Get a free lunch in exchange for a quick workoutThis London Pop-Up Café Takes Exercise as a Form of PaymentStay healthy this year by eating well12 Healthy, Everyday Foods to Stave Off Colds and Flu10 Ways to Win the War on Colds and the FluBoosting your immune system is the first step to preventing and getting over the virusMediaWeaver Entertainment--a movie, TV and stage production company recently formed by Matt Weaver--has entered into an exclusive production arrangement with Relativity Media, it was announced Thursday by  Relativity president Tucker Tooley. Weaver, who recently sold Dancing With Myself ,  an original web series, to Yahoo! In association with Relativity chairman Ryan Kavanaugh and the company’s prolific realty TV division  RelativityREAL – is expected to bring in, develop and produce  film, TV, stage and digital projects. VIDEO: How 'Rock of Ages' Star Tom Cruise Embraced His Inner Rock God Weaver conceptualized and is lead producer on the Broadway hit Rock of Ages, which was also produced by Kavanaugh and Relativity co-coo Happy Walters,.

It is now in its fourth year and was nominated for five Tony Awards. Weaver also was a producer on the recent New Line Cinema film adaptation of Rock Of Ages,  which starred Tom Cruise and Alec Baldwin, among others. It has grossed a disappointing $50 million worldwide so far. At New Line, which is a division of Warner Bros., Weaver is also co-producing the comedy We’re The Millers, which is to star Jennifer Aniston, Emma Roberts and Ed Helms. Other producers on that movie are Relativity’s Tooley and Walters. VIDEO: 'Rock of Ages' Stars Julianne Hough, Diego Boneta Train Their Voices for '80s Rock Weaver is also in active development on Time After Time, directed by Brad Bueker, for Summit Entertainment, which is now a division of Lionsgate. Weaver said that Relativity has “created an innovative work environment” adding that “we have been collaborating and pooling creative ideas since the moment I arrived at the office.” “Matt, Happy and I have a longstanding working relationship and have produced many movies together,” said Tooley.

“Matt’s creative input and intuition will be an important asset to our team and Relativity’s future growth.” Weaver’s credits also include the documentaries Jiro Dreams of Sushi and Surfwise, and the independently produced movies Hesher, which starred Natalie Portman and Joseph Gordon-Levitt, as well as Sympathy for Delicious, directed by and starring Mark Ruffalo; Pretty Persuasion starring Evan Rachel Wood; Barry Munday starring Patrick Wilson; the remake of The Heartbreak Kid starring Ben Stiller; and Miramax’s My Baby’s Daddy starring Eddie Griffin. Weaver got his first show business job at age 17 as an assistant to Jeffrey Katzenberg, and then stayed on to work at Walt Disney Studios for seven years. According to the announcement, Weaver has sold more than twenty movie pitches during his career to Fox, Disney, Universal, Paramount and others. This is another feature length documentary I’d intended to watch for a long time. It was worth the wait. From the New Yorker review:

One of the hardest reservations to get in the world is a seat at Jiro Ono’s sushi counter, a three-Michelin-star restaurant adjoining the entrance to the Ginza metro station, in the basement of a business building in Tokyo. A meal there, which consists of twenty pieces of sushi served one at a time, costs thirty thousand Japanese yen (about three hundred and seventy dollars), and lasts about fifteen or twenty minutes. (By contrast, a meal at Noma, probably the toughest get on the list, takes a good three to four hours). giochi sushi online gratisThere are only ten seats, there is a set menu (no appetizers or modifications), and there are definitely no California rolls.how to eat sushi temaki The question of what makes this hole in the wall so worthy is the subject of a gorgeously shot documentary opening today called “Jiro Dreams of Sushi,” directed by David Gelb. where to buy sushi grade fish in san diego

Jiro Ono was born in 1925, left home at the age of nine, and has been making sushi ever since. Though Japan has declared him a national treasure, he still says, at the age of eighty-five, “All I want to do is make better sushi.” He goes to work every day by getting on the train from the same position, he always tastes his food as he makes it, and he dislikes holidays. Jiro is described as a shokunin—a person who embodies the artisan spirit of the relentless pursuit of perfection through his craft.jiro dreams of sushi austin Another Japanese term that came to my mind while I watched the film was kaizen, meaning “improvement” or “change for the better.” sushi making kit malaysiaThe concept is one of process, and it is often applied in business settings, like manufacturing and logistics, to ensure constant and never-ending improvement. online sushi aps

Before cooking his octopus, Jiro used to massage it for up to thirty minutes. Now he will massage it for forty minutes, to give it an even softer texture and a better taste. Before a meal at Sukiyabashi Jiro, guests are handed a hot towel, hand-squeezed by an apprentice. The apprentices, who train for at least ten years under Jiro, are not allowed to cut the fish until they practice just handling it. One of the older apprentices says Jiro taught him to “press the sushi as if it were a baby chick.”order sushi online aberdeen Read the rest hereSince its release just a few years ago, Jiro Dreams of Sushi has already become something of a food-movie classic, not only for its impressive ability to capture what makes sushi so fascinating, but because filmmaker David Gelb shared the human-interest story of someone with a passion — who just happened to be a chef. That, in Gelb’s opinion, is how the best food television shows handle their subjects, and the filmmaker’s new Netflix series, Chef’s Table, follows suit.

