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	<title>EntertainmentCategory: Q&#38;A &#124; Entertainment &#124; TIME.com</title>
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		<title>EntertainmentCategory: Q&#38;A &#124; Entertainment &#124; TIME.com</title>
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		<title>Arrested Development&#8217;s Mitch Hurwitz Talks About Getting the Bluths Back Together</title>
		<link>http://entertainment.time.com/2013/05/22/arrested-developments-mitch-hurwitz-talks-about-getting-the-bluths-back-together/</link>
		<comments>http://entertainment.time.com/2013/05/22/arrested-developments-mitch-hurwitz-talks-about-getting-the-bluths-back-together/#comments</comments>
		<pubDate>Wed, 22 May 2013 15:09:24 +0000</pubDate>
		<dc:creator>James Poniewozik</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Television]]></category>
		<category><![CDATA[Tuned In]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541339</guid>
		<description><![CDATA[On Sunday, May 26, Netflix will debut 15 new episodes of Arrested Development. I visited the set last fall, and my feature on the revival ran in the print TIME magazine a couple weeks ago. This week, I’m excerpting some interviews I did for the piece. Mitch Hurwitz, the show&#8217;s creator, writer, and all-around mad genius, discussed the revival with me on the phone a few weeks ago, while in post-production on the new season: So, are you editing episodes at this stage? Hurwitz: Yeah. The episodes have to be essentially locked in like 12 days and I still have like three hours of content which is like three movies. So it’s this crazy pace – it’s been kind of around the clock. But I’m getting there. I’m getting there. That actually brings up a question: are you locked into, you know, whatever – 22, 25, 30 minutes an episode? They can be different lengths, right? Exactly, and that’s been a big relief. The old show had to be something like 20 minutes and 45 seconds – something like that. It’s a crazy short amount of time so it really honed my skills at the concentration process. You just – distill and distill and distill the material, and I’d look at those old shows and think, “Oh, my God. I can’t believe we did that in 20 minutes.” Now the new show basically I’m looking at it as a whole and it’s probably gonna be about eight-and-a-half hours which is, I think, longer than the first season was altogether. One of the many things that was so great and distinctive about the old episodes was that you really crammed a lot in them; I imagine part of that was sort of a side benefit of the running time that commercials forced on you. And yet I imagine you want to retain that familiar piece and metabolism for the show. Yeah, my goal was actually to get the episodes as short as possible, and I just couldn’t do it. There was<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541339&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Television</primary_category><primary_category_link>http://entertainment.time.com/category/television/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/adev_prm_046_h.jpg?w=240</featured_image>
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			<media:title type="html">Netflix&#039;s Los Angeles Premiere Of Season 4 Of &#34;Arrested Development&#34;</media:title>
		</media:content>

		<media:content url="http://0.gravatar.com/avatar/ff52ed68b9a6630bf8c9e9f8bd32ce0b?s=96&#38;d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">jponiewozik</media:title>
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		<title>Robocall: A Conversation with Daft Punk     </title>
		<link>http://entertainment.time.com/2013/05/21/robocall-a-conversation-with-daft-punk%e2%80%a8%e2%80%a8-%e2%80%a8%e2%80%a8/</link>
		<comments>http://entertainment.time.com/2013/05/21/robocall-a-conversation-with-daft-punk%e2%80%a8%e2%80%a8-%e2%80%a8%e2%80%a8/#comments</comments>
		<pubDate>Tue, 21 May 2013 19:21:36 +0000</pubDate>
		<dc:creator>Jesse Dorris</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Daft Punk]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541179</guid>
		<description><![CDATA[French dance duo and public robot impersonators Daft Punk have recently made a series of documentaries, created a few brief advertisements that far overshadowed the episodes of Saturday Night Live they interrupted, staged an album launch party at a farm show in the Australian outback…oh, and finally finished a new album. Random Access Memories is seven years in the making and features a cast of thousands, starring, in order of appearance: disco innovator Nile Rogers, noted electro-perv turned serious pianist Chilly Gonzales, living legend Giorgio Moroder, the Strokes’ Julian Casablancas, hip-hop impresario Pharrell, songwriter extraordinaire Paul Williams, house music god Todd Edwards, and smooth operator DJ Falcon. The double-album trades in Daft Punk’s beloved techno fervor for an altogether more nostalgic, adult-contemporary approach. It’s gorgeous, often ridiculous, and divisive. (And arrives in the wake of a major loss to the Daft Punk family: rest in peace, Romanthony, whose vocal turns on tracks like “One More Time” and “Too Long” are for the ages.) TIME reached the robots—a/k/a Guy-Manuel de Homem-Christo and Thomas Bangalter—at their Daft Arts compound, a secretive, multimedia empire located at an undisclosed location somewhere in Los Angeles. TIME: The new album focuses on music of the past. What’s the first music you remember hearing? Guy-Manuel de Homem-Christo: I suppose the music on the seven-inch you could play along with the story of Snow White, as you move the pages of the book, you know? But the first impactful memory was Thriller. I was seven or eight at the time and I really embraced it all, the performance and package and music and horror film… You can definitely see that all-encompassing vision influencing the music you later made. What about as teenagers? de Homem-Christo: When we met, we had a real love for Chic. It was the best funky kind of band, the elegance and tightness of Bernard Edwards and Nile Rogers. How were proper disco bands like Chic viewed in France? Was there the sort of “Disco Sucks!” backlash that happened here? de Homem-Christo: I don’t think<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541179&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/culmusic_0527.jpeg?w=240</featured_image>
