POSITIONING SIX SIGMA WITHIN THE MANAGEMENT ACCOUNTING AGENDA

3.1 IntroductionIn the old part, the medicines concentrated on improvements in the develops of value bearing, come oning from its unique constrained capacity of survey to its current territory as an implicit bit of concern conspire through key quality heading ( SQM ) . This section follows the equal authentic improvements in cost and heading bookkeeping from its conventional cost bookkeeping stage to its present stage that tends to the requests of organizations runing in powerful and competitory settings and investigates the acknowledgment of value issues inside the extent of course bookkeeping. The section begins with a diagram of the recorded improvements in bookkeeping that prompted be and heading bookkeeping. From this writing, an expository model is put frontward to: Talk about the significant stages taking to the improvement in cost and course bookkeeping paying exceptional taking care of the bearing of value at each stage ; and Talk about the interface between heading bookkeeping examples and SS quality enterprise.3.2 Historical DEVELOPMENTS IN ACCOUNTINGIn its most punctual signifier, bookkeeping concentrated essentially on legitimate imprint keeping up and total compensation inclusion ( Johnson, 1991 ) . In spite of the fact that these two maps keep on playing a cardinal capacity in the bookkeeping frameworks, bookkeeping designs have advanced to cover more extensive concern exercises and applications, for example, the course of value undertakings ( IFAC, 1993 ) . Following these turns of events, Lenhardt and Colton ( 2000: 21 ) , examined bookkeeping designs into three kinds: Chronicled †utilizes cost data that has a verifiable or results point of view and whose plan is to enter what has occurred previously. People groups outside the organization who commonly utilize such data, incorporate investors, investors, leasers, bondholders, controllers and burdening governments. Genuine clasp †utilizes cost data that has a present position and is utile to individuals and crews doing existent clasp conclusions about concern strategies. Vital †utilizes cost data that has a progressed, key position and is utile to those doing evaluating and other vital conclusions about the organization ‘s from now on. The second position influencing existent clasp designs and their advancement is regularly alluded to as cost and bearing bookkeeping designs. The writing has given a figure of models to dissect the advancement of cost and course bookkeeping. A portion of these creators have followed the improvement from its start ( Johnson, 1972 ; Chatfield, 1974 ; Chandler, 1977 ; Johnson and Kaplan, 1987 ) , while others have either taken a gander at the state explicit advancements ( Bhimani ( 1996 ) and Dugdale and Jones ( 2003 ) for UK advancements ; Virtanen et Al. ( 1996 ) for Finnish advancements ; Scherrer ( 1996 ) for German improvements ) , or the cutting edge key heading bookkeeping advancements ( Lee, 1987 ; Luft, 1997 ; Srikanthan, 2004 ) . None of this writing has followed the improvements at the interface between bearing bookkeeping and quality course. The reason for this part is to use an explanatory model proposed by International Federation of Accountants ( IFAC ) to talk the changi ng capacity of heading bookkeeping and its interface with adjustments in quality direction.3.3 PROPOSED IFAC FRAMEWORKIFAC ( 1998 ) in its Statement on Management Accounting Concepts broke down the turn of events and modification in course bookkeeping through the undermentioned four unmistakable stages: Stage 1 †Prior to 1950, the point of convergence was on cost finding and monetary control, through the use of planning and cost bookkeeping engineerings ; Stage 2 †By 1965, the point of convergence had moved to the stipulation of data for heading arranging and control, through the use of such engineerings as assurance investigation and obligation bookkeeping ; Stage 3 †By 1985, going to was centered around the diminishing of waste in assets utilized in concern methodology, through the use of system investigation and cost heading engineerings ; Stage 4 †Beyond the mid-1980 ‘s going to had moved to the coevals or imaginative action of significant worth through the adequate utilization of assets, through the use of engineerings, which look at the drivers of customer esteem, investor esteem and authoritative creation ( IFAC, 1998. equality. 7 ) . Blending to IFAC ( 1998. equality. 9 ) , ‘each period of advancement speaks to variant to another arrangement of conditions standing up to organizations, by the absorbing, reshaping and add-on to the point of convergence and engineerings utilized prior ‘ . In Stages 1 and 2 the course bookkeeping improvements concentrated on conventional capable exercises and the stipulation of data ( IFAC, 1998. equalities. 17 and 19 ) . During these stages, the data refering quality was non caught toward the path bookkeeping writing ( Yasin et al. , 2005 ) . A basic uprooting between Stage 2 and Stages 3 and 4 is the change in point of convergence from data stipulation towards assets heading in the signifiers of waste abatement ( Stage 3 ) and worth coevals or inventive movement ( Stage 4 ) . This removal advanced the across the board utilization of value arranged concern examples and plans ( Yasin et al. , 2005 ) . The resulting regions will examine these improvements with notice to IF AC ‘s four periods of development.3.3.1 Phase 1: Cost finding and financial controlBetween 1880 and mid-1920s quick advancements in cost bookkeeping hypotheses and methods gave an existent float to the developing of cost bookkeeping. During this period practicing representatives and modern applied researchers contributed generally to the advancement of cost bookkeeping writing ( Littleton, 1933 ; Solomon, 1968 ) . Solomon ( 1968 ) alluded to this period as the â€Å" costing Renaissance † . At first cost bookkeeping data was produced for the goal of product costing and total compensation finding, yet over clasp this capacity developed to incorporate components of arranging, control and dynamic ( Solomon, 1968 ) . These significant advancements denoted the balance for customary cost heading bookkeeping designs ( Johnson and Kaplan, 1987 ) .Merchandise costing and net gain findingMerchandise costing and total compensation finding has for quite some time been the guide of cost bookkeeping. Earn ( 1954 ) followed the advancement of product costing and total compensation finding to the early ‘domestic ‘ organized framework, under which the entire manufacture system was completely heavily influenced by the owners. Johnson and Kaplan ( 1987 ) noticed that the owners of individual movement concerns made new bookkeeping processs to order the final result from inward systems. This assault was like the specialists ‘s quality improvement designs talked about in the old section. In a ‘domestic ‘ organized framework, the owners contrived info cost steps, for example, stuffs cost and change expenses to enter the ‘price ‘ of finished result from inward activities ( Johnson and Kaplan, 1987: 7 ) . Indeed, even in the early mature ages, the owners of halfway controlled individual action concerns held the assessment that by effectually pull offing the expenses of their inward concern techniques more prominent worth could be accomplished ( Johnson and Kaplan, 1987 ) . In any case, limitations on cost bookkeeping estimating confined the range for quality cost measurings ( Johnson and Kaplan, 1987 ; Yasin et al. , 2005 ) . With the approaching of the mechanical unrest interior authoritative strategies were built up to co-ordinate numerous creation exercises ; runing costs were produced to gauge open introduction and rich cost inclusion systems were conceived, particularly for direct work and stuffs ( Smith, 1995: 7 ) . For representation, Johnson and Kaplan ( 1987 ) study that the advancement of an incorporated double section cost bookkeeping framework helped heading manage the effectiveness of inner methodology and worker open introduction and later shaped the balance for the improvement of an open introduction related wagess and motivating force technique. In spite of the solid worry for telling interior costs, quality cost estimating was non viewed as a part of the bearing bookkeeping map. On the other hand, the verifiable