Why Do Eyes Look So Blue On Tv?

Why Do Eyes Look So Blue On Tv
What is TV motion blur? – Motion blur is when anything on-screen blurs, becoming fuzzy and less distinct, when it moves. This can be a single object, like a ball or car, or the entire screen, as when the camera pans across a landscape. I always notice it when there’s a closeup of a face, and then the person turns away. A still photo edited to mimic motion blur. Note how the lower 1.5 dolphins are softer than the others. Geoffrey Morrison/CNET In the early days of flat TVs and displays, the culprit was often the slow speed of the liquid crystal elements that create an image on LCD TV,

These days most LCDs are able to change their states fast enough that motion blur is caused by something else: ” sample and hold,” LCDs – and modern OLED TVs – configure their pixels to show an image and then hold that image until the screen refreshes.
With most TVs this means that for a full one-sixtieth of a second, the image is stationary on screen.

Then the screen refreshes and a new image is held there for another one-sixtieth of a second. Some TVs have faster refresh rates, and in some countries TV refresh every one-fiftieth of a second, but the process is the same.

Why does everyone have blue eyes on TV?

It’s not really more actors having blue eyes. More have brown when you go back several decades. That said, blue eyes show up really well and make the people watching that movie or tv show notice the actor more. Some actors wear contacts to make their eyes more vivid too.

What actor has the bluest eyes?

Paul Newman, 83, the Hollywood icon with the famous blue eyes Paul Newman, 83, the Hollywood icon with the famous blue eyes and killer grin who seduced audiences with six decades worth of rebels, rascals and moody romancers, died yesterday after a battle with cancer.

He died in the farmhouse in Westport, Conn., where he lived with his wife Joanne Woodward, his costar in life and in 10 of his movies at his side, along with other family members. Mr.
Newman, who also pursued politics and race cars and his philanthropic foodstuffs company with a passion, was an actor who radiated such easygoing, wily charm that it was virtually impossible to dislike the characters he played, even when they were selfish heels, shallow pretty boys, con men or drunks – and they often were.

With a cool swagger and winkingly sardonic allure, Mr. Newman made an indelible impression on audiences in the 1950s and ’60s, offering an assortment of iconic figures: Fast Eddie Felson, the pool shark of The Hustler ; Chance Wayne, the self-deluded gigolo of Sweet Bird of Youth ; Hud Bannon, the crude Texas cowpoke of Hud ; Luke Jackson, the defiant chain-ganger of Cool Hand Luke, and Butch Cassidy, one of the rascally train-robbers – Robert Redford being the other – in Butch Cassidy and the Sundance Kid,

Of the generation of Marlon Brando and James Dean – and lumped in with them early on by the press and public – Mr.
Newman was Method-trained and Broadway-schooled, moving from episodic television in the early 1950s to Hollywood, where his preternatural good looks and devilish smile won him a Warner Bros.

contract and near-instant stardom. He was nominated for 10 Academy Awards over the decades, winning once, in 1987, for The Color of Money, in which he revisited the role of Fast Eddie, the pool ace he had played 25 years earlier in The Hustler, Like Humphrey Bogart, Henry Fonda and Jimmy Stewart, Mr.

Newman was – and is – a Hollywood immortal. And like them, Newman never entirely shrugged off his own persona in the roles he played. He generated sexual heat, he brooded and beamed, he surprised with his dry humor and was, very often, riveting. But you never forgot that you were watching Newman. As the trailers to his early, essential movies said: Paul Newman is Hud, Paul Newman is Harper.

Jokingly exploiting his name and celebrity, Mr. Newman became a significant player in the world of philanthropy. In 1982, he launched Newman’s Own, with the proceeds from its salsas and salad dressings, popcorn and pasta sauces generating more than $200 million for charity.

He and Woodward established the Hole in the Wall Gang Camps for terminally ill children, and, after the death of his son, Scott, from a drug and alcohol overdose in 1978, Mr.
Newman founded a drug rehabilitation facility in his son’s name in Los Angeles.
Paul is vulnerable to the needs of people,” his friend and Newman’s Own business partner, the writer A.E.

Hotchner, told Newsweek in 1995. “He’s vulnerable to his own vulnerability. I think that recognition of vulnerability in a role, or in life, is what’s given him his drive. It’s the essential thing of his personality.” Private and publicity-shy, Mr. Newman was nonetheless active in politics and social causes.

