goldberg, Daido Moriyama to name a few – whose photographs present a “collective portrait of the city,” as Jane Brown and Marla Hamburg Kennedy, who edited the book, explain.

“Los Angeles was not as developed as it is now, there was no Downtown really,” says Jim Goldberg, referring to the mid-1980s and 90s, years when he worked on the ten-year multimedia project Raised by Wolves. “Hollywood is where kids flocked, where they could be part of the music scene and where there were drugs readily available.”

Goldberg’s portrait of the harsh reality of addiction and abuse among runaway adolescents shows a side of Los Angeles as vivid as the liberating energy of krumping dance, captured by Bruce Gilden’s lens. Los Angeles is in the irony of Elliott Erwitt’s eye as well as in the civil commitment of anti­war rallies’ captured by Charles Brittin.

Los Angeles is fiction within reality, as in Kevin Cooley’s photograph from the long­-term series Night for Night: “Found scenes are brought to life at night by light escaping from movie filming locations illuminating scenes far beyond the set’s edge,” Cooley explains. “This bright and unnatural illumination provided an eerie highlighting of the everyday, giving them an acute sense of importance. This project brought together two of my interests: the overlap of public and private spheres, and collision of natural and artificial light.”

The very idea of contrast itself is brought to the fore in David Maisel’s Oblivion 10n, a shot from a series of aerial photographs of the metropolis and its environs. “I’ve reversed the tonalities, resulting in a negative version of the city, a kind of emptied out shadowland. Themes of development as a self-generating, self-replicating force that exists outside of nature are encoded in these images, which view Los Angeles as both a specific site and as a more generalized condition.”

Angeleno photographer Dan Lopez views photography as a “hunt for hidden treasure,” and his hometown – which at turns reveals and hides its essence, is full of such riches: “L.A.’s horizontal layout perfectly resembles a virtually endless and ever-changing treasure map of transient landscapes and urban decay.”

Taken together, these many angles on Los Angeles reflect the city’s complex identity and all of its gleaming facets.

Both Sides of Sunset: Photographing Los Angeles is published by Metropolis Books, 2015.

Michelle Molloy, who edited this gallery, is a senior international photo editor at TIME.

Lucia De Stefani is a writer and contributor to TIME LigthBox. Follow her on Twitter and Instagram.

TIME psychology

How to Improve Your Writing: 5 Secrets From Hollywood

Getty Images

Eric Barker writes Barking Up the Wrong Tree.

Thanks to the internet, people are reading and writing more than ever. But is it me, or does it seem like the quality of that writing has gotten worse?

However, this can be a good thing. These days, solid writing really stands out. It can be a competitive advantage in anything you do.

Want to know how to improve your writing? Or have you ever thought about crafting the next great novel or screenplay? Want to know how to write like a pro?

Me, too. So I called my buddy Andy.

Andrew Kevin Walker wrote the blockbuster Seven, starring Brad Pitt and Morgan Freeman. Here’s the trailer:

Andy was also a writer on many other big projects including Sleepy Hollow, The Hire, and Fight Club (you might notice in the credits that the three cops who attack Edward Norton are named “Andrew”, “Kevin” and “Walker.”)

His new book is Old Man Johnson.

Below you’ll learn:

  1. The thing that immediately tells readers you’re a good writer.
  2. How to surprise your audience.
  3. The mindset you need to write like a pro.
  4. The secret to effective collaboration.
  5. How to make readers feel something when they read your work.

And much, much more. Alright, ramblers, let’s get ramblin’…


1) How To Improve Your Writing

Andy recommends two things you can do to vastly improve your writing — whether you’re writing an email, a presentation for work or a screenplay for Hollywood. What’s the first one? Here’s Andy:

When I’m reading something, what lets me know if I’m in good hands or not is whether there’s a sense of structure to it.