in rules of product costing and overall gain finding gave the route to a wide authoritative arranging and control work ( Black and Edwards, 1979 ; Johnson and Kaplan, 1987 ) .Plan ing and controlIn the mid twentieth century, arranging and control devices, for example, standard costing and disparity inclusion were presented as segment of the bearing bookkeeping map ( Solomon, 1968 ) . Standard bing framed an inherent bit of creation arranging, while disparity investigation was utilized for cost control. Solomon ( 1968 ) noticed that the primary notice to â€Å" course by rejection † was established in Taylor ‘s praised paper on â€Å" Shop Management † that was firmly connected to early quality control and that Taylor ‘s build of standard methodology and standard working clasp ( clasp and motion study ) was utilized as the balance for the improvement of standard costing. This shows the guidelines of standard costing are gotten from Taylor ‘s logical bearing hypothesis and considerations of value control talked about in Chapter 2. Along these lines, even in the early segment of the twentieth century there were indicants of a nexu s between adjustment course plans and heading bookkeeping frameworks. Another significant improvement in Stage 1 was the advancement of concern planning procedures ( Black and Edwards, 1979 ; Johnson and Kaplan, 1987 ) . Business planning was established on the guidelines of administrative planning processs utilized in England and US ( Black and Edwards, 1979 ) . As opposed to standard costing, a budgetary control framework includes all the maps and segments in an advertisement

Markting Essay Example | Topics and Well Written Essays - 1000 words

Markting - Essay Example Least valuable or fitting? Your reaction ought to be all around considered and smart. There are numerous organizations on the planet which are utilizing the Internet as a medium to extend their business. One of the well famous organizations that is utilizing the Internet to extend its business is Kellogg Company, prominently known as Kellogg’s. The organization has its own site to help its clients and give the clients a sound assistance. The fundamental vision of the organization is to give its clients progressively improved and propelled items. In addition, the organization intends to give the new items more nourishment and taste to fulfill the guideline of good quality items. For example, the organization propelled items like Frosted Mini-wheat Little Bites, just as Kellogg’s Raisin Bran, in the long stretch of February 2012. These items were propelled so as to fulfill the necessities of the clients since it was through client input, which was given on their official site, encouraged the organization to acquire the items the market. Through different person to person communication sites like Facebook, Kellogg’s has likewise had the option to assemble data about the customers’ different preferences. ... The organization can appreciate customers’ inclinations towards a specific item. The site helps in taking choices identified with future item extension technique for the organization. The client assistance and criticism framework, which is made on the official site, encourages the organization to pick up information about the client inclinations inside an extremely limited capacity to focus time. Additionally, the organization can spare a considerable measure of expenses by doing a thoroughgoing advertising study in various areas which would improve the prerequisite of cost distribution. All together, the organization can assemble data about the item inclinations among the purchasers from among the enormous populace of the whole world using site (Kellogg Co.). Then again, there are barely any downsides while trying to accumulate significant client related data through site as has been finished by Kellogg’s. In this procedure of social affair data, the organization for t he most part would get singular input and not a gathering criticism from its clients. This can make certain deterrents for the organization with respect to the sort of technique to follow. The organization may confront trouble while breaking down the input from every single client. Various clients will have various inputs to give and the organization needs to wisely choose which procedure to follow and which technique not to follow. Over the long haul, the organization may confront challenges in formulating a solitary beneficial methodology. Also, this procedure may be tedious for the organization. While, when the inputs arrive in a gathering, the organization doesn't need to invest energy in choosing what system to follow as one single technique will give the organization to procure a great deal of benefit. The system of social occasion

LSCs QA with Dean Kelley of Pixars Coco

LSC’s QA with Dean Kelley of Pixar’s Coco A couple of Fridays ago I had the opportunity to sit in on an LSC preview of the upcoming Pixar film Coco, hosted by storyboard artist Dean Kelley. Though I am not allowed to share details about the film itself (no spoilers), I have (c o m p l e t e l y p a i n l e s s l y :’-)) transcribed a bit of his guest lecture and the QA that followed. Enjoy! I’m the lead story artist for Coco. I’m from Chelmsford, so I grew up in Boston. It’s great to come back to Boston, especially a smart place like MIT where I feel really smart. So I’m going to show you guys some unreleased material and kind of go into a little bit behind the scenes of how we kind of attack these stories at Pixar. Some background on me: I joined Pixar in 2009. Like I said I’m from Chelmsford; I went to Rhode Island School of Design. I majored in Illustration and I knew I wanted to work at Disney, but I didn’t how to get there or anyone in LA or if it was something I really wanted to move to get to. I mean I loved Disney but not enough to be like “okay I’m going to move to LA and make this big jump.” So I kind of did this baby step, dip-your-toes-in-the-pool move to Minneapolis halfway across the country with my wife (girlfriend at the time) who was from there. I knew her family and I knew there was a small commercial animation studio that was there. So I’m like “that’s a nice thing and I could ease into it and know people there and not feel like I’m completely alone.” At that studio I learned a lot about animation, but it did teach me what I didn’t like to do with animation. It was a real fast turnaround but I got to paint, I got to do a little bit of design work, I got to animate, I got to work on the computers. This was back in like ’99. Eventually I was there for like a year and all my buddies that were in LA were like “you just gotta come on out, all the studios are in LA, so just come out, I don’t know what you’re doing here, you want to work at Disney, you’re not going to do it in Minneapolis.” So I finally moved out to LA. I started working at The Simpsons, and I was there for about three years. I was doing character layout which is basically taking storyboards and then blowing them up and then putting the characters on model and then the backgrounds on model, and then that gets shipped to Korea. It was fun because I loved the show, but it was not at all creatively engaging for me. So I’m like “ah, man I don’t know what to do.” Then two of my buddies from RISD created Avatar: the Last Airbender. [gasps from the nerds that have gathered for this talk] I don’t know if you guys know that show. [the gasps are replaced by laughs] You guys do? Is that yes? [resounding YES from the crowd] Okay. So t hey asked me “do you want to come and work on the show” and I was like “ah, man.” I would be leaving The Simpsons which is such a big deal because The Simpsons is primetime animation. Avatar was just like this startup show; I had no idea what it was going to be. So I went over there to do character layout and then they got rid of character layout because all the stuff that we were sending to Koreaâ€"the same way we did for The Simpsons, but it’s a little more forgiving on a show like The Simpsonsâ€"but the cinematic kind of anime approach they wanted on Avatar, we weren’t cutting it here in the States. We were doing a lot of like Danny Phantom kind of flash graphic stuff, western-style animation. Except for, well there are going to be times during this talk were it seems like I’m kind of “go me”, but out of all the