An early critic of the Vietnam War, Mr. Newman was a delegate to the 1968 Democratic convention in Chicago (supporting Eugene McCarthy); campaigned in 1972 for George McGovern for president; and was appointed by President Jimmy Carter as his delegate to nuclear disarmament talks at the United Nations.

In 1995, Mr. Newman bought a controlling interest in the liberal political journal The Nation, and occasionally contributed to its pages. After starring in 1969’s Indy 500 race-car picture Winning, Mr. Newman pursued the sport with obsessive zeal. He won his first national amateur championship in 1976, and in 1979, at age 54, finished second in the Le Mans 24-hour road race.

In the ’70s and ’80s, he scheduled his movie jobs around his race calendar. He co-owned the Newman-Haas Indy Car team. Mr. Newman’s roster of artistic and commercial successes includes Tennessee Williams ( Cat on a Hot Tin Roof, Sweet Bird of Youth ), a clutch of famous “H” movies ( Harper, Hombre, Hud, The Hustler ), two snappy team-ups with Redford ( Butch Cassidy, The Sting ) and some mid- and late-life gems ( The Verdict, Nobody’s Fool ).

Mr. Newman received the first of his nine Oscar nominations for acting in 1959, for his booze-soaked ex-jock Brick in Cat on a Hot Tin Roof, His others were for The Hustler (1961), Hud (1963), Cool Hand Luke (1967), Absence of Malice (1981), The Verdict (1982), The Color of Money (1986), Nobody’s Fool (1994), and Road to Perdition (2002).

He also was nominated as producer of Rachel, Rachel, the 1968 drama starring Woodward.
It was the first of five films he would direct.
Paul Leonard Newman was born on Jan.26, 1925, in Cleveland, the second son of Arthur and Theresa Newman.
Paul and his year-older brother, Arthur Jr., grew up in an 11-room house in the leafy suburb of Shaker Heights.

Mr. Newman was a small kid who went through the Shaker Heights schools without much sign of seriousness or intellect. He liked sports, and caught the acting bug early, making his stage debut at age 10, in St. George and the Dragon. He was St. George. In 1943, after a brief stint at Ohio University in Athens – plenty of beer and bar fights – he joined the Navy, intent on becoming a pilot.

But his partial color blindness (he couldn’t distinguish red from green) nixed that.
Instead, he became a radioman on bombers in the Pacific, seeing next to no combat.
After the war, in 1946, he enrolled at Kenyon College on the GI Bill, majoring in literature and theater. Mr.
Newman graduated in 1949 and joined a summer stock company in Wisconsin (the Gentleman Caller in The Glass Menagerie was one of his first Williams roles), then a season with the Woodstock Players repertory near Chicago.

He met and married Jacqueline Witte, a fellow Woodstock Player, and in 1950 they had a son, Scott. That same year, Arthur Newman died. In 1982, Mr. Newman told Time magazine that losing his father before he could see his son’s success had always hurt. “I think he always thought of me as pretty much a lightweight.

He treated me like he was disappointed in me a lot of the time, and he had every right to be. It was one of the great agonies of my life that he could never know. I desperately wanted to show him that somehow, somewhere along the line I could cut the mustard. And I never got a chance, never got a chance.” Mr.

Newman surely drew from that hurt in the many films he made dealing with the fractures between fathers and sons, from The Long, Hot Summer all the way to Road to Perdition, After his father’s death, Mr. Newman returned to Shaker Heights to run the family sporting-goods business.

But he was restless, sold the business, and entered Yale’s drama program in 1951, bringing his wife and baby boy to New Haven. By the next summer he was auditioning in New York. Among his early TV jobs was CBS’s You Are There, which offered reenactments of famous scenes through the ages. Mr. Newman appeared as Aristotle, Julius Caesar, and the Revolutionary War hero Nathan Hale.

The proverbial big break came in 1953, when Mr. Newman, about to become the father of a second child – a daughter, Susan – won the role of little rich guy Alan Seymour in the Broadway production of William Inge’s Picnic, Mr. Newman was also understudy for the play’s lead.

Woodward was an understudy in the same play. Mr. Newman went on to appear in the original Broadway productions of The Desperate Hours and Sweet Bird of Youth, and honed his craft at Lee Strasberg’s influential Actors Studio, home of the Method technique. There Mr. Newman met and worked with directors Elia Kazan (on stage) and Martin Ritt (in six films).

In addition to Brando and Dean, Strasberg’s students included Julie Harris, Kim Stanley, Eli Wallach and Woodward, too. Strasberg famously observed that Mr. Newman would have been as great an actor as Brando if it weren’t for that daunting handsomeness.

