These 4 colors can be the kiss of death when selling your home

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By Megan Elliott

A fresh coat of paint is a fairly inexpensive way to refresh the look of
your home; the average exterior paint job costs about $2,600, while
interior paint costs $1,660, according to Home Advisor. But choose the
wrong shade and you could wind up regretting it later. Paint your home
with a weird color either inside or out and buyers might turn up their
noses, even though repainting is a relatively easy fix.

Fears of hurting a home’s selling price are likely one reason why many
homeowners play it safe when it comes to paint colors, especially for a
house’s exterior (restrictive HOA rules, which affect 20% of Americans,
might be another). Favorite exterior color combinations include white
and gray, beige and taupe, and slate and black, according to the 2013
National Home Color Survey.

Neutrals also win inside the home. Hot interior paint colors for 2016
include grays and shades of white, along with natural-looking greens.
The love for neutral or natural shades extends to buyers. When Zillow
Digs analyzed photos of 50,000 recently sold homes, they found those
with rooms painted in certain colors tended to command higher selling
prices than expected. Homes with creamy yellow or wheat-colored kitchens, light green or khaki bedrooms, dove or light gray living rooms, and mauve or lavender dining rooms sold for $1,100 to $1,300 more than properties decorated with less popular colors.

“A fresh coat of paint is an easy and affordable way to improve a home’s
appearance before listing,” Svenja Gudell, Zillow chief economist, said.
“However, to get the biggest bang for your buck, stick with colors that
have mass appeal so you attract as many potential buyers to your listing
as possible. Warm neutrals like yellow or light gray are stylish and clean, signaling that the home is well cared for, or that previous owners had an eye for design that may translate to other areas within the house.”

Light grays and yellows may have been popular with buyers, but they had
a much cooler reaction to other colors. Some of the interior paint colors they disliked might surprise you. Before you grab the paintbrush, check out this list of the four worst colors to paint your home.

1. Off-white or eggshell
Shades of white might seem like a safe bet when you’re at the home
improvement store, but they aren’t guaranteed to be a big hit with buyers. Homes with off-white or eggshell kitchens sold for $82 less than Zillow estimated they would. Instead, people loved kitchens with a coat of wheat yellow paint on the walls, which boosted a home’s selling price by $1,360.

You don’t have to give up gallery-white walls entirely, though. Painting
a room white isn’t always a bad choice, especially if the space has great natural light, according to designer Emily Henderson. But if a space is small or dark (like some kitchens), white walls can make a room look “dead” and “flat.”

2. Dark brown
Dark brown walls didn’t resonate with buyers in Zillow’s study. Bedrooms
painted dark brown sold for $236 less than expected, while using the
same shade in a bathroom lowered the selling price by $469. The color is
so disliked by some people that the Australian government considered
using it on cigarette packaging to make smoking less appealing, according to the Sydney Morning Herald. (They went with a brownish olive
green instead.)

3. Terracotta
It’s not quite as jarring as traffic cone orange, but even a more muted
terracotta shade could depress your home’s selling price. Homes with
living rooms painted the same shade as an inexpensive flower pot sold
for $793 less than Zillow’s estimated price. Light gray was the preferred color in that room.

The negative reaction to orange walls isn’t too surprising, considering
surveys have found it’s one of the least-liked colors in the world. (Blue is the most popular color by far, followed by red and green.)

4. Slate gray
Gray is trendy color right now, but all grays aren’t created equal. While dove or light gray was a hit in living rooms, helping to boost a home’s selling price by $1,104, dark gray was a dud. Paint your home’s dining room a slate color and you could lose $1,112 when it comes time to sell. Instead, buyers favored shades of mauve, eggplant, and lavender in the dining room.
(This article originally appeared on Credit.com)

13 Most Ambitious Movies Ever Made

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By Matt Fowler In the this movie era of assembly line blockbusters, recycled ideas, and aversion to originality, it’s easy to forget that some of the greatest achievements in moviemaking have come from grand impossible ideas, risky unique premises, and unconventional execution.

Gambling visionaries like Stanley Kubrick, Akira Kurosawa, Christopher
Nolan, James Cameron, and more have put it all on the line, laid it all out there, and pushed to take films to new levels of storytelling and technology. By ramping up the quality of special effects, breaking down
the typical conventions of screenwriting and editing, and overall just being unequalled badasses, these creative geniuses have given us some truly impressive work. Some projects soared, some stumbled, but all were insanely ambitious for a system not known for going out on a limb.

Here are 13 of the most ambitious movies ever made…

Ben-Hur (1959)

Director/perfectionist William Wyler swept the 1959 Oscars with his sweeping, pricey Charlton Heston adventure epic Ben-Hur. Which was, at that point, the most expensive and elaborate movie ever made, complete with a record-setting run time and score. The chariot race sequence still stands as one of the most thrilling and impressive moments in cinema.

2001: A Space Odyssey (1968)

Endlessly fascinating in both concept and scope, Stanley Kubrick’s masterful 2001: A Space Odyssey took audiences through a series of episodic stories – from the prehistoric “Dawn of Man” to a trippy, meditative collision into the heart of spacetime. It changed the entire landscape of science fiction, showing the world that the genre could be infused with loftier themes about existence, evolution, artificial intelligence, mortality, and inevitability.

