The movie truism is that stars play themselves, while actors play other people - troubled or toxic, and memorably strange. By that definition, Philip Seymour Hoffman, who disappeared into the rabbit hole of his characters' souls, was our generation's anti-star and the chameleonic film actor of his age.

A movie like 'Transcendence' may be pertinent in its political reverberations of all computer data held in a cloud and monitored by the NSA, but it also rails against the tools its makers so artfully employ.

Ambitious of vision and swooping of camera, 'I, Frankenstein' is no 'I, Robot,' let alone 'I, Claudius,' but it's definitely watchable on a cold Jan. evening or, a few months from now, on your I, Pad.

Like 'God's Not Dead,' the fundamentalist Christian movie that has become a popular hit, 'Transcendence' is essentially a dramatized debate. And as 'God's Not Dead' stacks the rhetorical cards for the Deity's existence, the Pfister film eventually hangs back with the Luddites.

In 'Blade Runner,' the here is quite enough: a vision of dark, cramped, urban squalor. This is Los Angeles in the year 2019, when most of the earth's inhabitants have colonized other planets, and only a polyglot refuse heap of humanity remains. Los Angeles is a Japanized nighttown of sleaze and silicon, fetid steam, and perpetual rain.

How many mothers have emerged from a family trip to a Disney movie and been obliged to explain the facts of death to their sobbing young? A conservative estimate: the tens of millions, since the studio's first animated feature, 'Snow White and the Seven Dwarfs' premiered in 1937.

The visual team of 'Blade Runner' - one of the last big fantasy movies to be made without much computer graphics finery - worked directly for Scott, who sketched each of his prolific ideas on paper (they were called 'Ridley-grams').

Innocent parents might have thought that a musical cartoon version of a fairy tale would be a child's ideal introduction to movie magic. Yet Walt Disney taught moral lessons in the most useful way: by scaring the poop out of the little ones.

We lived a lovely, middle-class, suburban life in Philadelphia. And I really thought that the TV programs of the '50s, like 'Father Knows Best' and 'The Adventures Of Ozzie And Harriet' Nelson were documentaries filmed with hidden cameras in our neighborhood.

Disney features, especially the early ones, were horror movies with cute critters: Greek tragedies with a hummable chorus. Forcing children to confront the loss of home, parent, friends and fondest pets, these films imposed shock therapy on four-year-olds.

The Disney animators' rules on adult females: mothers are perfect but imperiled; stepmothers are wicked and occasionally homicidal; godmothers are sweet things with magical powers.

As the idealized mother, I might choose Irene Dunne as the mother in 'I Remember Mama' who strives and not just cooks and scrubs for her children, but who also acts as her daughter's literary agent.

'Under the Skin' is handsome, in a dour way, but inert - a cunning experiment that died in the shooting or on the editing table. You'll want to get the DVD, though, and not just for its study of Scarlett. Odds are that the Making-Of documentary will be far stranger and more fascinating than the movie that was made.

Bond, especially Connery's Bond, was an existential hired gun with an aristocrat's tastes - just right for a time when class was a matter of brand names and insouciant gestures.

Starring Russell Crowe as the Patron of the First Ark, 'Noah' had affronted some Christian literalists with its giant rock men, its weird visions, and the occasionally dark motives of its protagonist. But the film corralled enough religious leaders, including Pope Francis (with whom Crowe snagged an audience), to salve canonical objections.

'Noah' is about a man whose mission is to obliterate Earth's past and godfather its future. Replacing the word 'God' with 'Creator' and taking other scriptural liberties, the movie risks confusing those who don't take the Bible literally and alienating those who do.

Big-time directors and the studios that bankroll them prefer to dwell in the comfortable, familiar center, where mammon is God and the only divine word comes from focus groups.

If you think of the 1930s in film as the decade of Gable and Lombard, Cagney and Harlow, Stanwyck and the Marx Brothers, think again. The biggest star - No. 1 in the 1936, '37 and '38 exhibitor polls - was a three-time box-office champ before she was 10. Shirley Temple, singer, dancer, and prime exemplar of Movie Cute, owned the '30s.

The movie truism is that stars play themselves, while actors play other people - troubled or toxic, and memorably strange. By that definition, Philip Seymour Hoffman, who disappeared into the rabbit hole of his characters' souls, was our generation's anti-star and the chameleonic film actor of his age.