Mr. Newman had the chops, Strasberg suggested, but also the tendency to coast on his looks. But Mr.
Newman had keen instincts.
His filmography boasts fewer misfires and bombs than many of his contemporaries, although he launched his career with a doozy: 1954’s The Silver Chalice, in which the actor starred as Basil, a Greek slave-turned-artisan with chiseled features – no stretch for a guy whose profile would look right at home on an ancient coin.

A quasi-biblical epic of amusing awfulness – Mr. Newman later apologized for it, taking out ads in the Hollywood trades and dubbing it “the worst film of the fifties” – The Silver Chalice nonetheless gave the young star instant heartthrob status. He followed it up in 1956 with Somebody Up There Likes Me, a biopic of the New York pugilist Rocky Graziano.

Mr. Newman inherited the role following the death of the intended lead, James Dean. Mr.
Newman’s second movie fared much better, highlighting his physicality and giving him the opportunity to get his mouth around some sinewy tough-guy jabber. Mr.
Newman and Woodward first appeared on screen together in 1958’s The Long, Hot Summer, Ritt’s blazing adaptation of a William Faulkner novel.

Mr. Newman is Ben Quick, a Mississippi drifter who goes to work for a wealthy landowner (Orson Welles) who favors his new hire more than his own son. Woodward, as Welles’ daughter, resists her father’s efforts to fix her up with the hotheaded newcomer, but the sparks fly.

A few years earlier, Mr. Newman and wife Jackie had had a third child, daughter Stephanie. But by 1958 the relationship was over, and Mr. Newman married Woodward, already an Oscar-winner for The Three Faces of Eve, The couple celebrated their 50th anniversary in January. In a 1993 interview with biographer Eric Lax, Mr.

Newman said about Woodward: “It was a kind of fortuitous coming together, because she had an ameliorating effect on my excesses, which were excessive enough but at least there was a partial lid put on them. And the things that set her on fire were the kinds of fires I could quell somehow.

Mine were drinking, behaving badly, living too close to the edge.
Why did I do that? I think it probably took a lot of pressure off in general.
A safety valve.” In 1959, Otto Preminger cast Mr.
Newman as Israeli independence fighter Ari Ben Canaan in Exodus,
Complaints that the blue-eyed star was all wrong to play the Jewish rebel were quashed when it was noted that Mr.

Newman’s father was, in fact, Jewish. (Arthur Newman was of German descent; his wife, Theresa, was Catholic and of Hungarian background.) The 1960s saw Mr. Newman’s star rise higher, with The Hustler ; Hud ; Torn Curtain, a Cold War thriller directed by Alfred Hitchcock; Harper, in which Mr.

Newman played Ross Macdonald’s name-changed private eye, Lew Archer; Hombre, a western in which Newman was a half-Apache cowboy; and then the mega-hit Butch Cassidy and the Sundance Kid, How mega? Adjusted for inflation, the 1969 movie’s box office gross would be $485 million – right under Ghostbusters and above Love Story,

In the 1970s, Newman directed and starred in Sometimes a Great Notion, an adaptation of the Ken Kesey novel about a clan of Oregon loggers. Newman took the title role in John Huston’s jolly western romp The Life and Times of Judge Roy Bean, and worked again with Huston on The Mackintosh Man,

That same year, 1973, saw the release of The Sting, a 1930s con-men buddy picture that reteamed Newman and Redford and became one of the top-grossing movies ever – at an inflation-adjusted $613 million, it ranks 15th.
The Sting took home seven Academy Awards, including best picture, and popularized the ragtime music of Scott Joplin, becoming a pop-cult phenomenon.

The next year saw another blockbuster: The Towering Inferno, the Irwin Allen disaster pic featuring a bunch of movie stars trapped in a burning skyscraper. In the latter part of the ’70s, the actor teamed with director Robert Altman for Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (with Mr.

Newman, in long silvery locks, as the Old West showman) and Quintet, Mr. Newman was looser and goosier in the role of Reggie Dunlop, a washed-up minor-league hockey player, in the foul-mouthed, puck-stops-here character piece Slap Shot, The actor counted the 1977 film among his favorites. In the 1980s, Mr.

Newman began to work less and drive more, seriously pursuing racing. (Woodward, once asked about her husband’s obsession, cracked, “A mind is a terrible thing to waste on a Trans Am motor.”) As he moved through middle age, Mr. Newman shrugged off some of the acting tricks and signature tics, like the hand-pinch to the bridge of his nose, of his younger days.