Do you have a beginning, a middle and an ending? Does one build on the other? Is there a sense this is going somewhere? Does it seem like you have really thought this through? Here’s Andy:

Knowing where you’re going is key. If you don’t, how can you know what your theme is? How can you foreshadow anything? When you know what your ending is, then you know what you’re writing. It may change as you’re writing but I really feel like you have to have a “true north” that you’re heading toward — and that “true north” is your ending. You don’t have to know every detail of it. With Seven I always knew that there were going to be seven deadly sin murders. Therein lay the structure of it. Good cop was gonna become “wrath” in the end. With that I had a skeleton on which to build the spine of the story.

And other experts agree. When I interviewed UCLA Film School professor Howard Suber, he said structure was vital.

Good stories are built on the word “but”, not the word “and.” This insures that there are twists and turns, and a relationship between what came before and what will come after.

What’s the second thing you need to do? Revise. First drafts are never final drafts. Here’s Andy:

That golden rule that “writing is rewriting” gets ignored a lot. Completing it is one thing, but then going back to the beginning and completing it again is the most important part of the process. In fact, I would say “completing it again and again.” You should rewrite your rewriting too.

When I spoke with Harvard professor Steven Pinker, he said the same thing. Here’s Steven:

Much advice on good writing is really advice on revising. Because very few people are smart enough to be able to lay down some semblance of an argument and to express it in clear prose at the same time. Most writers require two passes to accomplish that. And after they’ve got the ideas down, now it’s time to refine and polish. Because the order in which ideas occur to a writer is seldom the same as the order that are best digested by a reader. And often, good writing requires a revising and rearranging the order of what you introduce so that the reader can easily follow it.

(To learn the good work habits that all geniuses have in common click here.)

Structure and revising will definitely improve your writing. But what gets the attention of an audience, especially in this age of zero attention span? You gotta surprise ’em. Here’s how…


2) How To Surprise The Reader

Surprise is about defying expectations. So to do it you must first know what your audience expects from the type of writing you’re doing. This is true for everything from PowerPoint presentations to creative essays.

Know your “genre” and what your audience expects and you’ll know what you need to do to surprise them. Here’s Andy:

It’s only by being aware of genre and audience expectations that you can really surprise people… Best example for Seven was taking a movie that’s about characters who desperately want to catch a murderer and an audience that’s awaiting the cathartic moment of capture — and then having the killer turn himself in. Stealing that catharsis from the audience and sucking all the air out of the room so that the characters — and now the audience — are off-balance. And then everyone is going, “I don’t know what’s going to happen next.”

That shocking moment (NSFW) is here:

And UCLA Film School professor Howard Suber says this sort of surprise is essential to creating engaging writing. Here’s Howard:

Without the surprise, without the twist, if you don’t pull the wool over the audience’s eyes, then it’s unlikely you’re going to be memorable. It’s precisely the fact that things are not what they seem that makes a story interesting.

(For more on how to be a great writer from Harvard’s Steven Pinker click here.)

Okay, so you’ve got structure, you’re revising your work and incorporating surprise. That can definitely improve your writing. But what does it take to write like apro?


3) How To Write Like A Professional

Are you enjoying putting those words on the page? Is it making you smile? Congrats, you’re screwing up. Here’s Andy:

When you’re writing, if you’re super happy and having a fun time — you’re probably doing something wrong. Good writing means being a perfectionist. And that means being at least semi-miserable. But that’s a good thing. Perfectionism leads to rewriting. Now you can get so depressed over writing that you get in your own way, but a happy writer probably isn’t pushing themselves hard enough.

Sound crazy? Research shows that experts emphasize the negative. They have to. If you aren’t continually identifying what isn’t working you can’t make it better. Here’s Andy:

Before you show it to anyone else, are you really asking yourself, “Is this the absolute best it can be?” Are you being as hard on yourself as you can possibly be? Because those important reads that may get it seen by an agent or a publisher, those reads are really rare and you won’t get two of them out of the same person.

We’ve heard a lot about “flow.” Flow is pleasurable — but it doesn’t make you better. As Georgetown professor Cal Newport explains, it’s “deliberate practice” that improves skills. And that means you’re always working at the edge of your comfort zone, not in a blissful state of flow.

