Some context: Orci was born in Mexico City on July 20, 1973, to a Mexican father and a Cuban mother. His mother immigrated to the United States with her parents after Fidel Castro came to power. Orci grew up in Mexico, and moved with his family to the United States at the age of 10. He was raised in Texas, Los Angeles and Canada.
Orci's first credit solely as a producer came with the film Eagle Eye, where he worked once again alongside Kurtzman. He said in an interview with the magazine Extra that he had previously been involved in productions where the producers had writing backgrounds and had looked to them for help, and he was happy to provide that same support to the writers on Eagle Eye. The director of the film, D. J. Caruso, praised the duo saying that "What's unusually cool about them is that they have maintained the producer-writer power that they earned in television and carried that over into the feature film area, and that is extremely rare." Following their work on Eagle Eye, they were executive producers on the Sandra Bullock film, The Proposal. Despite their film careers, Orci and Kurtzman continued to create television series. These included Sleepy Hollow, which they developed alongside Phillip Iscove. They pitched the series to a number of networks, and it was picked up by Fox. Orci took five years to bring the series Matador to television, with it originating from a conversation with his cousin Andrew. It was created for Robert Rodriguez's El Rey Network, and Rodriguez's one demand of the show was that he could direct the pilot episode. Orci later explained in an interview that it was an easy decision, and he needed to pretend to consider it. Orci and Kurtzman also worked together as executive producers on the animated television series, Transformers: Prime, due to their involvement with the live action movies. Following the end of the series they were hopeful to be involved in a future animated series based on the premise, which Orci saw less like a reboot of the show and more of a continuation in a different guise. He felt that while Prime was sophisticated, there were concerns that it was leaving younger viewers behind because of its complexity and intensity.
What year was that
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Some context: Ivor Armstrong Richards (26 February 1893 - 7 September 1979), known as I. A. Richards, was an English educator, literary critic, and rhetorician whose work contributed to the foundations of the New Criticism, a formalist movement in literary theory, which emphasized the close reading of a literary text, especially poetry, in an effort to discover how a work of literature functions as a self-contained, self-referential aesthetic object. Richards' intellectual contributions to the establishment of the literary methodology of the New Criticism are presented in the books The Meaning of Meaning: A Study of the Influence of Language upon Thought and of the Science of Symbolism (1923), by C. K. Ogden and I. A. Richards, Principles of Literary Criticism (1926), Practical Criticism (1929), and The Philosophy of Rhetoric (1936).
The life and intellectual influence of I. A. Richards approximately corresponds to his intellectual interests; many endeavours were in collaboration with the linguist, philosopher, and writer Charles Kay Ogden (C.K. Ogden), notably in four books: I. Foundations of Aesthetics (1922) presents the principles of aesthetic reception, the bases of the literary theory of "harmony"; aesthetic understanding derives from the balance of competing psychological impulses. The structure of the Foundations of Aesthetics--a survey of the competing definitions of the term aesthetic--prefigures the multiple-definitions work in the books Basic Rules of Reason (1933), Mencius on the Mind: Experiments in Multiple Definition (1932), and Coleridge on Imagination (1934) II. The Meaning of Meaning: A Study of the Influence of Language upon Thought and of the Science of Symbolism (1923) presents the triadic theory of semiotics that depends upon psychological theory, and so anticipates the importance of psychology in the exercise of literary criticism. Semioticians, such as Umberto Eco, acknowledged that the methodology of the triadic theory of semiotics improved upon the methodology of the dyadic theory of semiotics presented by Ferdinand de Saussure (1857-1913). III. Basic English: A General Introduction with Rules and Grammar (1930) and IV. the Times of India Guide to Basic English (1938) developed the Basic English program in effort to develop an international language, an interlanguage based upon a vocabulary of 850 English words. Richards' travels, especially in China, effectively situated him as the advocate for an international program, such as Basic English. Moreover, at Harvard University, to his international pedagogy, the instructor I. A. Richards began to integrate the available new media for mass communications, especially television.
what was the highlight of this collaboration?
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aesthetic understanding derives from the balance of competing psychological impulses.