Among the characters Mr.
Newman made his own: the upstanding NYPD cop of Fort Apache the Bronx ; a smeared businessman looking for vengeance in Absence of Malice ; and the alcoholic ambulance-chaser seeking redemption in The Verdict,
The role that finally brought Mr.
Newman his Oscar came in 1986, in The Color of Money,

Pauline Kael, in her New Yorker review of Martin Scorsese’s hit, wrote: “Newman is like a great veteran tap dancer showing you how easy it all becomes, and the kick he gets out of acting is inseparable from Eddie’s con artistry.” Mr. Newman appeared even less on-screen during the ’90s.

With Woodward, he took on James Ivory’s Mr. & Mrs. Bridge, the married couple portraying a married couple of the 1930s and 1940s. The Coen brothers put Mr. Newman up to impersonating a cigar-chompin’ business tycoon in their screwball throwback The Hudsucker Proxy, Nobody’s Fool, directed by Robert Benton, seemed to be made for Mr.

Newman: a crabby, small-town construction guy looking for his spot at the bar, underestimating his own worth, and leaving people charmed and chagrined in his wake. In an interview with Roger Ebert, Mr. Newman acknowledged the role’s autobiographical resonance.

Not so much in specific events,” he explained, “as in the trajectory of the character.
He was aloof and distant and mistook that for independence.
He became,
Available.
He wasn’t so stuck in cement that he couldn’t be alert to the potential that exists in change.
That’s the real miracle of that character; some primordial instinct in him that says, when his son and grandson appear, ‘Hold it, this could be worth something.’ That’s the part of that character that touched me.” Over the last several years, Mr.

Newman lent his raspy voice to the Disney animated hit Cars, performed on Broadway in Our Town, and appeared in the TV mini-series Empire Falls, for which he won an Emmy. But for all intents and purposes, Mr. Newman’s screen career came to a close in 2002 with Sam Mendes’ Road to Perdition, and it’s a capper.

Mr. Newman, then 77, is flinty, quaking and absolutely riveting as a weary gangster torn up about the conflicted legacy he’s leaving behind. In May 2007, Newman announced his retirement from acting on ABC’s Good Morning America, “I’m not able to work anymore as an actor at the level I would want to,” he said.

“You start to lose your memory, your confidence, your invention. So that’s pretty much a closed book for me.” But what a book it is. Newman is survived by his Woodward, five children, two grandsons and his older brother Arthur. : Paul Newman, 83, the Hollywood icon with the famous blue eyes

What do actors use to make their eyes white?

Celebrity Make-Up Experts Share What It Takes To Look Flawless On-Screen We always look up to our favourite actresses for beauty inspiration, don’t we? They look so flawless and beautiful in movies that one can’t stop wondering HOW? What really sets them apart from us? Why can’t we look as put together as they do? We spoke to two celebrity make-up artists who gave us all the dope on the tricks and tips that they employ to make your favourite actresses look smokin’ on screen! These secrets are pure gold.

Celebrity make-up artist Ojas Rajani, who has been a make-up artist for Deepika Padukone, Katrina Kaif and many more top-tiered stars, shares, “Actresses are humans too and they do go through the same trauma of beauty like we all do.
They do get dark circles and bags under their eyes.
But they have to fix their issues before they hit the screen.

As make-up magicians, we’ve got to make them disappear.” Which brings us to prodding Ojas to give us a few of those secret make-up tricks employed for filming. She didn’t, of course, share the names but she did give us the information we needed. For Your Eyes Only 1.

“To make under-eye bags magically disappear, we use an under-eye brightener, which works its magic for almost 6-8 hours. Actresses also do a lymphatic drainage massage where they dip their hands in ice-cold water and massage their face, especially the under-eye area. It helps them open their eyes and look bright,” reveals Ojas.2.

Ever wondered how actresses ALWAYS have a sparkle in their eyes? “We use a magical potion called eye-enhancing drops. These drops open up the eyes, make the white part of the eye look whiter and that’s the sparkle you see,” shares Ojas. She also told us that some actresses wear something called eye-enhancing lenses which refract light to add that gorgeous twinkle. Why Do Eyes Look So Blue On Tv For representational purpose only.3. To further enhance the eyes, Ojas says, “We also use a very light pinkish-white pencil on the lower-lash line, which again makes the eyes look bright and awake”. Face Time 1. Anushka Sharma’s lips became the talk of the town, during the promotions of her movie, PK not from a lip job but, as Ojas shares, “From lip fillers.