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			<media:title type="html">Daft Punk</media:title>
		</media:content>

		<media:content url="http://0.gravatar.com/avatar/6509199e7e95abcef9b760b313e6f68c?s=96&#38;d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">jessedorris</media:title>
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		<title>Ron Howard Talks the Arrested Development Reunion</title>
		<link>http://entertainment.time.com/2013/05/21/ron-howard-talks-the-arrested-development-reunion/</link>
		<comments>http://entertainment.time.com/2013/05/21/ron-howard-talks-the-arrested-development-reunion/#comments</comments>
		<pubDate>Tue, 21 May 2013 18:03:14 +0000</pubDate>
		<dc:creator>James Poniewozik</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Television]]></category>
		<category><![CDATA[Tuned In]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541264</guid>
		<description><![CDATA[On Sunday, May 26, Netflix will debut 15 new episodes of Arrested Development. I visited the set last fall, and my feature on the revival ran in the print TIME magazine a couple weeks ago. This week, I&#8217;m excerpting some interviews I did for the piece. Below, executive producer, narrator—and, in the new episodes, guest star—Ron Howard talks about bringing the show back from the dead: There had been talk ever since Arrested Development left Fox of trying to revive it somewhere. Why, in your view, did this deal work out when previous attempts (like getting it to Showtime)  didn’t? Ron Howard: Well, ultimately this is all just an outgrowth of our ongoing ambition to try to do the Arrested Development movie. But as time went by and Mitch started developing the movie, trying to break the story, he said, &#8220;My problem is is I’m investing a minimum of 40 minutes, just trying to quickly catch everybody up because the cast is so large.&#8221; And he started telling me what he thought people had been through and where they were in the world. It was just hilarious. And I said, &#8220;It’s almost like every one of those scenarios is basically an episode, Mitch.&#8221; And he kind of laughed about it and the next day he said, “You know, maybe those could be episodes. Maybe we should do that.” Separately, Ted [Sarandos, content head for Netflix] bumped into me at a Superbowl party and said, “Hey, have you ever thought about doing some more episodes? The Netflix fans love Arrested Development and the statistics prove it.” At the end of the day I think Mitch kind of felt, and I think he’s right, that Arrested Development has always been kind of a, you know, it’s been at its heart something that was a bit of an experiment. And it was about taking some chances. And there was something consistent with that in trying this Netflix model. In fact the only reason we were already having the conversation was that the show<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541264&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/168744614.jpg?w=240</featured_image>
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			<media:title type="html">From left: Director Ron Howard and Terry Crews attend the &#34;Arrested Development&#34; Bluth&#039;s Original Banana Stand Second Location at Columbus Circle in New York City Opening, on May 14, 2013.</media:title>
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		<media:content url="http://0.gravatar.com/avatar/ff52ed68b9a6630bf8c9e9f8bd32ce0b?s=96&#38;d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">jponiewozik</media:title>
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		<title>Q&amp;A: Simon Pegg on Star Trek Into Darkness, Life on Other Planets and Ugly Shirts of the Future</title>
		<link>http://entertainment.time.com/2013/05/17/qa-simon-pegg-on-star-trek-into-darkness-life-on-other-planets-and-ugly-shirts-of-the-future/</link>
		<comments>http://entertainment.time.com/2013/05/17/qa-simon-pegg-on-star-trek-into-darkness-life-on-other-planets-and-ugly-shirts-of-the-future/#comments</comments>
		<pubDate>Fri, 17 May 2013 13:00:03 +0000</pubDate>
		<dc:creator>Lily Rothman</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Scotty]]></category>
		<category><![CDATA[Simon Pegg]]></category>
		<category><![CDATA[Star Trek]]></category>
		<category><![CDATA[The World's End]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539930</guid>
		<description><![CDATA[In the Trek universe, it&#8217;s usually Spock and Kirk who get top billing. But it Simon Pegg&#8217;s Scotty—the starship engineer of &#8220;Beam me up!&#8221; fame—who truly breaks out in Star Trek Into Darkness (out May 16). Here, the 43-year-old actor, who&#8217;s also in Shaun of the Dead threequel The World&#8217;s End (out Aug. 23), talks with TIME. TIME: You share screen time with aliens in both Star Trek and The World&#8217;s End. Do you personally believe they exist? Simon Pegg: I think you’d be foolish not to, to be honest, with the statistics involved. There are billions and billions of planets. It’s like that quote about sowing an entire field of seeds and expecting there to be one to grow. I don’t believe that they’ll visit us. That’s beyond physical capabilities, with the distance between planets, let alone galaxies. It’s way, way too vast to travel in our timeframe. Even at warp speed. But the notion that there’s nothing out there is damn right arrogant and naïve. What if we found signs of alien life? I was thinking this the other day. We’re developing more and more powerful telescopes. I met somebody yesterday who’s a planet hunter, looking for planets in the vicinity of our solar system. Eventually, they’re going to find a planet and they’ll see it, even if they don’t reach it, and they’ll see that there’s water on it. If there’s water on it, there’s life on it. And that’s going to change everything. I’m sure the various religions of the world will absorb it in some way and explain it away, but it is going to completely remove the notion that we are the center of the universe. It isn’t just Earth and Earth wasn’t created — it was part of a bigger something going on, that had nothing to do with us. That’s going to cause something interesting when it happens. I can’t wait. And then we&#8217;ll need a Starfleet. Yeah, we&#8217;ll get a Starfleet together and we&#8217;ll base it in San Francisco, a progressive city, and take off for<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539930&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/60181357235304-hh-26494.jpg?w=240</featured_image>