stuff they sent to Korea, the Korean directors were like “we have to discontinue this because we’re spending too much money on all these layouts, except for this one guyâ€"who’s this one guy” and I’m like “oh, man.” They kind of singled me out at the studio and I’m like “oh that’s great,” and then they said “well we’re going to get rid of that, do you want to take the storyboard cuts?” And I w as like “sure” because I wanted to stay on the show, but I had no idea what storyboarding was. I learned classical drawing, painting, portraiture, and landscape design at RISD, but there was no commercial animation program at RISD. That was like my second school working with Bryan [Konietzko] and Mike [Dante DiMartino] and the other artists on Avatar where I learned how to storyboard, how to use the skills that I learned, and just made sense of drawing a lot and understanding film. I was able to apply that directly into what I did on Avatar and then I rode that to the end for about three years and then I became a director on Penguins of Madagascar, the TV show, with Nickelodeon. So I was working on that, and then right around that time I submitted my portfolio to Pixarâ€"just when I still had that Disney dream, but you know I shifted to Pixar because they were kind of the better studio and you want to work for the best and work with the best. So right when I became a director do wn at Nickelodeon, I got a phone call: “hey we want to fly you out to Pixar.” So I fly up. The interview went well, but I’m still working at Nickelodeon and I had just gotten that director gig. So I was still making those decisions that maybe you might come across in life, like for me moving from studio to studio, moving from different parts of the country, to follow what you want to do. That brought me to Pixar, and I’ve been there since 2009. I worked on Monsters University which was my first film, and then I started on Coco and that’s what I’m here to talk to you guys a little about. So I’m going to give you some background on the film and how we researched it. From a visual perspective, there’s a richness of beauty to Día de los Muertos that evokes intrigue and emotion, but even more powerful than the images is the spirit of the celebration. The more our team researched this holiday and how it’s celebrated, the more it affected us in a deep emotional way. So some of you guys might already know that the holiday Día de Muertos or Día de los Muertos is also called the Day of the Dead. It’s a Mexican celebration that takes place over two days at the beginning of November. People honor their departed family and friends by building ofrendas or altars where they display photos of their loved ones and leave out food and offerings that their loved ones en joyed. It’s become a tradition of connection, remembrance, and family, and those were kind of the early ideas of what sparked Coco. It was an idea that the director came up with about seven years ago now. It was set in Mexico on the Day of the Dead, but in order for us to figure out and flesh out the story at Pixar or with any film, research is huge. So we take trips. When I worked on MU, I actually came here. I thought I was going to go somewhere else, but they were like “no, you’re going back to your hometown.” We visited Harvard and MIT and it was cool. Nothing against the school, but I wanted to go somewhere like… I guess it’s better than Toy Story 3. They visited a dump. But like the folks on Nemo got to go to the Great Barrier Reef. So it depends on what the film is, really. I was lucky enough to get to go down to a village outside of Oaxaca, maybe forty-five minutes out, very rural. There wasn’t any electricity. They would make these ceramic pots and sculptures, and that’s what they sold to make a living. They let us come in and see how they lived, how they ate, and what we understood was how much their family was such a huge part of everything they did. They also wore such colorful clothes. It was so exciting for us, and over the last several years we were fortunate enough to go down there a few more times to see firsthand how the holiday was celebrated all over the country. As a result, these trips have influenced every part of Coco’s production, from the story, from the lighting, from characters, to the music. Everything we did was trying to make sure that we were being very respectful of the culture and the traditions that we were then trying to put back into the film, because we were so inspired by it, and we thought we could really create a unique story so we put it together. It’s something that we’re really excited about. After working on a film that focuses so much on family and music, how have your conceptions of your families changed? That’s a good question. We’re in the story room talking, even though not all of us are from Mexico, we all come from different backgrounds, different families. I’m one of four boys. My folks are still married. They’re still living in the house I grew up in. And family was such a huge part of supporting my journey like getting to Pixar. It’s like when I call my mom, we cry a little bit more, and sometimes we talk about stuff. As a parent now, I have four kids, and I feel like the appreciation of being a parent has changed from like my appreciation of my folks. But I think it’s just made it brighter. And the music and seeing the musical consultants has definitely opened my eyes. I think of parts of Mexico where the music evolved from. I think, as an artist, I can find that passion, and still wanting to learn for me as a filmmaker and storyteller, and still have family that supports me. I feel like it’s very resonant when I watch, like there are a lot of parallels. You went from a more traditional western animation background to Avatar: The Last Airbender, and now with 3D movies. Especially now that we don’t see very many 2D animated movies anymore, was it difficult to switch between these different art styles? No, I think storyboarding on a film that’s CG has more limitations for what you can do with the sets and the camera moves. Once the characters and the sets get built, it’s a virtual space where the layout artists can come in from our boards and move the camera. But with 2D, whatever you put in the boards has to be translated. Like someone has to lay that out by hand. There’s not a lot of camera operating. I feel like, you know, I’m working on The Incredibles 2 now, and a lot of the stuff that I had fun doing on Avatar (I did some of that stuff for Korra too), there’s a lot of that fun, frenetic, action filmmaking that I think lends itself into something like The Incredibles. But I feel like my approach doesn’t change. I still try to help tell the story in the best way and use any sort of visual clues and filmmaking techniques to be able to support that. Yeah I wish it was moreâ€"I think maybe Studio Ghibli, Miyazaki, is probably one of the last few filmmakers that are sti ll doing stuff by hand. I think he approaches it the same way with looking at and studying film. What would you want an audience to take away after watching Coco? Cry with your parents a little bit more, appreciate your parents. I love when I call my mom or dad. I mean I don’t get to see them that often. I got to see them last night. They came and saw a couple talks I gave last night. I think just realizing that you’re one of many people that came before you. Life is so short, and I look back and I was able to have great relationships with my grandparents, but I miss them terribly now. I kind of wish I was able to have more conversations with them as I got older. So that sliver of time that you have with people, if anything. If you come out of this film, other than going “yeah we love the film, we want to watch it again,” I think that connection to family, maybe, calling your family and reconnecting or maybe connecting more or making those conversations happen more frequently. Appreciate the people that came before you and all their hard work. What’s it like working at Pixar, especially the technological aspects? It’s great. In my role now as a story lead, I’m able to go into other meetings with the very smart people that come in and write the code that kind of looks like the Matrix when I look at the screen and I just see numbers. I know how to draw and move the story along as a filmmaker but when I see that, there’s