In six individual hour-long documentaries, each devoted to one chef, Gelb offers an intimate glimpse into the lives of Ben Shewry (Attica in Melbourne), Magnus Nilsson (Fäviken in Järpen, Sweden), Francis Mallmann (Patagonia Sur in Buenos Aires), Niki Nakayama (N/Naka in Los Angeles,), Dan Barber (Blue Hill at Stone Barns in New York), and Massimo Bottura (Osteria Francescana in ModenaGrub sat down with Gelb to discuss the show, which premieres on April 26. Will Chef’s Table resemble Jiro Dreams of Sushi? It’s sort of an expansion of Jiro: It’s very character-driven, and it’s about chefs who are forging their own paths, creating their own types of cuisine, and defying the normal expectations. For example, Massimo Bottura in Modena — before his restaurant had three Michelin stars, and became the third-best restaurant in the world — he was despised by the locals because he was messing with old recipes. Modena is a very traditional kind of place, so he was bold in defying those traditions, and he came out victorious.

Now, he’s a celebrated figure in Italy, and so we looked for stories kind of like that about chefs who kind of took the hard route by choosing to follow their vision. Did making Jiro help you get access to these chefs? How did you convince them to take part?Chefs are so obsessed with their work that they don’t necessarily have the time to have their kitchens invaded by myself and my crew, so there was certainly a degree of wooing involved. Having made Jiro Dreams of Sushi helped because it showed them what kind of film we were making — that this isn’t your normal kind of food reality show, or a travel show. These are serious documentary films that are really portraits of artists and their journeys. What is your shooting process like? Each shoot is about 10 to 12 days: We don’t have a host, we don’t have a formula, and we don’t say, “Pack up your knives and go.” The burden is really on the filmmaker to engage the audience right from the beginning. Any of these episodes can be watched individually.

It’s challenging to make a documentary when you don’t have those kinds of structural crutches, like a competition or a host, but we made it work. What through lines did you start to notice about your subjects? Did anything particularly surprise you about their lifestyles? One of the things that surprised me was how similar a lot of them actually are, in terms of obsession, passion, and stubbornness. That’s true of a lot of artists — that they really have to believe in what they’re doing and shake off criticism and the naysayers. I was pleased, thematically, by the amount of similarities, even though their stories and types of food are completely different. Having worked in a small kitchen at Jiro’s, where there are 3 other chefs in the restaurant, it was interesting to capture Massimo and his 30 chefs. [The restaurant] has more staffers than it has customers. That’s interesting because that’s not how you make money, but making money is not a concern. They just want to make ends meet so they can continue to do their thing.

I think that’s really cool. In general, what do you think about the state of food television these days? How do you want your show to be different from what’s already out there? There is some good television that I like a lot — particularly, I like Parts Unknown with Anthony Bourdain, because I love how he’s funny and entertaining to watch, but it’s always about the people. He takes you to these places and you get to know the characters, and for me, I’m really interested in characters.What my show does that’s a little bit different from other shows is we don’t have a host. The stories are being told by the chefs themselves, and the people that know them: food intellectuals or critics that are close to them. As the filmmakers, we’re just translating their experiences. I’m grateful to the chefs for opening themselves up, because making a documentary film isn’t easy, and nobody gets voted off. So how do we keep it exciting and gripping? The trick is, we just follow the stories.

It’s a combination of the origin stories of these chefs — where they came from and what they’re doing now — and it’s all about trying to find the “why?” It’s very much a character study and a portrait of an artist. Yes, from what I’ve watched, there seems to be a sense of intimacy and stillness. In many food shows, it’s just sensory overload. Yeah, it’s because those shows are competing. If the audience changes the channel, they’ve lost viewers. I think that Netflix provides an environment where someone can click on something different with no consequence: It doesn’t cost $4 to rent something, because you’re a subscriber already. You can click on it, you can watch as much as you want, and Netflix doesn’t have to pander. We have a lot respect for the audience.We certainly have our share of food porn, but what we try to do is make the food porn emotional, and instill it with the context of the character. For example if you look at Jiro, you have the story about how Nakazawa had attempted to make the egg sushi 200 times, and then he finally got it right.

At the moment, when you see the beautiful egg sushi landing on the table, you have an emotional connection. So it’s more than just porn — it’s feelings. When Jiro came out, it suddenly became this Western goal to make the pilgrimage there. Are these restaurants ready for that kind of international fame? These restaurants are all very popular already in their regions, and they’re really famous within foodie circles, but there are a lot of people who still don’t know about them. The downside to making a film about a restaurant is that it’s going to increase the popularity, so it’s going to be even harder to get into. I want lines around the block for all of of these chefs, because they deserve it, and I want them to be able to continue to take risks and know that the customers are going to keep coming. Some of these chefs have been written and talked about extensively. How did you find a new way into their stories?For example, with Dan Barber, there’s been lots of stuff on him.

He does TED Talks, and he’s a very famous guy, but we were excited to go in and tell his origin story, and try to figure out exactly what drives him. Why does he — when he could easily make delicious food a lot more easily than he does — have this whole ethos about the farm-to-table, slow-food movement? It’s all about how he feels, and then that makes the food delicious. When there’s a sustainable ecosystem, it makes the meal taste better.One thing we’re also really interested in is the balance between work and family. Different chefs have different takes on it, and, we found, in order to create great art, you need to be in a place where you can enjoy life. A lot of these chefs work themselves into a hole, and have to claw themselves back up. They aren’t really grateful for what they have around them, so we look at the family stories of the chefs. The hours are crazy — opening a restaurant is one of the riskiest things you can do. These chefs are all taking extraordinary risks, and they’re not in it for the money.