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			<media:title type="html">Simon Pegg as Scotty</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/7353cde42892da956db278c30d3bcfbc?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">rothmanlily</media:title>
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		<title>Q&amp;A: DWTS Judge Carrie Ann Inaba Thinks the Winner Will Be&#8230;</title>
		<link>http://entertainment.time.com/2013/05/16/qa-dwts-judge-carrie-ann-inaba-thinks-the-winner-will-be/</link>
		<comments>http://entertainment.time.com/2013/05/16/qa-dwts-judge-carrie-ann-inaba-thinks-the-winner-will-be/#comments</comments>
		<pubDate>Thu, 16 May 2013 09:45:30 +0000</pubDate>
		<dc:creator>Melissa Locker</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[ABC]]></category>
		<category><![CDATA[Bruno Tonioli]]></category>
		<category><![CDATA[Carrie Ann Inaba]]></category>
		<category><![CDATA[dancing with the stars]]></category>
		<category><![CDATA[dwts]]></category>
		<category><![CDATA[Len Goodman]]></category>
		<category><![CDATA[Reality Television]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539934</guid>
		<description><![CDATA[When it comes to Dancing with the Stars, fans know what to expect, and that&#8217;s not a bad thing. The ballroom-dance competition reality show will have glitter, spandex, spray tans and Drama with a capital D as the show&#8217;s professional dancers whip a crop of E- and F- List stars into semi-professional samba dancers. The show never fails to live up to its fans expectations, which is how, in a sea of washed-up reality shows, Dancing with the Stars has managed to hold on for 16 seasons with very few changes to its dance-and-judge format. Part of the formula that makes the show work is the chemistry between the very distinct personalities of the judges, who — along with hosts Tom Bergeron and Brook Burke-Charvat — have provided a constant for the show, allowing it to stay wonderfully the same while existing in its own dance-driven microcosm. There&#8217;s the gruff, traditionalist Len Goodman. The wildly dramatic Bruno Tonioli, who is prone to judging while crouched over the table as if ready to pounce on the contestants. And then there&#8217;s Carrie Ann Inaba, the enthusiastic, effusive assessor, whose emotions frequently overtake her, resulting in a sort of undulating full-body glee. The judges are an integral part of the show and not just because of their role as quick-step evaluators. Over the years, they have become stars in their own right and it&#8217;s hard to imagine anyone aside from Bruno, Len and Carrie Ann filling those ring-side seats. Luckily for fan of the show, these judges, unlike the ones on, say, American Idol, aren&#8217;t leaving any time soon. As season 16 winds down, we sat down with Carrie Ann for a chat about the current season of DWTS,  including her thoughts on why this season seems so dramatic; her new partnership with Skinny Cow, a chocolate she swears by; and who she thinks will take home the coveted Mirror Ball Trophy next week. I’ve been recapping this show for several years, but this season seems extra dramatic. What do you think it is that<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539934&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Carrie Ann Inaba</media:title>
		</media:content>

		<media:content url="http://0.gravatar.com/avatar/c2a26585c9739694510fcde02fc99e75?s=96&#38;d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">woolyknickers</media:title>
		</media:content>

		<media:content url="http://timeentertainment.files.wordpress.com/2012/11/130537_0203_ful.jpg?w=360" medium="image">
			<media:title type="html">Image: Dancing With the Stars: All-Stars, Finale part 1</media:title>
		</media:content>

		<media:content url="http://timeentertainment.files.wordpress.com/2013/04/131849_1926_ful.jpg?w=360" medium="image">
			<media:title type="html">Image: DWTS</media:title>
		</media:content>

		<media:content url="http://timeentertainment.files.wordpress.com/2013/05/131859_3140_ful.jpg?w=360" medium="image">
			<media:title type="html">Dancing With the Stars, May 6</media:title>
		</media:content>
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		<title>Ralph Macchio on Playing &#8230; Ralph Macchio</title>
		<link>http://entertainment.time.com/2013/05/09/ralph-macchio-on-playing-ralph-macchio/</link>
		<comments>http://entertainment.time.com/2013/05/09/ralph-macchio-on-playing-ralph-macchio/#comments</comments>
		<pubDate>Thu, 09 May 2013 16:42:01 +0000</pubDate>
		<dc:creator>Lily Rothman</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[how i met your mother]]></category>
		<category><![CDATA[Karate Kid]]></category>
		<category><![CDATA[Ralph Macchio]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539522</guid>