such a great blend. That influences what we can do and then they get influenced by what we do creatively, and I feel like there’s a lot of stuff that they want the challenge of wanting to do, more stuff. The tendency has been, as Pixar has gotten bigger, there’s been sometimes where we’ve done the safe thing with certain moments, within films, not films as a whole. And I feel like a lot of technical folks were like “no, we want that challenge, we want the hard stuff, give us the hard stuff, how do we figure out simulation” and I feel like with this film, like the marigold petals, all the simulation with that, and just the rigging of a lot of these characters, the y found ways that they were really excited about, you know, because we could just come up with anything in story like “hey can we do this?” I feel like Pixar is just a really great place to embrace both; there’s a good blend of the left-brain, right-brain that comes together to create something that, hopefully, when you watch, you’re not going “how did they do that?” Well, maybe on second or third viewing. What do you love the most about being a storyboard artist? I think how long it takes and having a lot of patience. It’s kind of a disposable art. We’ll put stuff up and then we realize, we’re just trying to service the whole; sometimes we put so much into the work that if a scene does get cut you’re like “oh god that was a month of my life and it’ll never see the light of day.” Like once it gets into production, that’s when the big bucks come out, and it’s very rare that they cut scenes that are animated. So early on in the pre-production part of the story, we keep putting stuff up and then we’ll tear it down and poke holes in it to make the story as good as it can possibly be. I think a lot of it is just going “don’t look back, always move forward” and having that endurance and thick skin to go “oh well I’m servicing the whole.” And purely execution-wise it is the more films that I’ve studiedâ€"and there’s hundreds of films that I’ve never seen that we have at our disposal to watch, like live-action fil msâ€"and seeing how people saw things creatively, how they composed scenes, I feel like I’m always learning that part of it, and I can just always watch films. There’s just not enough time in the day to watch every film ever made, and there are great young filmmakers that are coming out, movies from all over the world that we get to watch, documentaries, and just seeing how people approach just shooting characters and people moving and the humanity of that. So I feel like that part I’m always learning, but the biggest thing is helping the director find their vision. If I was the director this is how I would want the scene to look, and you try to find that middle ground. I’m curious about the workflow of this sort of project because it seems like you could storyboard for years. Is that on a set timeline or what? Every three months, we put up our screening, and it’s the state of the story at that point so it’ll all be in storyboard form at that point. And we’ll watch it in the screening room and we’ll go back for a few hours with the braintrust and we’ll have lunch and kind of pick it apart, but within those three month check-ins we are looking at ways to go “is there a scene that looks like we could kind of polish it a bit more?” With this film in particular, we knew where we wanted to start and we knew what our ending was, which is kind of rare. It’s usually kind of built back, and this was good because we knew the ending so we could kind of reverse engineer that. So once we had the ending, we knew that was the scene, that we could go into the pipeline of building sets for that scene, but there is a quick turnaround and it’s gotten faster it seems. The more that we put it up, the more certain scenes start to stand out more as “let’s lock those.” So in terms of the ov erall life cycle of a film, it’s probably eight screenings and then we do an audience preview, but at that point it’s kind of the film. So it’ll be a hybrid of story, animation, plot layout, but hopefully at that point a lot of the film is animated because a lot of audiences don’t really understand or aren’t really familiar with looking at storyboards. So it’s like every three months. It’s long but I say it’s like a marathon or a race. At times it feels like you’re sprinting a marathon. Just keep moving forward, and know that you’ve got a bunch of people there just to support you to make the film. You’re not doing it alone. Is there a scene from a Pixar film that you might not have worked on that really stands out to you? That’s a great question. Yeah, I feel like that scene at the end of Incredibles before they fight where you’ve got Bob to kind of tell Helen after they got off the island to stay there and she’s like “no, we’re going in” and she’s like “what is this to you?” and then like Bob finally breaks down and says “I can’t lose you again.” That’s pretty powerful. I feel like to have a movie go into a third act and have those characters so realized in terms of the emotion, and now after being a father I don’t think I could watch the end of Nemo where he says “I love you dad” after he says “I hate you” in the beginning. And Ratatouille is one of my favorite films. I never got to work on that, and again it’s Brad Bird and he has such a different approach and it’s great to get to work with him now on Incredibles. It comes out next year, so it’s on like an accelerated schedule. But I would say scenes where you can get a lot of emotion from animated characte rs, like Walt Disney set up back in the thirties, to get invested in animated characters that aren’t real, they’re just drawings but they seem real. That’s kind of hard to do, but when it does land, it’s pretty powerful. What changes when you’re working on a sequel from with an original concept? How you adapt the assets from, for example, The Incredibles which was made in the 2000s to current technology? Yeah, sometimes we have to go in and re-rig those characters because you look at it and it looks like plastic now. What we’re able to do now, like with mouth shapes and what the animators can do is so sophisticated, especially with the hair and everything. The challenge of working on a sequel like MU, you’re kind of locked in, like you know the characters, so you don’t have to reacquaint the audience with them, like with Toy Story or Cars or The Incredibles you know who the characters are, but it’s that much harder to then go “well, what are you going to have the characters go through now, what story are you going to tell, what are they going to learn, what epiphany are they going to come onto in the third act?” I think that’s where it gets really hard. You’re in a kind of narrow playing field. I think it’s kind of more fun to work on originals because you have more leeway with this. You’re like “I don’t think Bob would do that” or “Mike and Sully wouldn†™t talk like that” “why not?” “oh the first film” “oh okay.” There’s a trailer for the first film where he says something like “oh you’ve been jealous of my looks since the third grade!” and we did the sequel, or well, the prequel, and we were like “oh my god” because they were supposed to meet in college. And we were like “let’s just forget it” and took creative license, but like we tried many versions of it to have where they met in grade school, and it was just not working, it wouldn’t work. We were handcuffed by one line from a trailer, and they were like “oh you got to be kidding me” and then we were just like “oh let’s just go I don’t think the audience would catch on.” [the nerds laugh, and someone asks “So canonically they did meet in college?”] Yes. [laughing continues] But I would say working on originals is really fun, but you’ve really got to lock into who your main character is. There are different challenges, but I fe el like you’re not as creatively handcuffed working on an original as you are in a sequel. In 3D animation, there seems to be this big difference between the tech team and the story team or like the artist team. My impression is that the artists create the stories and then people like us from MIT, engineers at Pixar, we do the simulation and the rendering. Is there a career path in Pixar or in any of the 3D animation companies you know where people bring their technologies but then