Okay, so you’re focusing on the negative…

But you also need to stay optimistic.

I know what you’re thinking: Huh? How the heck do you embrace negativity and also be optimistic?

If you keep emphasizing the negative, you get depressed and you quit. Research shows pessimism kills grit.

And with all the rejection and criticism in Hollywood, it’s too easy to give up. So while you have to focus on the negative while you’re writing, you need to keep some optimism cooking when you look at the big picture. Here’s Andy:

One of the most important things for any writer is to be constantly refilling their reserve of naiveté. If I weren’t as wholeheartedly naive now as I was on my first day leaving film school that I was going to achieve something in the world of screenwriting, then I wouldn’t still be doing it. It’s like selective memory. If you can’t tamp down the bad experiences you’ve had writing — and they’re numerous — almost actively forget them and refueling your optimism each time, then you’ll just stop… I’m as optimistic about writing now as I was at the beginning — which is completely delusional. Embracing delusion is really important. They say the definition of insanity is “doing the same thing over and over and expecting a different result.” But if you’re not doing that in Hollywood, you’ll never survive. It’s only the person who has the determination to keep saying “yes” in the face of all those “no’s” that will make it.

Does this sound crazy? Here’s what’s interesting: the schizophrenic mindset Andy’s describing is the same one seen in elite athletes.

Via Bounce: Mozart, Federer, Picasso, Beckham, and the Science of Success:

Doublethink is essential to the success of leading athletes and other top performers… Take top golfers…they have to make scrupulously rational choices about shot selection (laying up, for example, rather than going for the green), but once they have committed to any given shot, they have to be—indeed, they train themselves to be—irrationally optimistic about execution. Nick Faldo, the six-time major winner, made precisely this point when I interviewed him at the Open Championship in 2008. “You have to be very calculating in selecting the right shot,” he said. “You have to make a decision based upon a realistic assessment of your own weaknesses and the scope for failure. But once you have committed to your decision, you have to flick the mental switch and execute the shot as if there was never any doubt that you would nail it.”

It’s what Andy calls “the manic-depressive requirements of writing.”

So how does he do it? How do you hold matter and antimatter in your head at the same time?

Andy keeps that ruthless perfectionism brewing… but he makes sure he feels he’s making progress on a regular basis. Here’s Andy:

One of the things that’s important is to create a daily or weekly sense of completing something. I’m not going to be done with this script for months or years. It may not get made into a movie. If it does it’ll be years from now. I can’t finish this script today but I can finish sweeping the floor. I can’t finish this novel today but I can finish this submarine sandwich. I can finish this nap. Every little bit of distraction or procrastination that has closure to it is a small reward for the person whose main journey of writing has its reward so far away and on such uncertain terms.

Bestselling author Dan Pink has written about the power of these “small wins” to keep us going. Teresa Amabile’s research at Harvard shows nothing is more motivating that the feeling of progress. By building this into his schedule, Andy is able to keep going even with a mindset that is deliberately focused on the perfectionistic negative.

(To learn how Navy SEALs build grit and learn to never give up click here.)

But in many work environments writing can be a collaborative process. Hollywood is no different. So what if others are doing the writing and you need to give feedback? How do you help them improve — without insulting them?


4) The Right Way To Collaborate

Andy has worked with director David Fincher on a number of memorable films, including Seven and Fight Club. Why have their collaborations been so effective?

Because Fincher is a master at suspending his ego when giving feedback. Here’s Andy:

Fincher does a lot of things that a lot of people don’t do. He listens. He actually collaborates. He’s incredibly specific with his input. But he’s not desperate to put his stamp on something. It’s his lack of ego. Usually when you’re getting notes on a project, the person giving them is clearly motivated by having their voice heard, their ego being stoked.

When I spoke with FBI behavior expert Robin Dreeke he said the exact same thing about effectively dealing with people: Suspend your ego.

