Reid Hoffman hates cocktail parties. Coming from the man whom The New York Times recently dubbed Silicon Valley’s King of Connections, this might come as a surprise.
“Entrepreneurs are like visionaries,” Hoffman says, talking about the breed as though he was not one of them. “One of the ways they run forward is by viewing the thing they’re doing as something that’s going to be the whole world.”
On a bright January afternoon, I meet Christina Hendricks at Dusty’s, a rustic French-American bistro in Silver Lake. It’s one of her favorite spots to eat in Los Angeles, and not far from her home. The 36-year-old actor, dressed in a fetching black dress that clings to her famous curves, strides confidently to the table, seeming supremely comfortable in her body. It’s a body that, thanks to an assembly line of red carpet appearances, provocative magazine spreads, and her standout role as sumptuous secretary Joan Holloway on AMC’s flagship drama, Mad Men, has become a national obsession. It drives men to helpless, testosterone-fueled fantasies, and women to reevaluate traditional Hollywood notions of beauty—maybe the spotlight isn’t only for the thin and waifish after all? But today, Hendricks, whose trademark crimson hair is partially concealed under a snug, black-and-white knit cap, blends in with the rest of the diners, almost. In the dim lighting, her alabaster skin is almost translucent, and as a lighter version of that familiar, breathy voice rolls across the table at me like wisps of smoke, hints of Joan Holloway creep through
Smith was the president of a fan club that had just one member but a hundred idols: Rimbaud, Bob Dylan, Jimi Hendrix, Keith Richards, Jackson Pollock, Isabelle Eberhardt, Brian Jones, Georgia O’Keeffe, William Burroughs, Renée Falconetti (Joan of Arc in Carl Theodor Dreyer’s 1928 movie), not to mention Johnny Carson. She evoked these personalities, and more, in her songs and poems and broadsides and chapbooks, in her stage patter, in interviews, and she was not at all coy about enumerating her specific debts to them. She made a point, that is, of publicly enacting a process that most artists keep to themselves. This was doubly brave of her, since as a woman at that time declaring herself to be something more than a singer and decorative stage presence she faced a certain amount of derision anyway. It was easy for lazy journalists to caricature her as a stringbean who looked like Keith Richards, emitted Dylanish word salads, and dropped names—a high-concept tribute act of some sort, very wet behind the ears. But then her first album, Horses, came out in November 1975, and silenced most of the scoffers.
These are the people who aren't waiting to reinvent the world. FORBES, leaning on the wisdom of its readers and the greatest minds in business, presents the 30 disrupters under 30, in each of 12 fields, making a difference right now.
“My generation of actresses — my friends, my cohort — should be working at the same level of endeavor as I am, and they’re not,” Streep says. “Why? Because to [businessmen], they’re old. And that bugs me. That’s wrong. Because the audience is there. They’ve just been shoved out of the theaters by the crap that they put out now to sell ancillary products. It’s just — ugh.”
"AT 69, AN AGE WHEN MOST HOLLYWOOD DIRECTORS have been packed off after a hollow cavalcade of plaudits, roasts, and nostalgic fetes, Martin Scorsese is once again panicked about hitting a deadline. His new movie is Hugo, a 3-D children's movie being released by Paramount Pictures this Thanksgiving weekend, and Scorsese has never before directed in 3-D, nor, God knows, made anything resembling a kid flick. But this is what life is like for Marty, as everyone calls him. The director has achieved the trifecta of a fulfilling, creative life: enough money to do only what truly interests him, enough freedom to attack those projects in a way that is satisfying, and enough appreciation from his peers to tame--just slightly, just ever so slightly--the neurotic beast of self-doubt. After 22 movies, five commercials, 13 documentaries, a handful of music videos, three children, five wives, and 25 studios; after insolvency and misery, after box-office failures and years of going unappreciated; after the one Oscar and all the others he should have won, Marty Scorsese has earned the right that every creative person dreams of: the right never to be bored. And what all this adds up to in his case, what this really means to this particular man, is that he has earned the right to continue to fret every little detail in the world well into the next decade and for as long as he cares to make movies."