		<description><![CDATA[Ralph Macchio is still associated with the characters he played decades ago—in slight heroes of The Karate Kid, My Cousin Vinny and The Outsiders—but the actor, now 51, also has a newer role that&#8217;s proven enduring: the role of Ralph Macchio. Though he&#8217;s hardly the first actor to play a version of himself, Macchio has made the most of those opportunities. He played &#8220;Ralph Macchio&#8221; on Entourage in 2005, on Head Case in 2007, in a Funny Or Die short in 2010.  He&#8217;ll be tackling the role two time this month—on an episode of How I Met Your Mother and in the upcoming indie comedy He&#8217;s Way More Famous Than You (opening, in limited release, May 10). Macchio talked to TIME about what makes a good fictional Ralph Macchio and why he needs to take a break from &#8220;wax on&#8221; one-liners. How did you end up playing yourself in so many things at once? What happened was, I just stepped off the Dancing With the Stars stage and wanted to take a little rest as I was hobbling around, and Michael Urie, who I worked with on Ugly Betty said, “We’re doing this movie [He's Way More Famous Than You] for a dollar and fifty cents, and it’s really funny, and would you help me out?” When you do these types of passion projects, you’re doing someone a favor — but you also have to believe in it. We found an angle to play the guy who was an anti- version of me. I’d had this video through Funny Or Die called “Wax On, F*ck Off,” which I co-wrote and created right when the Karate Kid remake was coming out. Before, on Entourage, I played myself and it was a pretty cool version of me. And I said the same thing to How I Met Your Mother: find something that is an interesting angle of me-being-me. Then, it’s worth it. But I’m going to take a step back from it right now. He’s Way More Famous Than You was filmed two summers ago; with the irony of<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539522&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><letterbox>1</letterbox><featured_image>http://timeentertainment.files.wordpress.com/2013/05/ralph-and-mamie-in-doorway.jpg?w=240</featured_image>
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			<media:title type="html">He&#039;s Way More Famous Than You</media:title>
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		<media:content url="http://1.gravatar.com/avatar/7353cde42892da956db278c30d3bcfbc?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">rothmanlily</media:title>
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		<title>Brian Eno On Art, Music And Inspiration</title>
		<link>http://entertainment.time.com/2013/05/09/brian-eno-on-art-music-and-inspiration/</link>
		<comments>http://entertainment.time.com/2013/05/09/brian-eno-on-art-music-and-inspiration/#comments</comments>
		<pubDate>Thu, 09 May 2013 16:26:57 +0000</pubDate>
		<dc:creator>Melissa Locker</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[Brian Eno]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Visual Art]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539508</guid>
		<description><![CDATA[Brian Eno may be many things—musician, composer, producer, artist —but he is not impatient. His latest piece, an audio-video installation as part of the Red Bull Music Academy called &#8220;77 Million Paintings,&#8221; represents more than 30 years of work – and it&#8217;s not done yet. The focal point of the work, which made its East Coast debut in New York City this past weekend, is an ever-changing light painting made up of Eno&#8217;s many drawings.  Every few minutes, specially designed software randomly selects those drawings, layering them in new combinations to create entirely new works of art — hence the title &#8220;77 Million Paintings.&#8221; Eno designed the slow pace of the self-generating work and outfitted the space with couches so his audience could sit and contemplate the  gradually changing work, while listening to the ambient soundscape he composed to accompany the piece. The work is a meditation on stillness, that challenges city-dwelling audiences to abandon their schedules and immerse themselves in a different, more peaceful world. We spoke with the pioneering musician and artist about his work, the restorative power of art and music and why he hates the word &#8220;vision&#8221;: I saw your &#8220;77 Million Paintings&#8221; — it was a very Alice in Wonderland-like feel to walk in off a dismal NYC street into your exhibit. What did you want people to feel? Exactly that. I really liked the idea of someone walking in from a New York City street into this completely calm place where there will not be any surprises. After a very short time in there. you realize that nothing else is going to happen. It’s going to carry on like that for as long as you stay there. Nothing is going to jump out and startle you. I think a place where you can switch your tension to a different setting, to remove yourself from: Is that a car coming? Is someone going to bump into me? Switching off that sort of constant worrying liberates your mind. Suddenly, you become kind of open — even vulnerable<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539508&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><letterbox>1</letterbox><featured_image>http://timeentertainment.files.wordpress.com/2013/05/11.jpg?w=240</featured_image>
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			<media:title type="html">Brian Eno - 1</media:title>
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			<media:title type="html">woolyknickers</media:title>
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			<media:title type="html">Brian Eno - installation</media:title>
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		<title>John Stamos on Losing Your Virginity with John Stamos</title>
		<link>http://entertainment.time.com/2013/05/07/john-stamos-on-losing-your-virginity-with-john-stamos/</link>
		<comments>http://entertainment.time.com/2013/05/07/john-stamos-on-losing-your-virginity-with-john-stamos/#comments</comments>
		<pubDate>Tue, 07 May 2013 14:58:10 +0000</pubDate>
		<dc:creator>Lily Rothman</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[John Stamos]]></category>
		<category><![CDATA[Yahoo]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539109</guid>