also have a say in how the story goes or are also on the creative team? How does that play out? As an insider in Pixar, do you know of any examples of this or does this ever happen? I mean there’s definitely a career path dealing with that pipeline, and the brains behind the art, the people that write the code, and then the technical folk. You know Pixar creates its own software, so it’s all in-house, but by the time they get on to it the story’s kind of already moving, so when we start and I come onto the film, it’s just the director and like a handful of storyboard artists and the writer, so technical is not even involved yet. And then they come in and they do have a say on if this is feasible’ like can we actually do this. It’s not like a budgetary thing, but they can open up some avenues for our characters to be rigged a certain way that we didn’t think that we could do. But I think Disney and Pixar are the only two CG studios that have everything in-house. Like Dreamworks is farming their stuff out. I don’t really know their pipeline, but like everyone wants to work cheaper, but at Pixar there definitely is a path there. There are technical leads that come in and advise the director on certain decisions, but I honestly don’t know if people have made that jump going from technical and then going into story. I mean there are technical supervisors that are there that will help the director, like with the marigold bridge I showed, we didn’t know how we could even do this. We had like once-a-month meetings with the technical team that explained that we could do this and worked with us, but we were the ones in story that kind of came up with it based on our research trips. But I know no one ever goes from story to technical. [laughs from assembly of techies] It’ll never go that way. That just won’t happen. I’m assuming you knew of some of the directors before you started working at Pixar. How is it now working with all these people you knew about before that you see in the credits of big movies? I didn’t know any of them before I came up and I started working, and you get to know them right away. In story, you’re in those long story meetings and in those braintrusts, you get to see it’s pretty candid. The braintrust is all the directors at the studio and the creative leadership. So John Lasseter, Ed Catmull, Jim Morris, they’re all in the room with us and we all kind of just poke holes at the film. And you start to see the personalities of certain directors, some people are a little more “find the heart” and some people like Andrew Stanton, Brad Bird, these guys are like hardcore structural guys that really understand story, and they kind of check you right away. These guys are well-versed, well-read, very smart, but yeah, working with them creatively, personality comes out a lot. Like once you’re in the story room working, you’re in there for a long time, you kind of just joke around. I have a really good rapport with Brad Bird now. I’ve been working with him the last ten months, so that’s kind of fun to be like “I saw you in all those magazines and DVDs” and now after I pitch him a sequence he gets all excited and starts punching my arm like “this is great” and I’m like “thanks Brad” and that’s always great. So it is weird to go “oh my goodness you’re Brad Bird,” especially Brad, who went into live action and you know worked with George Clooney, worked with Tom Cruise, and it’s weird for him to be back just because he loves animation so much. And he loves this world of The Incredibles, so like just working with him with that live action experience was just amazing. What was your favorite scene from Avatar? Of all the scenes or the ones I did? Just in general? My favorite scene, I guess a scene that I did, I did a lot of action stuff, so I would say the Azula-Katara fight. [gasps from the crowd] I boarded that. I love the scene that Bryan Konietzko boarded, the scene where Aang fights Lord Ozai at the end. But that was pretty awesome because, like I said, that was where I learned how to storyboard and I got thrown into the fire because they knew that I could handle complex scenes, and it was always action scenes, and it was always really fun to do, and that last one was pretty fun to do because the scale of the effects were great. It’s kind of cool because Brad Bird’s kids loved the show, so he said that, and I’m like “oh that’s good, I love your work too Brad!” I know that sounds like me giving myself a big pat on my own back but I would say those big moments that I don’t think you see in western television. Like I showed my kids. You know there’s great stuff on TV but that show and how it connected with the audience, yeah it was pretty powerful. Was there a reason why you decided to have Miguel’s family be shoemakers in Coco? We wanted something that just seemed so boring for a kid to do. Like families that actually had a family business that we thought that someone could keep going from generation. We went down and we met this shoemaker down there. We went to his shop and there was this one kid that was just painting things of leather and it kind of smelled and he had headphones on. Like “is it okay if we take pictures?” He was like “yeah sure.” But he just looked like he was just doing it for the work, and we’re like “imagine if Miguel was doing that instead of playing music.” But that would be the one thing that his family loves making. You’ll see in the film just the way we made the shoe shop within the house, within the compound, they all kind of have their own station and they all kind of work together like a family unit. Miguel’s kind of out of place, and I think that was why we landed on that. It seems kind of random. I’m so used to it now, but like yeah, shoes? Weird. When you look at the opening clip and Miguel’s like “shoes? why shoes?” That’s a good question, you know. I don’t know. As a musician, I just love the music, which is huge in this. Do you guys collaborate with musicians when putting together the story? Yeah, we usually work with Michael Giacchino. He’s the composer. But then with this, this is the first time that we actually had never worked with Giacchino and we wanted to, but Giacchino wanted to make sure that they referred down to Mexico with all Mexican musicians using traditional Mexican instruments. So that was a big part we had cultural representatives and consultants that we brought in from outside that lived in Mexico just in general for the film. And then Mexican-Americans that lived in LA were brought up. And we had a lot of those folks from over Latin music, too, so we would screen them a lot of the stuff that we were doing, even just kind of road-testing stuff to see like “are we doing this right? is this authentic? is this respectful? are we doing what we should be doing?” We actually had the family members talk to one another and we were able to bake that into the script more. But for music, it was such a big part, what mariachi music is and then what tradition al kind of indigenous parts of Mexico where music comes from, so it was finding that blend. At first it was starting to go kind of Frozen-y, and we didn’t want that. And the consultants were like “don’t go there” and we were pushing back in story. I think that’s the comfortability of working in these movies for a long time. You pull from the same banks sometimes, and it’s just convenient. It kind of saves time because you’re familiar with it, but with this we wanted to make sure that we did it right and brought in the right people to shape us and keep us on the right track like tour guides. Mexican culture is pretty understanding towards death; there’s a very clear relationship, or at least better than we have here. I think that comes across in the preview we saw where someone just died and it got played off as kind of funny. So how do you handle themes of death and still make it marketable to all audiences? We always wanted to make sure that we were sensitive to it. The way I always looked at it was that this is a movie about Miguel learning about death, so he already knew obviously what death was, we all know that’s what’s going to happen to all of us and we understand. The bigger thing was more that Miguel didn’t understand how he related to his family, like “how can I relate to the people I’m related to?” that was what we were going back to. So