They help you enhance your lips and make them look fuller on a temporary basis.” 2.
According to celebrity make-up artist, Daniel Bauer, lights play a very important role.
He says, “No actress or model will get her make-up done in a place where there aren’t enough lights.
Your make-up room has a big impact on how your make-up turns out.

If you’re doing your make-up in a room with dim and yellow lighting, you’re not going to see how your make-up looks to everyone else. You need a mixture of warm and white lights in a room that doesn’t cast shadows on your face”. Why Do Eyes Look So Blue On Tv For representational purpose only.3. Daniel loves the fresh, dewy look. “To achieve this look, we highlight the high points on the face, so the light captures it. It gives a semi-hydrated feel so that you look fresh, healthy and glowing. You can either enhance the lips or eyes – never both – when you are working on getting this look,” he elaborates.

Why do my eyes look more blue sometimes?

Changes in Pupil Size – Your pupils’ size can also cause your eyes to change color. When your pupils shrink or dilate, the color of your eyes may seem to change. For example, if your pupils widen, not as much of your irises are exposed, and the remaining irises look darker.

Who has the best eyes in the world?

Who’s got the best eyesight in the world? At first, it even left Charles Darwin temporarily bemused: How could something as perfectly designed and complex as the living eye, ever have evolved? Creationists led by English philosopher William Paley in 1802 claimed that the eye was yet another example of,

Darwin stuck to his guns though and bit by bit, the story of what went on in Mother Nature’s optical workshop over the last 500-600 million years came to light. Today, when we peer through our telescopes or down a microscope, we need to remind ourselves that yet again we are adapting Mother Nature’s technology: we’ve only unraveled what she has done – not originally invented anything.

Apparently, it all began some 500-600 million years ago when the “Cambrian Explosion” began, leading to a burgeoning of different species on Earth. Unicellular organisms existed that had what was called “eyespots”, which had patches of photo-sensitive proteins used for making food through photosynthesis.

They could just about make out light from dark and the cells that had eyespots could swim towards or away from a source of light, which was of survival value.
Two systems, in the form of proteins worked in tandem: the light-sensitive proteins (called opsins) which changed shape when light hit them, and the ion channels which responded to the change by generating an electrical signal.

Also Read | Gradually these organisms evolved to focus their light-sensitive cells in a small depression making it easier to detect the source of light and movement. The depression further evolved into a “pit” which enhanced this capability and the pit became a pinhole, sharpening the focus further.

To protect the opening, a thin layer of skin grew over the opening which evolved into a lens.
As the creatures evolved in other ways, so did eyes, and the sophistication increased.
The light sensitive patch at the back of the eye – the retina – developed specialised cells – called rods and cones – the former to detect objects in low light, the latter to detect colours, both linked via the optic nerve to the brain, informing it of what it was seeing.

The amount of light allowed in was controlled by muscles around the iris like a diaphragm which contracted or expanded the pupil, which was the actual “pinhole”. The eye was spherical, filled with a clear liquid called the vitreous humour. Further specialisations evolved: the fovea is a special patch at the back of the retina responsible for extra-sharp central vision, useful for us while driving and for raptors while targeting their prey.

Also in Premium | In evolutionary terms, scientists conclude that the progress from light-sensitive cells to a perfectly functioning eye would take just 3,64,000 years assuming a 0.005 per cent improvement with every generation, literally just a blink of the eye. At first, it was believed that eyes evolved independently in different animals; there were huge differences in design and ability.

Insects had compound eyes comprising thousands of facets or individual lenses, which either formed individual or combined images. Other creatures had simple eyes, with a single lens. We have three colour detecting photoreceptor cells (cones) in our eyes – for red, green and blue, dogs, just two.

But tell-tale genes and the presence of the light sensitive protein molecules – the opsins – which were there right at the beginning indicated that they had all evolved from a common ancient ancestor and then went their own ways depending on what they were required for.
Also Read | Service and maintenance issues were not neglected either: we have tears to clean our eyes and birds and reptiles have a nictitating membrane which works rather like a windshield wiper – and which also protects the eyes of birds like falcons and gannets, while diving at suicidal speeds.

What do actors put in their eyes crying?

Use a menthol tear stick. Actors cry a lot on camera, and it can be challenging to sustain that emotion for multiple takes in a row. As such, even professional actors will use menthol tear sticks—apply lightly under the eyes, and the fumes will make your eyes water.