		<description><![CDATA[Just days after the announcement came that Yahoo! would be home to the  Saturday Night Live archives, the web powerhouse presented plans for a new lineup of original video programming. The scheduled programming—set to premiere later this year—includes a series about a four-inch-tall P.I., created by Ed Helms, and a grill-centric cooking show. And this gem: Losing Your Virginity with John Stamos. The series—executive-produced by Stamos and documentarian Morgan Spurlock—will consist of the erstwhile Full House star interviewing celebrities about their First Times. Stamos spoke to TIME about the concept for the show, the serious thoughts behind the comedy and, of course, his own first time. The show’s title, Losing Your Virginity with John Stamos, is it descriptive—or an imperative? Well, it’s not like, ‘Hey, come with me! Let’s go lose our virginities together!’ It’s not that self-explanatory. I’ve always been interested in this time period in everyone’s life. And not just the down-and-dirty sex of it all. But the loss of innocence, if that’s indeed what it was, or a turning point in someone’s life, love, how they view men or women afterwards, how they view the world. I remember thinking, literally the first thought after it happened, was, ‘Wow, this is what the whole world revolves around? I don’t get it. I better keep trying.’ It was very disappointing in the sense that obviously you build up something in your mind for it to be. The thing I love most about it is that everyone has a different interpretation of what happened to them. I’ve been talking about this show for years and everybody has a different feeling about it. Where did the idea first come from? I was at my parent’s house and this gal who was a bass player in my band brought her sister over. She was about 10 years older than me and I hadn’t seen this sister in long time. And I realized, ‘Oh, this girl looks familiar… wait a minute… now I know where I know her from.’ I figured out that that was the lady<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539109&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><letterbox>1</letterbox><featured_image>http://timeentertainment.files.wordpress.com/2013/05/4-29-13-john-stamos-morgan-spurlock-at-yahoo-newfront-copyright_lenateveris-65831.jpg?w=240</featured_image>
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			<media:title type="html">John Stamos &#38; Morgan Spurlock</media:title>
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			<media:title type="html">rothmanlily</media:title>
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		<title>Catching Up With Cheap Trick&#8217;s Rick Nielsen, 35 Years After At Budokan</title>
		<link>http://entertainment.time.com/2013/05/03/catching-up-with-cheap-tricks-rick-nielsen-35-years-after-at-budokan/</link>
		<comments>http://entertainment.time.com/2013/05/03/catching-up-with-cheap-tricks-rick-nielsen-35-years-after-at-budokan/#comments</comments>
		<pubDate>Fri, 03 May 2013 17:57:46 +0000</pubDate>
		<dc:creator>Melissa Locker</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[cheap trick]]></category>
		<category><![CDATA[Cheap Trick At Budokan]]></category>
		<category><![CDATA[Live at Budokan]]></category>
		<category><![CDATA[Rick Neilsen]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538645</guid>
		<description><![CDATA[The phrase &#8220;Big in Japan” is a universal punchline, and it may have been invented for the band Cheap Trick. Following their 1977 self-titled debut, Cheap Trick – singer Robin Zander, guitarist Rick Nielsen, bassist Tom Petersson and drummer Bun E. Carlos – hit the road hard, touring incessantly, playing any gig that came their way, and eventually putting out two more albums, In Color (1977) and Heaven Tonight (1978). All three albums were critically acclaimed, but didn’t sell particularly well and certainly didn’t crack the Top 40. Except, of course, in Japan. Cheap Trick was very big in Japan. All three albums had gone gold there, despite the fact that the band had never toured there. That all changed when Cheap Trick crossed the Pacific in April 1978 for their first Japanese tour. According to Nielsen, they were shocked when they stepped off the plane and saw that thousands of screaming fans were waiting for them at the airport. “We flew coach,” he laughed in a recent interview with TIME. “We had no idea what was waiting for us.” As fans thronged them, the band had to have 24-hour guards posted at their hotel. They played for two nights at Tokyo&#8217;s famous Nippon Budokan and filled their sets with a fiery energy that was captured on the recording equipment set up to make a live LP. While the album, Cheap Trick At Budokan, was originally slated to be released only in Japan, the album made its way to the U.S., where the band’s raucous live performances of &#8220;Surrender&#8221; and &#8220;I Want You to Want Me&#8221; started making headway onto U.S. radio. When the label finally realized what was going on, they released Cheap Trick At Budokan in the States, eventually selling over three million copies and climbing the Billboard charts to number four. To celebrate the show&#8217;s 35th anniversary, Cheap Trick played two shows, one in New York and one in Los Angeles, recreating the exact April 28th, 1978 Budokan set for their die-hard fans. Before the New York<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538645&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link>
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			<media:title type="html">woolyknickers</media:title>
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		<title>Greta Gerwig on Frances Ha: &#8220;I Feel Like an Adult&#8221;</title>
		<link>http://entertainment.time.com/2013/05/02/greta-gerwig-on-frances-ha-i-feel-like-an-adult/</link>
		<comments>http://entertainment.time.com/2013/05/02/greta-gerwig-on-frances-ha-i-feel-like-an-adult/#comments</comments>
		<pubDate>Thu, 02 May 2013 21:23:51 +0000</pubDate>