Ambitious of vision and swooping of camera, 'I, Frankenstein' is no 'I, Robot,' let alone 'I, Claudius,' but it's definitely watchable on a cold Jan. evening or, a few months from now, on your I, Pad.

In 'Blade Runner,' the here is quite enough: a vision of dark, cramped, urban squalor. This is Los Angeles in the year 2019, when most of the earth's inhabitants have colonized other planets, and only a polyglot refuse heap of humanity remains. Los Angeles is a Japanized nighttown of sleaze and silicon, fetid steam, and perpetual rain.

The visual team of 'Blade Runner' - one of the last big fantasy movies to be made without much computer graphics finery - worked directly for Scott, who sketched each of his prolific ideas on paper (they were called 'Ridley-grams').

We lived a lovely, middle-class, suburban life in Philadelphia. And I really thought that the TV programs of the '50s, like 'Father Knows Best' and 'The Adventures Of Ozzie And Harriet' Nelson were documentaries filmed with hidden cameras in our neighborhood.

As the idealized mother, I might choose Irene Dunne as the mother in 'I Remember Mama' who strives and not just cooks and scrubs for her children, but who also acts as her daughter's literary agent.

Bond, especially Connery's Bond, was an existential hired gun with an aristocrat's tastes - just right for a time when class was a matter of brand names and insouciant gestures.

The dominant advertising advantage of Clinton, with spending of 10 to 1 over Trump, reinforced the perception that she was trying to buy, rather than earn, votes.

Institutions are better served by going direct to end users, establishing a channel for direct dialogue and feedback. It is a world of many to one, not one to many.

I take the subway to work. I fly coach back and forth to Chicago.

Edelman maintains a very conservative balance sheet. We do small acquisitions. This helps me sleep well at night.

I went to every sports contest for my kids. I turned off my cell phone at 8 P.M. I did have to travel relentlessly and had some nights at black tie events. But when I was home, I was home.

The separation of audience into tribes preferring to reinforce their own views with media of similar ideological stripe makes true debate impossible.

We have witnessed a stunning reversal of power between mainstream and social media: The ability to go direct to end users of information through social channels radically disrupted the mainstream news agenda.

Companies should take advantage of social media's power to connect, but honor the continued role of media in shaping opinion.

My daughters will succeed me as owners of the firm.

Great women, in partnership with great men, will continue to take us forward.

We have moved beyond the point of trust being simply a key factor in product purchase or selection of employment opportunity; it is now the deciding factor in whether a society can function.

The lack of societal and institutional safeguards provides fertile ground for populist movements fueled by fear.

Technology has allowed the creation of media echo chambers, so that a person can reinforce, rather than debate, viewpoints.

In a world of dispersed authority, the battle for the truth will be won or lost with the employees.

People go to work at Wall Street firms to make a lot of money. They may not love what they are doing, but the punishing hours and travel are incredibly well-compensated. By contrast, the engineers at technology firms do believe that they can change how we all live.

The best tech companies are led by founders with entrepreneurial zeal and strong egos. They consistently deliver what we want and what we need, at prices that decrease over time. The Wall Street firm is a long-standing institution with a more established hierarchy.

The tech industry should make bold commitments to address pressing societal issues.

Money is flowing out of traditional advertising into experiential, social, and sports.

It may be fine for an artist to be indifferent to the reaction of the viewer to a work of art. A vigorous debate on issues is also beneficial. But the dark vision of a world without truth cannot be our future.

We need the media as the foundation of functioning institutions.

Edelman diversified into public affairs in the late '60s with important programs for the Concorde SST, gaining landing rights at JFK Airport in New York, and in the late '70s generating public approval for the building of the very stark Vietnam Veterans War Memorial in Washington, D.C., from a design by the very young architect Maya Lin.

In 1997, my father appointed me CEO but acted as player-coach, keeping busy on long-term clients such as KFC and international travel brands.

My father and I talked every day. He coached me on how to cold-call companies I wanted in our portfolio, how to network at public events, to cultivate senior journalists at important outlets, and how to run a profitable P&L. But, more or less, he allowed me to make my own mistakes.

I want Edelman to remain a family business.

Have very frequent talks with employees because they are your best allies.