the Land of the Dead just allowed us to have fun with the history of and the verticality of the world and layer it with the rich Mexican traditions but not really lean too hard on the death thing. It’s still there and it’s still a part of life, and we wanted it to be a part of this film. When we went down and we were in the cemeteries, we would see, at night, everything’s lit by candle and you would hear everybody playing music like guitars and trumpets. It’s all kind of a celebratory feel, and there’s food trucks, and ki ds are running around with sparklers, and it feels kind of fun. They’re celebrating the people and their lives, but then there’s people down there that have rosary beads and it’s really reverent and it’s powerful. And you see how people respond when they go and pay respects in the cemetery kind of like we do here in the States. But we try not to go too far in with that. It was more “keep it light-hearted” and “make sure the designs of the skeletons aren’t Tim Burton-y.” That was some of the stuff that was coming back from the Twittersphere that Lee [Unkrich, director of Coco] would kind of bring up in story-telling like “oh, a land of dead skeletons? it’s going to look like Tim Burton?” No… Knowing that we navigated those themes, it was more about Miguel understanding what his family tree was, and we always loved the idea of this holiday about families coming together. It would be great if you could meet your great-great-grandfather. What would you say? Is there something you’d want to ask him? So those are the things we tried to focus more on and not the sadness and permanence of death. It was more Miguel just understanding who he is and how he fits in the family. Across the board for these types of movies, where do the ideas start? The director will usually get like three ideas and work closely with an artist or a production designer to come up with a couple of paintings or just exploratory stuff and pitch that to John Lasseter, Jim Morris, and Ed Catmull. Then there’s three ideas, and they see a variety, it’s not everything on one, and then we obviously want to tell stories that we haven’t told before or give cultures or people that we’ve never dealt with a voice. We have a few films in development right now that have different ethnicities and genders that are kind of having different voices that I think Pixar hasn’t had in a while. Like it’s always easy to deal with cars or toys because there’s no ethnicityâ€"it’s a thing. But I feel like with this it all comes from the director. It’s a director-driven studio, and we want to make sure that three years in, if we’re poking holes on this one, we can always point back to “this is why I believe in this” and not “wouldn’t it be fun if it was like in outer space?” Like you really want to come from something different like Pete Docter with Inside Out. It was about his daughter and his connection growing apart from her as she got older and that was the core of the film. I don’t know what she’s thinking about, what’s going on in her head and that’s kind of where it came from. That would be like the pitch, and then they’d say “okay now make the film.” Post Tagged #LSC

What Is the Importance of Accountability in the Military...

What is the importance of accountability in the military and in the work place? What is accountability by definition: (Department Of Defense) The obligation imposed by law or lawful order or regulation on an officer or other person for keeping accurate record of property, documents, or funds. The person having this obligation may or may not have actual possession of the property, documents, or funds. Accountability is concerned primarily with records, while responsibility is concerned primarily with custody, care, and safekeeping. Accountability is very important because it allows for your chain of command to know where you are at at the moment. Accountability in the workplace is defined as doing the right thing consistently, day in and†¦show more content†¦Anything can and will happen especially in combat, thats why the team member should make sure that the team or squad leader know where the soldier and his or her equipment is at all times. The Army spends a lot of money o n equipment and belongings for the soldiers, so the Army expects to know where its equipment is. No matter what someone is always responsible for equipment in the Army. Accountability is important because it assures someone that needs will be met. If someone is accountable, you can trust that they will do what they claimed. Without accountability you would not be able to put your trust in someone to complete a job for you and other members of the team, or even show up on time to an important event ,or formation. It is important because it holds each and everyone accountability for his or her actions.Accountability is an obligation or willingness to accept responsibility or to account for ones actions. Now for the Army, it becomes an obligation more thanâ€Å"willingness† while you have to be willing to do it as well. Those that are unable to be accountable are the ones that jeopardize the combat readiness of any unit. Basically it is the understanding that from the bottom up. Top down and laterally everyone is going to do and is willing to do the right thing even when no one else is looking. This is practiced at your home base where everyone is assignedShow MoreRelatedThe Importance of Accountability1028 Words   |  5 PagesThe Importance of Accountability is so my chain of command knows where everyone is so if they need a soldier for something they will know where to find them. It is also necessary to have accountability to make sure everyone in my class, platoon, or unit is safe and to make sure they are where they are supposed to be. Why my chain of command have accountability it is easier for them to track down other soldiers in case they were needed for anything. Being accountable means being dependable, showingRead MoreAccountability1319 Words   |  6 Pagesthe reader of accountability, the duties of NCOs, and failure to report. Websters dictionary describes accountability as â€Å"the state of being accountable, liable, or answerable† and the DOD describes it as â€Å"The obligation imposed by law or lawful order or regulation on an officer or other person for keeping accurate record of property, documents, or funds. The person having this obligation may or may not have actual possession of the property, documents, or funds. Accountability is concerned primarilyRead MoreMerriam-Webster Dictionary States The Following Definition1515 Words   |  7 Pagesthe word accountability. Accountability: the quality or state of being accountable; especially : an obligation or willingness to accept responsibility or to account for one s actions. Accountability is not an abstract concept; it s actually fairly simple to understand. To be an accountable person, you say what you mean, and mean what you say. Do what you re going to do, when you say you re going to do it. You take responsibility for your actions and your words. Accountability is liberatingRead MoreImportance or Accountability in the Us Army Essay665 Words   |  3 PagesAccountability (noun) Being responsible or liable for someone or something at the state of event and or situation. A leader takes charge and takes accountability for all those who fall under his or her leadership. Personnel accountability is critical in the event of a disaster or national emergency. Ensuring strict accountability for our military members is relatively easy because they are required to provide supervisors with contact information when they depart on leave even on there offRead MoreAccountability and the Importance of Taking Care of Your Equipment608 Words   |  3 PagesAccountability and the Importance of Taking Care of Your Equipment Accountability stems from late Latin accomptare, meaning to account. Accountability in the military is the obligation imposed by law or lawful order or regulation on an officer or other person for keeping accurate record of property, documents, or funds. The person having this obligation may or may not have actual possession of the property, documents, or funds. Accountability is concerned primarily with records, while responsibilityRead MoreEssay about The Importance of Accountability1039 Words   |  5 PagesThis essay I am going to write