		<dc:creator>Lily Rothman</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Baumbach]]></category>
		<category><![CDATA[Frances Ha]]></category>
		<category><![CDATA[Gerwig]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538848</guid>
		<description><![CDATA[Since first gaining notice several years ago as the reigning queen of &#8220;mumblecore&#8221; (a film genre defined by tiny budgets and naturalistic dialog) — and up through recent roles in more mainstream  fare (Greenberg, To Rome With Love, Lola Versus) — actress Greta Gerwig has worn the mantle of &#8220;It girl.&#8221; TIME was among the many publications to bestow that sobriquet; we did it last summer. But the title needs some updating. These days, she&#8217;s really more of an It woman. In the upcoming movie Frances Ha (May 17), Gerwig stars as the title character, another young woman making the difficult transition to adulthood. (Gerwig also shares a writing credit with Frances Ha with director Noah Baumbach, who happens to also be her boyfriend of about a year and a half.) And in the new issue to TIME she talks about growing up and why 27 — Frances&#8217; age — is when that happens. &#8220;I feel like an adult,&#8221; she says of being 29. &#8220;I&#8217;m still young, within the span of my life,  but I don&#8217;t feel obsessed with my youth or scared that it&#8217;s going. It&#8217;s gone. That&#8217;s okay. I feel like I did it pretty well.&#8221; (Read the full story here: Leap Year) But, while on a recent visit to Manhattan&#8217;s New Museum, that&#8217;s not all she talked about. TIME: What it like to write a part you were going to play? Greta Gerwig: It&#8217;s hard to think about yourself playing it, if you&#8217;re trying to write more than one part, so I kind of didn&#8217;t think about playing it [while writing]. I actually thought maybe I didn&#8217;t want to play the part for a while, because I was scared. Also, I wanted it to be clear that I co-wrote it. And I thought if I acted in it, maybe people would think I was improvising it or something, and got a writing credit just as a token. But my agents were, like, ‘That&#8217;s insane. That&#8217;s a totally weird way to go about things.’ What did you find scary? I had this feeling that I need to make<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538848&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Frances Ha</media:title>
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			<media:title type="html">rothmanlily</media:title>
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		<title>A Former CIA Analyst on the New Osama bin Laden Documentary, Manhunt</title>
		<link>http://entertainment.time.com/2013/05/01/a-former-cia-analyst-on-the-new-osama-bin-laden-documentary-manhunt/</link>
		<comments>http://entertainment.time.com/2013/05/01/a-former-cia-analyst-on-the-new-osama-bin-laden-documentary-manhunt/#comments</comments>
		<pubDate>Wed, 01 May 2013 14:45:23 +0000</pubDate>
		<dc:creator>Lily Rothman</dc:creator>
				<category><![CDATA[Documentary]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[HBO]]></category>
		<category><![CDATA[Manhunt]]></category>
		<category><![CDATA[Zero Dark Thirty]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538619</guid>
		<description><![CDATA[Over the last year, we&#8217;ve seen a lot — both on TV and at the movies — about the process by which the CIA located and killed Osama bin Laden. But much that has been presented was speculative or contrived, as was the case with the Oscar-nominated Zero Dark Thirty. Now, with the May 1 HBO premiere of the documentary Manhunt, audiences will have a chance to take a closer look at the true story of the analysts and case officers who made it happen. (Or, rather, as much of the true story as they&#8217;re allowed to share.) The documentary, which showed at Sundance this year, is based on the book by the same name by Peter Bergen and includes interviews with several people who experienced the search first-hand—including Nada Bakos, a former CIA analyst. Bakos spoke to TIME about going public, remembering the hunt and her thoughts on Zero Dark Thirty. How does going public work with the secrecy of your former job? We are able to share our opinions. As long as we don’t talk about classified information and divulge anything like that, or sources, we’re free to say whatever we feel. How did you get involved with the project? I knew Peter Bergen [who wrote the book that provided the background for the movie], and he had told Greg Barker about me. Then, after talking to Greg for a while and understanding his intentions behind the movie, wanting to do first-hand storytelling and something that’s politically agnostic, and he had a good handle on the subject matter, I decided this would be a good opportunity. What did he tell you about the reason for embarking on the project that was so convincing? He said that the night of the Abbottabad raid he was watching the President make that announcement — and that’s where he got the idea for a documentary. He kind of felt like, well, this seems like a lot had transpired over the last two decades. He wanted to be able to tell the story of how that<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538619&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/manhunt2.jpg?w=240</featured_image>
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			<media:title type="html">Manhunt</media:title>
		</media:content>

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			<media:title type="html">rothmanlily</media:title>
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		<title>Star Trek, Reading Rainbow, The White House: LeVar Burton Sounds Off</title>
		<link>http://entertainment.time.com/2013/04/29/star-trek-reading-rainbow-the-white-house-levar-burton-sounds-off/</link>
		<comments>http://entertainment.time.com/2013/04/29/star-trek-reading-rainbow-the-white-house-levar-burton-sounds-off/#comments</comments>
		<pubDate>Mon, 29 Apr 2013 17:56:26 +0000</pubDate>