Why do actors cry from one eye?

The secrets behind on-screen movie tears Movie tears smell like cough drops. Why? Because some of the methods used to induce the tears include the same ingredients that help to squelch a pesky cough. On demand, a skilled actor can produce a full range of emotions.

Screaming rage is easy compared to a tear-filled moment of emotional tenderness.
It is those tiny drops of salt-water that present the challenge.
So, how does exactly one cry on film? In most scenes, tears are produced in one of four ways: The first is a product called a tear stick or menthol stick.
It is a stick of wax packaged in a standard lipstick tube with the key ingredient of menthol — the that creates the cold sensation in cough drops and breath mints.

When the actor or makeup artist puts a streak of wax close to the eye, the eyes water, giving the flood of tears the actor can then use as part of the performance. A more complicated device called a tear puffer or tear blower is a small, hand-held cylinder that shoots a single puff of menthol-laden air into the actor’s eye.

The clear plastic tube is spring-loaded and held in the cocked position until the actor triggers it.
The puff creates instant tears in the affected eye.
The skills required for this illusion is the ability to hide the device from the camera or audience and to puff both eyes at the same time.
The third method is for the actor to simply remember a sad moment from their private life.

The director will give the actor a few minutes to recover the memory of a death in the family or some other sad memory. The actor then delivers the required lines. Finally, many old-timers take a pair of tweezers, find a hair in the nostril and give it a good yank.

The procedure seems to work best if a hair is pulled in each nostril.
A motion picture has done its work if the audience weeps at the end of the movie.
Amateur directors seem to believe that if you want to make the audience cry, all you need is a shot of someone in tears.
A few tender-hearted souls may respond to this kind of shot, but it lacks emotional investment.

We weep for the characters with whom we have traveled an emotional journey. A classic example is Rocky Balboa from the “Rocky” films starring Sylvester Stallone. We spend two hours with this character and end up loving him like family. Scarlet O’Hara in “Gone With the Wind” refused to weep, always putting it off for another day, leaving us to weep for her.

Is it true we all have blue eyes?

No. Scientists say that everyone has brown eyes, even hiding under their blue ones. To understand why blue eyes aren’t hiding behind brown ones, it’s important to understand how we get our eye color.

Why do all actors in Lord of the Rings have blue eyes?

29 January 2002 – Q: After taking part in this movie, do you not have a feeling that every single movie you are work on in future, will be less interesting, or challenging in a way, because of the magnitude of this project? A: Since completing principal photography on Lord of the Rings more than a year ago, I have enjoyed acting again onstage in the New York season of Dance of Death and am looking forward to my next movie, the X-Men sequel which starts filming in Vancouver in mid-May.

Rather than being overwhelmed by the unmatchable success of Fellowship of the Ring, I expect it will draw attention to future work that all of us involved in Middle-earth may tackle.
It is certain that a less expensive and less expansive movie will demand the same commitment as my year on Peter Jackson’s trilogy.

In a 40 year old career there is now a massive milestone — but the journey continues. From: Josh Haeger [email protected] Q: Why did everyone have blue eyes? Is there suppose to a meaning to that? A: Although coloured contact lenses can change an actor’s eyes, as they did dramatically for Halle Berry in X-Men, it was chance that so many of us on Lord of the Rings are naturally blue-eyed. Blue catches the light more than darker colours, which is perhaps why you noticed it. From: Jack Peterson [email protected] Q: What do you think about the corny Burger King cups and advertisements? It seems to me that they detract from the majesty that the book (and the film) create. A: There is a wide range of marketing, all designed (from New Line Cinema’s point of view) to draw attention to the film — surely a good thing.

I hope the device to remind hamburger fans that they might enjoy meeting the characters which adorn the Burger King goblets doesn’t offend Tolkien’s readers — I write as non-meat eater.
Over the years Shakespeare’s characters and actors have found themselves at the service of commerce — Hamlet and Romeo and Juliet are cigars and Falstaff’s image sells ale.

When literature (and movies) inform the popular culture, it is almost inevitable that business will take its own advantage. But my own optimistic take stands, that each illuminated goblet reflects its little light back onto the film’s current pre-eminence.

Why is everything brighter for people with blue eyes?

Why are Blue Eyes More Sensitive to Light? – Lighter colored eyes like blue, hazel and green have less of a pigment called ‘melanin’ than brown eyes do. Melanin helps protect the retina from UV damage and blue light, putting those with blue eyes at a higher risk of developing UV-related eye damage.