is about the importance of accountability in the army, and as to how it affect the units mission. First off by definition Accountability is important in the military because soldiers are often times required to perform extremely challenging duties and services. Without accountability, a soldier cannot be expected to meet these high demands and expectations. Being accountable means being in the right place at the right time, being in the proper du ty uniform, beingRead MoreAccountability - The importance of obligation with the Army.1598 Words   |  7 PagesAccountability Accountability can be described as the process of being held liable or responsible for an action or given task. Accountability goes hand in hand with being successful in any place of work. To be accountable would mean being willing to accept responsibility for ones actions. Being accountable shows moral discipline and portrays maturity. Accountability also correlates with knowing where a certain person resides currently or in the future. In the Army accountability represents organizationRead MoreArmy Essay1035 Words   |  5 PagesAccountability is defined as, â€Å"Obligation of an individual, firm, or institution to account for its activities, accept responsibility for them, and to disclose the results in a transparent manner.† The importance of accountability, are being on time and in the right uniform. The main reason we have formations and that we are trying to keep account of personnel to know where everybody is at, at all times. You need to know where your soldiers ar e at all times night and day because in the military thingsRead MoreAccountability Essays749 Words   |  3 Pagesï » ¿The Importance of Accountability As a soldier of the world’s most powerful military force, the U.S Army, it is imperative that I demonstrate competence, efficiency, and professionalism at all times. To achieve this goal accountability is an absolute necessity. As a soldier I must maintain constant accountability of my equipment and my team. Without constant visual and/or physical security of my equipment I would be making it too easy for the enemy to take my equipment and use it against me andRead MorePersonal Responsibility And Accountability : Accountability1692 Words   |  7 PagesPersonal Responsibility and Accountability Accountability a word that is most often used and has several meanings, to give an example is responsibility, blameworthiness, liability and other terms. Accountability can be used in many places such as work, home and even on a battle field, it can also be used for little things for instance taking a piece of paper from one destination to another; you are responsible for that piece of paper its condition and whether or not it gets to its destination. Or

Expositions Of Exposition In Trifles By Susan Glaspell

11. Exposition: The exposition in a play gives background information to the audience about the characters and situations the characters are in. Expositions are necessary in plays because without them, audience members would have no clue what is going on. Expositions are also useful in letting an audience know what to expect and see later on in a play. Exposition can occur through action, narration, or dialogue from the characters. In Trifles, by Susan Glaspell, the exposition occurs through action and dialogue. The characters Mrs. Peters, Mrs. Hale, Mr. Hale, the sheriff, and the county attorney all meet up at the Wright’s abandoned farm house letting the audience know that something bad must have occurred at that house. Mr. Hale then†¦show more content†¦It occurs after the conflict of a play is displayed to indicate that the falling action will soon be taking place. Climax is important in literature as it helps the audience get ready for the resolution. After a cli max occurs, audience members can usually guess what will happen in the end. Climax can also aide in the understanding of the rising action that occurred before hand. Sometimes the climax can be a plot twist and make a plot more interesting and exciting. The climax in the play Zombie Love, by Earl T. Roske, is used thoughtfully due to the fact that it is surprising and unexpected. The conflict in the play is centered on, Emily and Kathy, two best friends who can’t agree about one thing, Emily’s zombie boyfriend. The climax occurs when Emily has Walter turn Kathy into a zombie as well, so she doesn’t have to lose her boyfriend or best friend. The climax in this play lets the audience know that Emily is a selfish person as she took the life away from her best friend in order to get the best of both worlds. 14. Theme: A theme is the main point of a piece of literature. Every piece of literature needs a theme, otherwise it has no depth. A whole plot structure is based around a theme to explain a central idea. Themes are important because they teach lessons and send messages to readers or an audience. They also help people analyze human nature and the world that surrounds them. August Wilson’s theme in Fences is vital to analyze and understand as it explainsShow MoreRelatedLiterary Analysis of Susan Glaspells Trifles1788 Words   |  7 PagesAn Analysis of Natures in Susan Glaspells Trifles A trifle is something that has little value or importance, and there are many seeming trifles in Susan Glaspells one-act play Trifles. The irony is that these trifles carry more weight and significance than first seems to be the case. Just as Glaspells play ultimately reveals a sympathetic nature in Mrs. Peters and Mrs. Hale, the evidence that the men investigators fail to observe, because they are blind to the things that have importanceRead MoreScript Analysis of Trifles by Susan Glaspell910 Words   |  4 PagesScript Analysis of â€Å"Trifles† by Susan Glaspell Summary   In the play Trifles by Susan Glaspell, there are five characters, three men and two women.   They are in a house where the murder of Mr. Wright took place the day before.   The men are trying to find evidence to name a killer or motivation to name Mrs. Wright as the murderer.   While the men are downstairs, the women occupy themselves with looking around the kitchen and living room.   They take note of Mrs. Wrights canned fruit and the factRead MoreSusan Glaspell s Trifles 1358 Words   |  6 Pagesâ€Å"Trifles† is written by the mid-1900s feminist author Susan Glaspell. The one act play depicts the conflict surrounding the murder of John Wright and his wife’s, Minnie Wright’s, involvement in his strangulation. While this drama appears to tell the simple tale of a murder investigation, Glaspell intertwines her feminist views into the plot. The male and female characters’ investigations of John Wright’s death reveal a deeper meaning. T he stark contrasts between the men and women in the story displayRead MoreSymbolism Of An Article On The Reader From A Piece Of Literature2057 Words   |  9 Pagesa play that signifies a pause in speech, or when there are ellipses in dialogue that signify an upset reaction to something that was said previously. Plays that are shorter than regular plays, such as Everyman and Trifles by Susan Glaspell, are purposefully so. Everyman and Trifles are both one-act plays, while the traditional play included multiple acts and multiple scenes within those acts. The playwright’s decision to make these plays shorter was intentional and could have multiple explanationsRead MoreAnalysis Of Trifles By Susan Glaspell1425 Words   |  6 PagesIn the play Trifles, by Susan Glaspell, the plot develops through action. As soon as the play begins readers and viewers are introduced to the county attorney, the sheriff, and Mr. Hale. Due to the fact that these three men discuss the case and de ath of Mr. Wright quite a bit, the audience is made to believe that they are the main characters of the play. However; the true protagonists of the play are revealed as soon as the men departure from the kitchen and leave the characters Mrs. Peters and MrsRead MoreBreaking The Status Quo : Free From The Shadows977 Words   |  4 PagesBreaking the Status Quo: Free from the Shadows American society has always been dominated by misogyny. It has allowed men to subjugate women in their actions and words, though the women fight this through their own actions and words. In â€Å"Trifles†, Susan Glaspell gives the women power over the men by setting the play in a female dominated area of the