		<dc:creator>Lily Rothman</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Television]]></category>
		<category><![CDATA[Captain Planet]]></category>
		<category><![CDATA[Google]]></category>
		<category><![CDATA[Next Generation]]></category>
		<category><![CDATA[Reading Rainbow]]></category>
		<category><![CDATA[Star Trek]]></category>
		<category><![CDATA[TNG]]></category>
		<category><![CDATA[twitter]]></category>
		<category><![CDATA[Vine]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538563</guid>
		<description><![CDATA[It&#8217;s been nearly 20 years since Star Trek: The Next Generation went off the air, but fan enthusiasm for the series shows no sign of slowing down — and the same could be said for some of its stars. With the third season of TNG debuting on Blu-ray (Apr. 30), we reached out to LeVar Burton, who played Geordi La Forge, the be-VISORed engineer of the USS Enterprise. It turns our the actor, who first achieved fame as Kunta Kinte in 1977&#8242;s Roots and is also well known for his children&#8217;s literacy franchise Reading Rainbow (which turns 30 this June), has kept busy. He spoke to TIME about meaning of Star Trek, how it influenced his love of technology, the future of Reading Rainbow—and whether we&#8217;ll all be using Holodecks in the near future. What did you do to mark the 25th anniversary of The Next Generation, which was a few months ago? This whole calendar year has been a celebration. We’ve had an opportunity to spend a lot of time together as a family, and that’s been rare these past several years. Time flown in the decades since TNG went off the air&#8230; Definitely. That seems impossible, but the numbers don’t lie. What is it about Star Trek that makes it so enduring? It’s the hopeful vision of the future. There’s a lot of post-apocalyptic vision out there and Star Trek is, and always will remain, that beacon that’s pointing the way. People really respond to that. (MORE: How Star Trek: The Next Generation Changed Pop Culture Forever) Here’s a technical question I’m sure you’ve been asked many times. How did the VISOR stick to your head? We screwed it in. It’s a true story. One of these days I’m going to bring the VISOR to a convention and show what I mean when I say they screwed it into my head. It’s kind of hard to visualize, but believe me, it’s true. Like a vise? In essence, it is like a vise that squeezes into the temple. And then there’s double-face tape on the nosepiece. Was it uncomfortable?<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538563&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/lb.jpg?w=240</featured_image>
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			<media:title type="html">LeVar Burton</media:title>
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			<media:title type="html">rothmanlily</media:title>
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		<title>Getting Pumped: Tony Shalhoub Talks New Movie Pain &amp; Gain</title>
		<link>http://entertainment.time.com/2013/04/26/getting-pumped-tony-shalhoub-talks-new-movie-pain-gain/</link>
		<comments>http://entertainment.time.com/2013/04/26/getting-pumped-tony-shalhoub-talks-new-movie-pain-gain/#comments</comments>
		<pubDate>Fri, 26 Apr 2013 09:45:36 +0000</pubDate>
		<dc:creator>Lily Rothman</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Monk]]></category>
		<category><![CDATA[Pain & Gain]]></category>
		<category><![CDATA[Tony Shalhoub]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3536952</guid>
		<description><![CDATA[He&#8217;s well known as the germaphobic TV detective Monk, but Tony Shalhoub will soon be seen in the germ-rich environs of the locker room. In director Michael Bay&#8217;s action-comedy Pain &#38; Gain (out April 26), the 59-year-old plays a wealthy gymgoer kidnapped by a gang of thuggish bodybuilders. He spoke with TIME about the actual story and people behind the movie, lifting weights and avoiding the emergency room. Pain &#38; Gain is based on a true story, right? The story itself is so outrageous and so preposterous. It’s kind of beyond fiction. But given that, we were able to do some research on the actual events, on the actual players, the people involved. We would have to remind ourselves to play the truth of it. As is often the case, truth is so much more bizarre than what we can make up. How do you make a comedy about real-life criminals? I would qualify that. It’s a dark comedy. It’s full of laugh, but people actually get hurt and die in this movie — in very gruesome ways and very unlikely ways. To me, it has almost a Coen Brothers quality, in that you watch these movies and they’re disturbing, but you’re also laughing. We’re asking ourselves, “Why are we laughing?” (MORE: Double Duty for Monk) Did you get to meet any of the people who lived through it? The perpetrators are in prison. They’re on death row. And I didn’t get a chance to meet my character. My character is one of the only characters whose name was changed, because he didn’t want it used. He’s in that community, he’s a family guy, and he just wanted his name left out of it.  We did meet Ed Harris’ character, a guy named Du Bois, the private investigator. That was interesting. The story all turns on this man believing the victim’s story, because the police were not on top of it, or chose to ignore it. Did you have to bulk up before shooting? While we were shooting, I was lifting stuff.<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3536952&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Image: Tony Shalhoub</media:title>
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			<media:title type="html">rothmanlily</media:title>
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		<title>Salman Rushdie on Bringing Midnight’s Children to the Big Screen — Plus: An Exclusive Clip</title>
		<link>http://entertainment.time.com/2013/04/24/salman-rushdie-on-bringing-midnights-children-to-the-big-screen-plus-an-exclusive-clip/</link>
		<comments>http://entertainment.time.com/2013/04/24/salman-rushdie-on-bringing-midnights-children-to-the-big-screen-plus-an-exclusive-clip/#comments</comments>