In the domains of media, marketing and technology, to be merely young and successful isn’t so remarkable. But to be influential—seriously influential—is something else altogether: to imagine the truly new and different, to impel real change in the way business has been done before, to lead the way and to inspire others to follow. Those are a few attributes that define and set apart these individuals, the Young Influentials, as determined by Adweek’s editors: individuals who have achieved not only a standing in the industry—in most cases, a standing far beyond their years—but who also constitute the very vanguard of innovation in media, technology, brand leadership and creative work. If you haven’t heard of them already, you will.
Sir Jonathan Ive, Jony to his friends, is arguably one of the world’s most influential Londoners. The 45-year-old was born in Chingford — and went to the same school as David Beckham. He met his wife, Heather Pegg, while in secondary school.
Is there a role where you feel you took shape as an actor?
PHILIP SEYMOUR HOFFMAN: It’s a tricky question because I can relate back to when I was very young doing something in college or something where I had a moment where I was like “oh”, where I can say that moment was the defining moment. I’m not thinking of anything specific. I just know that I had experiences when I was young starting out trying to get going, that I had days and moments where really of a sudden something clicked. It’s more a conversation you’re having with yourself and you realise, "Ah, I can create something, I can do this, there’s something I can do with this, this isn’t just some willy-nilly, you know, silly thing. This is an actual craft, this is an art form, I can create something that can mean something." You have that experience that I can actually do that and that does something to you. That does shape you and define you. So to me that question is not so much connected to work so much as me being an actor and an artist. I think that happened when I was pretty young, when I was in college in my early twenties. I had enough of those experiences that kept me going. If I didn’t have any of those I probably would have stopped.
“It’s about getting behind a person not a product,” says Kazmark, “and we have to make people aware of that. We have to educate people. It’s a new experience. I’ve backed my own share of projects…it’s hard not to back some things. I just trust this person and that they’re going to do their best. Sometimes thing don’t go as planned. It’s kind of a cool place in between commerce and patronage. A space where we can test the idea before it happens.”
Last night, Gupta announced that a donor who matched his profile had been found. In his post, he thanked his social network and all the expanded networks they connected with during his crowdsourced campaign:
"After over 100 drives organized by friends, family, and strangers, celebrity call-outs, a bazillion reblogs (7000+!), tweets, and Facebook posts, press, fundraising and international drives organized by tireless friends, and a couple painful false starts, I’ve got a 10/10 matched donor! You all literally helped save my life. (And the lives of many others.)"
"The actress Tilda Swinton has an Oscar and indie cred, but she still feels that she is feeling her way.
(...)But Ms. Swinton circles repeatedly back to the idea of all human behavior as a kind of performance, an idea that the self-dramatizing Mame might well espouse. What attracts her to acting, a profession in which she still seems to feel she is an apprentice practitioner, Oscar and critical acclaim notwithstanding, is the mystery of what resides behind the masks people wear."
The other day, I watched online as Oprah was interviewed at the offices of Facebook. She was asked to give her instant responses to a series of “lightning round” questions—what did she like more, Beloved or The Color Purple? The journey or the destination? And then a silly question, a reference to what was an annual treat of the Oprah show, the “Favorite Things” episode, which featured her favorite products and clothes and inventions of the year. “What is your favorite Favorite Thing?” asked the moderator, in a cheerfully wicked, teasing sort of way. The audience loved it, and Oprah sat back, clearly aware of the implications her answer would have; it seemed she was preparing a way of evading the question—but she wasn’t. She leaned forward in her chair and said—in all seriousness and sincerity, and in tones of great certainty—“The Breville panini maker.” Everyone laughed like it was a joke, but it wasn’t a joke. The appliance—“which can also be used for bacon,” Oprah said, “and can be used for fish”—was the clear favorite, and she said its name again, a coronation: “The Breville panini maker.”
I wandered away from the computer, went to the kitchen, and took a newly disappointed look at my Griddler panini press. I lifted its top and wondered if it might be able to make bacon, but I immediately apprehended its shortcomings. For a couple of weird seconds, I had such a fierce desire for a Breville that I contemplated buying one and becoming a two-panini-press household
Because of their overlapping interests, and because Errol Morris's technique as a filmmaker is to chase down every clue, he requested an interview with Stephen King after finishing his review of "11/22/63," Mr.