And the secret to writing well when you’re part of a team is to give others that chance to contribute in the areas where they know more than you do. Here’s Andy:

Really good actors like Morgan Freeman, and Brad and Kevin, will always take your worst stuff and make it a thousand times better than it was on the page. And so the lesson is, when it goes from the page to fruition, less is better. In the right hands, you’ll be amazed how much better it gets.

It’s only when great writing, great directing, and great acting come together that you get moments (NSFW) like this:

(For more on how to make people like you — from an FBI behavior expert — click here.)

We’ve learned a lot about solid writing. But, in the end, nothing is more powerful than moving people emotionally. How can you do that? Andy has an answer.


5) How To Make Readers Feel Something

It all comes down to one word. Here’s Andy:

Honesty is the most important ingredient.

That’s what made Seven work. Now Andy didn’t literally follow the old advice of “write what you know.” He was never a cop… or a serial killer for that matter.

But the script was honest regarding what he was feeling about New York City while he was writing it. Here’s Andy:

Seven came from a very personal place. The argument that’s taking place both internally and externally for Mills, (Brad Pitt’s character) and for Somerset (Morgan Freeman’s character) is an argument that I was having with myself, living in New York City in the late 80’s. If there’s anything that elevated it above an exploitational film, it was the stuff that came from me personally. The “write what you know” wasn’t experiences I had; I was never a policeman tracking down this terrible, murderous villain, but it was the debate over “look what this city’s become.” I was empathizing with John Doe and having him express frustrations of mine — in the worst way possible. It was an angel on one shoulder and a devil on the other — and this is the argument that Mills and Somerset are having, that I was having. Morgan Freeman wants to quit and Brad never will. As a writer, I had to earn that moment where Morgan Freeman, despite his pessimism about the city, decides not to give up. And that’s what drives him to say, “I’ll be around” at the end of the movie.

(For more on how to tell great stories from a UCLA Film School professor click here.)

Okay, Andy’s told us a lot about how to be a better writer. Let’s round it all up — and learn how we can apply it to any career.


Sum Up

Here’s what Andy had to say about how to improve your writing:

  1. Structure lets readers know they’re in good hands. And finishing a draft is just the start. Writing is rewriting.
  2. Surprise comes from knowing the expectations of your audience — and then turning them on their head.
  3. The best writers know how to balance the negativity of perfectionism with the optimism that keeps them going. Making sure you have “small wins” can help.
  4. Collaboration is about suspending your ego. Stop thinking about yourself and focus on what would objectively make the piece better.
  5. Making a reader feel something is about honesty. You don’t have to come from the future to write science fiction but there does have to be something of yourself in the story for that emotion to show through.

And these ideas don’t just apply to writing. You can be an artist at anything if you take the mindset of an artist and strive to be great at whatever you do. Here’s Andy:

In the same way that there’s an art to crafting surfboards or an art to designing cars, there’s an art to pumping gas or being a garbage man. No matter how much you’re being paid or what you’re doing as a career, you need to embrace the art of it and not be afraid of the artist in you… Find the art in everything you do.

In my next weekly email I’ll have more writing tips from Andy (including the best way to find original ideas and discover your voice as a writer.) To make sure you don’t miss it, join here.

Join over 195,000 readers. Get a free weekly update via email here.

This piece originally appeared on Barking Up the Wrong Tree.

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TIME Ideas hosts the world's leading voices, providing commentary and expertise on the most compelling events in news, society, and culture. We welcome outside contributions. To submit a piece, email ideas@time.com.

TIME celebrities

Amber Heard Charged With Illegally Bringing Her and Johnny Depp’s Dogs Into Australia

NEW YORK, NY - AUGUST 27: Amber Heard is seen in tribeca on the streets of Manhattan on August 27, 2012 in New York City. (Photo by Alo Ceballos/FilmMagic)
Alo Ceballos—2012 Alo Ceballos Amber Heard is seen in Tribeca on the streets of Manhattan on Aug. 27, 2012, in New York City

Harsh penalties are prescribed under Australia's strict animal-importation laws

Amber Heard, actress and wife of Johnny Depp, was summoned to Australian court on Wednesday on charges that she and Depp brought their dogs, Pistol and Boo, into the country illegally. She faces fines as high as $100,000 or as much as 10 years in prison.