house, defending their friend, and by conducting their own small investigation. The women succeed in tearing from the shadows of their husbands for briefRead MoreSusan Glaspell s Trifles Essay1460 Words   |  6 PagesAn Analysis of Susan Glaspell Trifles The play, Trifles by Susan Glaspell shows her preoccupation with gender and sex roles as notions of culture. The author is spells out the treatment of women as mere trifles in the society, as less important when compared to men. This calls for the questioning of the role of both men and women in the society with regard to the value and devalue given to perspective and knowledge. The reader should thus realize that women have an important role to play in theRead MoreTrifles Literary Analysis1752 Words   |  8 PagesTerms 11. Exposition: The exposition in a play gives background information to the audience about the characters and situations the characters are in. Expositions are necessary in plays because without them, audience members would have no clue what is going on. Expositions are also useful in letting an audience know what to expect and see later on in a play. Exposition can occur through action, narration, or dialogue from the characters. In Trifles, by Susan Glaspell, the exposition occurs through

Analysis of STC-Houston’s website Free Essays

STC Houstan’s website totally conforms to the principles of effective communication. It is a delight to navigate this website because of its rich content and perfect graphics. The first page is soothing to the eyes, which facilitates in communicating the key points in a clutter free manner to the target audience. We will write a custom essay sample on Analysis of STC-Houston’s website or any similar topic only for you Order Now All the links are well accessible. The links are designed just as the home page. All the links give detailed information for e. g. he link that leads to the Email list gives a detailed account of how to communicate, to whom to contact regarding a specific issue, where not to contact etc. In most of the websites the facilities like subscribe, send email, reply to mail set message viewing options, unsubscribe, help etc. are just listed and it is left upon the net surfer to interpret what needs to be done or discover where all these lead to on their own. Contrary to this practice the website of STC gives detailed description of the above-mentioned actions in an era when all these are taken for granted. Though the readers understand the literal meaning of the above mentioned actions, a guide on that particular organization’s way of working in the form of guidelines of these actions help the audience in understanding the organization in a better way. There is no doubt about the professional appearance of the website. However no one can escape the simplicity with which the professionalism has been put forward. Even the events page is very comprehensively written giving no scope of confusion to the audience. The latest information has been presented with accuracy giving an impression of how well updated the website is. Though all the information is well described there is full scope of conciseness of information. Nowhere does the presented information look boring or repetitive. The information is presented with full honesty and clarity. All the details for e. g. the venue where the events are going to take place are well laid out with a special link to the map of the location and the driving directions. The website proves to be a good mouthpiece of the organization as it gives an impression of how sincerely managed the organization is. The layout of the website is such that a person in a hurry would also be able to get a clear bird’s eye view of the total information that is being communicated within a few minutes. There is no need to search for particular information, rather all information looks to be there for the audience. All the types of links have been clearly demarcated making the navigation of the website extremely easy. Even a new navigator would feel at ease with the website. It gives a feel that one has been using it for a long time, as one does not have to try hard to reach to the link of one’s choice. The effective way in which all the information is presented, gives an impression that this website can be a benchmark of how a good website should be designed. The purpose of communication is to present information in an easy to understand manner. Communication of any online information should be like gathering information in a face-to-face situation. In a face-to-face situation there is no scope of confusion and it is also easy to measure the honesty of the presented information through the tone in which it is being presented. The STC Houston’s website has achieved total success because of its excellent content and graphics in making its communication effective enough to compete with this mode of communication. How to cite Analysis of STC-Houston’s website, Papers

The Machine free essay sample

â€Å"Many things catch your eye, pursue only those that catch your heart.† These words come back to me as I listened to the purr of an engine.The type of deep rumbling that makes the hairs on the back of your neck stand straight up. The sound of a beautiful, well oiled, shiny machine. When I turned around I saw her sitting there gleaming in the sun.Sleek and shining, she looked like she came off the assembly line just yesterday. A 1964 Chevrolet Impala. I could see my twelve year old self, and my look of total awe, reflecting back at me off of her gleaming chrome. Reflecting off her freshly polished light blue surface, the sun seemed to make the magnificent machine glow. The hood was up exposing the chrome plated double header engine. The driver applied pressure to the gas pedal, bringing another deep purr from the motor and I watched in amazement as the engine jumped. We will write a custom essay sample on The Machine or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The sound it made was one of 500 horsepower, of freedom, of raw untamed power. It gave me chills. Blowing around us, the air carried the scent of hot rubber and fresh upholstery to my nostrils, as the driver opened the door and stepped out. The hot summer sun heated everything around us, and the air carried the sounds of the car show around us, but my eyes were glued to this car in front of me. The owner, an older gentleman with white hair, blue eyes and a smile that stretched from ear to ear, walked over to me and my dad. He a head and a half taller than I but he looked me directly in the eyes while, introducing himself. â€Å"Names Jeff,† he said with a voice almost as deep as the rumble of the car he owned, â€Å"pleasure to meet cha’† he held out his hand and I took it introducing myself. His hand was rough and calloused with a firm grip, but not so hard as to hurt. All the while that smile of his never left his face. After introductions had been made, Jeff and my dad began talking about the car and other things. While they spoke I circled the car, admiring every glint and glimmer the sun made on her shining surface.After circling two or three times, I stopped next to the open driver’s side door and looked in at the tan leather seats.Jeff saw me looking in and stepped over. â€Å"Well, I’ll let you sit in the driver’s seat if you promise not to take off with ‘er.† He said laughing a deep booming laugh. I laughed as well, promising not too, and slid in behind the wheel. The steering wheel and eight ball shifter were warm under my hands. The scent of fresh leather filled my nostrils. After a while of sitting there enjoying the sensations I got out and walked around to the hood. Jeff followed, pointing out the different parts, and explained to me what each one did. I listened intently the whole time.Eventually he covered everything and we stepped back. With a sigh J eff said â€Å"I’ve owned this here car since I was sixteen. It took me three years to fix ‘er up and another two to fully restore ‘er. She was jus’ a frame rotting in someone’s yard when I found ‘er.†I looked from him to the car and back in disbelief. Jeff only smiled and nodded. It was at that moment staring at that beautiful machine that I realized that is what I wanted to do. I want to fix, rebuild, restore, and work on cars. For the rest of my life. My passion is working on these beautiful machines.