I didn’t recognize his name at first, but Wikipedia’s “Deaths in 2024” page listed he was in Eureka so I clicked through to see who he played. Pour one out (from his TARDIS-like fridge) for Vincent 
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This is sad to hear.
Richard Lewis, comedian and Curb Your Enthusiasm star, dies aged 76 Richard Lewis, comedian and Curb Your Enthusiasm star, dies aged 76 | Comedy | The Guardian
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A shame.
If he happened to have painted anything, it might be worth something now.
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It won’t mean anything to non-UKians, but Si King is out of a job. Very sad.
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The image of a young David standing for two hours in the back of a dark theater taking photos of a movie screen, day after day for weeks on end, is one that I think of often. It’s inspiring. He often went to those lengths, because it was the only way to gather the data he needed to complete whatever study he was engaged in.
Another example of his commitment: during the last couple of decades of his career, David wrote often about what he called “intensified continuity,” which is different from regular old movie continuity, the system by which commercial cinema lays out story and defines characters in long shots, medium shots and closeups. In older movies, which practiced what David and Kristin described as “classical continuity,” directors relied more on blocking actors for the camera and then letting shots run long, compared to today, where the camera gets much closer faster, the cuts are quicker, and there’s generally a lot more camera movement, much of it falling under the heading of what earlier generations of film scholars would call “unmotivated” (for instance, the way some action filmmakers have a camera circle groups of people quickly to generate “excitement” even if they’re just having a regular old expository conversation).
To that end, one of David’s pet projects was watching films from different eras with a stopwatch and timing every shot to determine average shot length. This let him demonstrate in various articles and books not just that the average shot length in films had decreased over time, but by how much, which opened the gateway for speculation on why this was happening, and when it seemed to be organically integrated into the story (he thought Christopher Nolan and David Fincher did a good job with fast cutting) and when it seemed like pointless business or an attempt to cover up the fact that the director didn’t actually have a style.
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I was not familiar with him! Thanks for posting his obit.
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And I didn’t know they had a website which I will no doubt get lost in soon.
I haven’t actually read anything by them in a long time.
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In the spring of 1943, Josette Molland, a 20-year-old art student, was certain of two things: that she was making a pretty good living creating designs for Lyon’s silk weavers, and that it was unbearable that Germans occupied her country.
She joined the Resistance. Fabricating false papers and transporting them for the famed Dutch-Paris underground network unburdened her of guilt. But it was dangerous.
Captured by the Gestapo less than a year later, Ms. Molland lived the hell of Nazi deportation and Nazi camps for women, at Ravensbrück and elsewhere. She tried to escape, organized a rebellion against her guards, was severely beaten and lived on insects and “what was beneath the bark of trees.” But she somehow survived and made it back to France.
“I had a happy life for the next 50 years,” Ms. Molland said in a privately published autobiography, “Soif de Vivre” (“Thirst for Life”), in 2016. But during those succeeding decades she also told her story as one of a dwindling band of officially recognized Resistance members still alive — about 40 of the original 65,000 who were awarded the Resistance medal, French officials say.
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Maury Sline is dead?
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