Heard and Depp made headlines in May when it was discovered that they had brought the two Yorkshire terriers into the country on a private jet without quarantining them, the Australian Broadcasting Corp. (ABC) reports.

Heard was charged with two counts of illegal importation contrary to the quarantine act and one count of producing a false document (it was not specified what document that was). She and Depp had been in Australia, while he filmed the next Pirates of the Caribbean installment, when reports surfaced that they were keeping dogs that had been improperly imported. Australia, which is known for strict animal-, foodstuff- and agricultural-importation policies, would have required Heard and Depp to begin the process more than six months prior to their arrival, including the making of multiple visits to a veterinarian in the U.S. and a 30-day stay for Pistol and Boo in a quarantine center in Australia.

Australian Agricultural Minister Barnaby Joyce famously issued Depp and Heard an ultimatum: remove the dogs from the country or surrender them for euthanasia. “If we start letting movie stars — even though they’ve been the sexiest man alive twice — to come into our nation [and break the laws], then why don’t we just break the laws for everybody?” he said on ABC at that time.

The dogs were flown safely back to the U.S. shortly after.


TIME photography

This Is What Selfies Looked Like in the 1940s

They didn't use a selfie stick, or even the word itself, but these self-portraits most definitely fit the bill

When Gjon Mili invited celebrities to his studio in 1944 for a session in self-portraiture, the word “selfie” was 70 years from inclusion in the Oxford English Dictionary. “Duck face” was nothing more than the mug of a quacking animal, and Kim Kardashian’s father was a newborn baby, 36 years from fathering the future queen of selfies. But one look at the portraits they produced that day, and it’s not hard to imagine the subjects holding an iPhone 6 instead of a remote-controlled shutter release.

Photographic self-portraits date back to 1839, when Robert Cornelius mugged for his camera in the back of his family’s store in Philadelphia. So when Van Johnson and Geraldine Fitzgerald took their own photographs with Mili’s help, they were not pioneers, but participants in the evolution of an art form. And their poses are not so different from those of today’s selfies: Fitzgerald sports a barely-there smirk and Johnson an expression of “gee golly” innocence, actor S.Z. Sakall “cuddles” himself while singer Lauritz Melchior feigns surprise. Their photos make it clear that although the technology we use to capture it has advanced by leaps and bounds, human expression—duck face aside—has changed little over time.

Gjon Mili—The LIFE Picture Collection/Getty ImagesPhotographer Gjon Mili instructing actress Geraldine Fitzgerald on how to take her own photograph.


Liz Ronk, who edited this gallery, is the Photo Editor for LIFE.com. Follow her on Twitter @lizabethronk.

TIME celebrities

Bill Cosby No Longer Has a Hollywood Agent

An Evening With Bill Cosby At King Center For The Performing Arts
Gerardo Mora—Getty Images Actor Bill Cosby performs at the King Center for the Performing Arts on Nov. 21, 2014, in Melbourne, Fla.

Organizations are scrambling to distance themselves from the comedian

Bill Cosby now has no talent representation in Hollywood.

Deadline Hollywood reports that his erstwhile agency CAA quietly decided to dump him last year after two dozen women accused him of drugging and raping them.

“We do not represent him at this time,” a CAA official recently confirmed to Deadline.

In 2012, Cosby left the William Morris Agency after 48 years and made the move to CAA. He was reportedly considered one of WMA’s biggest clients at the time thanks to the popularity of the Cosby Show on NBC.

Now organizations are scrambling to distance themselves from the comedian after court documents supporting the allegations against the comedian were released. Most recently, Walt Disney World’s Hollywood Studios in Orlando got rid of a bronze bust of the comedian.

It’s unlikely that Cosby will find a new agency to represent him in Hollywood unless the charges against him are proved false, Deadline says.

[Deadline Hollywood]

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