		<pubDate>Wed, 24 Apr 2013 09:45:30 +0000</pubDate>
		<dc:creator>Lily Rothman</dc:creator>
				<category><![CDATA[Books]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Q&A]]></category>
		<category><![CDATA[Midnight's Children]]></category>
		<category><![CDATA[Salman Rushdie]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3536970</guid>
		<description><![CDATA[Salman Rushdie recently added one more feather to his already-full cap: his 1981 novel Midnight&#8217;s Children—one of TIME&#8217;s Best 100 English Novels Written Since 1923—has been adapted a movie, for which the author contributed both the screenplay and voiceover narration. Midnight&#8217;s Children — winner of multiple Booker Prizes —  is a loose allegory of India&#8217;s modern history as told through the story of children born at the stroke of midnight on Aug. 15, 1947, the day that British India was officially partitioned into India and Pakistan. Those babies, the &#8220;Midnight&#8217;s Children&#8221; of the title, are possessed of magical powers, as can be seen in the exclusive preview clip seen above. The growth of two of those children—Saleem and Shiva, switched at birth—parallels the growth of their homeland. Rushdie recently spoke to TIME about the difficulties of turning an epic story into a 146-minute movie (opening in the U.S. on April 26), what it&#8217;s like to see his work on the big screen, and how he feels when he makes people cry. Why now, a movie version of Midnight&#8217;s Children? I had actually more or less given up on the idea that there would ever be a film of Midnight’s Children. After all, it’s rather an old book. [Director] Deepa Mehta and I had dinner together in Toronto at the time of the publication of The Enchantress of Florence. We were talking about this and that, and possible collaborations, and discussing other novels of mine that she was interested in. And then suddenly, out of the blue, she asked about Midnight’s Children and did I have the rights. I said I did, and she said, “Can I do that instead?” You make it sound very easy. It took 30 years for it to be easy. Was the plan always for you to write the screenplay? No. In fact, initially, I said I didn’t want to. I, more or less straightforwardly, refused to do it. I thought I’d written this already. One of the things I’ve learned in the last four or five years is<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3536970&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Image: Salman Rushdie</media:title>
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			<media:title type="html">rothmanlily</media:title>
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		<title>An Exit Interview With the Man Who Transformed the Oxford English Dictionary</title>
		<link>http://entertainment.time.com/2013/04/23/an-exit-interview-with-the-man-who-transformed-the-oxford-english-dictionary/</link>
		<comments>http://entertainment.time.com/2013/04/23/an-exit-interview-with-the-man-who-transformed-the-oxford-english-dictionary/#comments</comments>
		<pubDate>Wed, 24 Apr 2013 02:14:01 +0000</pubDate>
		<dc:creator>Katy Steinmetz</dc:creator>
				<category><![CDATA[Q&A]]></category>
		<category><![CDATA[OED]]></category>
		<category><![CDATA[Oxford English Dictionary]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3537997</guid>
		<description><![CDATA[In 1857, the Oxford English Dictionary was just a sparkle in the eyes of some English gents who thought the current dictionaries weren’t up to snuff. Today, the OED is a vast, searchable database that tells the story of human history through a constantly expanding survey of the words we use. And the man who has led this remarkable print-to-digital transformation is retiring. John Simpson began working at OED in 1976. The young index-card-shuffling assistant demonstrated a real way with words: in 1993, he was named Chief Editor—only the seventh in the dictionary&#8217;s long and storied history. On Wednesday, the 59-year-old announced that he would, in six months time, close the book on his career. TIME talked to the England-based lexicographer about how technology changed the dictionary business, how his profession is misunderstood, and what the word magazine has to do with the Spanish Armada. So how are you feeling about retiring? It’s going to be an enormous change. The exciting thing with vocabulary is that you’re dealing with something completely different with every word you do. There’s always some historical or social aspect that you need to come to grips with, making the entry whole together. I’ve been able to maintain a childish fascination with it for almost 40 years. Do you find that people have common misconceptions about your work? Oh, yes. When they come to the department, people are expecting our beards to be scratching the ground and that we’ll be talking about very early Scandinavian sound changes. It’s hardly the case. To be a historical lexicographer, you’ve got to be interested a little bit in everything. How has the job changed during your time there? When you approach a word, you have a feeling for what the end product ought to look like. Each word is a different sort of poem. The smaller entries are like Shakespearean sonnets — the larger ones, more like Joyce’s Ulysses. What we’re going to realize more and more, as we work with the dictionary on the computer, is that we’re<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3537997&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Q&amp;A</primary_category><primary_category_link>http://entertainment.time.com/category/miscellany/qa/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/john-simpson.jpg?w=240</featured_image>
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			<media:title type="html">John Simpson</media:title>
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			<media:title type="html">Katy Steinmetz</media:title>
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