貌似在这里写东西快一年了，虽然我常处于表达状态但又不喜欢谈论衣食琐事不习惯放纵笔墨，所以大凡贴出来的都是些冠冕堂皇的东西，文字要体面内容要恰如其分地表现个性的确是我的指导思想，毫不讳言地说。这一年写的也还算勤快，直到近来才感觉到写博的时候的那种沉静，如果一边写一边想着观者的反应怕是很难言为心声的。最近莫名其妙地变成了livespace的界面，msn的loading速度实在令人头疼，就像跑不动的奔一。我也一度想换个地方，要不是看在模板比较diversed,环境比较global一点早就另起炉灶了。回想起来我还是从一个在国外读书的同学那里知道space的，之前也在ycul呆过后面主页被莫名其妙地删了，也许是名字起的太绝，我管他叫vvip.yculblog上面只贴过一篇实习感想可惜再也找不回来我的记忆。最近ycul居然拆blogcn,msn墙脚，我乐得享受一回“歪酷”搬场公司的服务。我要搬家，势在必行。

Exploding into the world of film music after several years as a member of a 1980's rock band, Hans Zimmer has become a pioneer of the dynamic mix between synthesized and orchestral styles. His scores are broadly thematic, ethnically diverse, and immensly popular with a younger generation of film music fans. His Los Angeles based music studio, Media Ventures, is, as he deems it, a "School of Sound," and offers young, talented composers a place to jump-start their careers in Hollywood. He has collaborated with many of his friends, colleagues, and students for his scores after 1995. "I like working in a collaborative way," he says. "I'm not very ego-driven about being 'The Composer.' Whoever brings in great ideas should be welcomed." These collaborations culminated into an award-winning score for the blockbuster Gladiator in 2000, translating into one of the best selling film score albums of all time.

ZT from WGA:

 'Renaissance' became a mercurial term: not just a label for a period or a movement but a concept, a concept redolent (in spite of Burckhardt's precautions) of Individualism, All-Roundness, even Amoralism; man had escaped from the medieval thought-dungeon, and the world (and its expanding physical and mental horizons) was his oyster; culture was linked to personality and behaviour; the Renaissance became both the scene and the work of Renaissance Man.