Memento (2000)

Not impressive from a budget standpoint but rather premise and execution, Christopher Nolan’s Memento took us into the brain of a lead
character (Guy Pearce) who was incapable of making and maintaining new
memories. Therefore the entire film gets dosed out to us backwards, starting at the end and then working its way back to the start based on
the particulars of protagonist’s fragmented mind.

Avatar (2009)

Breaking new ground in the field of motion capture and stereoscopic 3D technology, James Cameron’s massively expensive trek to the alien world of Pandora, which was being ruthlessly mined for its precious “unobtanium,” quickly became the highest grossing movie of all time. Not too shabby for a movie with no big names, and that wasn’t based on an existing popular property. An aspect of production (along with the cost) that had many predicting the project would fail.

Toy Story (1995)

As the first ever full-length movie that used all CGI, Toy Story was a bold move. One that paid off many times over and helped change the entire landscape of animation. Sure, CGI now allows the market to sometimes get flooded with cheap sub-par kid flicks, but the triumphant rise of Pixar was worth it in the end. And the Toy Story franchise only managed to get better as it went on. You know, if you enjoy openly weeping in the middle of a theater packed with strangers.

Rashomon (1950)

Akira Kurosawa’s legendary Rashomon dove deep into the heart of the “unreliable narrator” while also introducing most of the western world to Japanese cinema. An incident involving a dead samurai and his raped wife lay at the center of this tale of contradictory accounts and self-serving eye witnesses. While directing this unique movie involving paradoxical points of view, Kurosawa lived in close quarters with his cast during production while also collaborating very closely with cinematographer Kazuo Miyazawa. The editing of this film is still studied today.

Cloud Atlas (2012)

Based on David Mitchell’s 2004 novel, The Wachowskis and Tom Tykwer’s complicatedly layered Cloud Atlas had a hell of a time getting fully financed for its $100 million dollar budget (Warner Bros only contributed $20 million, The Wachowskis had to scrape for the rest). Utilizing a company of actors – like Tom Hanks, Halle Berry, Hugo Weaving, and more – to play multiple roles in thematically connected stories that span centuries, Cloud Atlas was frighteningly ambitious on almost every level. The end result was a divisive box office flop that was, in the very least, applauded for its daring efforts.

Boyhood (2014)

Filmed over a 12-year period, Richard Linklater’s award-winning coming of age indie tracked Ellar Coltrane’s Mason using real time as he aged from six to eighteen. All while Linklater wrote and developed the story during production, using previously shot footage and performances to inspire the next part of the script. This patient, long-game style of filmmaking allowed the director to keep the same actors throughout filming without having to recast or use aging makeup/effects.

Metropolis (1927)

Fritz Lang’s silent, freaky German expressionist future fest involved paradigm-changing visuals and an important story about class warfare in a dystopian city. Painstakingly shot and meticulously crafted, Metropolis stands as one of the first ever full-length science fiction films, filled with style influences ranging from Art Deco to Gothic to Bauhaus.

The Fountain (1999)

At one point, Darren Aronofsky’s The Fountain had a huge budget and megastar Brad Pitt in the lead role. Then, things being as they are in Hollywood, the project fell apart. Getting pieced back together years later with Hugh Jackman at the top of the bill and a budget that was half of the original, The Fountain would deliver an impressively budget-sensitive mind-bending trio of storylines, set in different timelines/states of being, dealing with immortality.

The Lord of the Rings: The Fellowship of the Ring (2001)

Some creative properties are so beloved and so elaborate that they’re considered to be almost unfilmable. Unadaptable. Such was the case with J.R.R. Tolkien’s Lord of the Rings novels. But you know what? Kiwi upstart Peter Jackson took the reins on a huge daunting project that involved shooting three movies consecutively over 438 days down in New Zealand. Overall, this groundbreaking challenge of camera tricks and special effects took eight years to complete, giving us some of the greatest fantasy films of all time.

The Matrix (1999)

The Wachowskis’ anime-come-to-life head trip actioner, The Matrix, thrilled audiences with its notion of virtual reality enslavement and its combination of John Woo/kung-fu aesthetics. It’s greatest claim to fame though, still to this day, is the “Bullet Time” effect achieved using panoramic slo-mo filming. A new look for action movies of the time and one that allowed us to believe that Neo and his cohorts truly had mental control over their surroundings.

Star Wars: Episode IV – A New Hope (1977)

Combining the sleek space station style of Kubrick’s 2001 with Old West “lived in” aspects of dusty smugglers (and a hefty amount of WWII dogfighting thrown in, to boot), George Lucas changed the world with his uber-personal science-fantasy adventure, Star Wars. This 1977 phenomenon was Lucas’ inventive, go-for-broke space opera answer to not originally being sold the rights to Flash Gordon, which was the film he
originally wanted to make.

Being the “nice girl” at work has its perks: introverted girls how to get rid of “nice girl” image

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Being the “nice girl” at work has its perks— everyone gravitates
toward you because you’re always trying to please other people. However,
in terms of getting what you want in your career and having your career
progress at the rate you want it to, being too “nice” might hinder you.
Lois Frankel, author of Nice Girls Just Don’t Get It advises to “get
outside your comfort zone and be willing to deal with other people’s
discomfort, because if you spend your life making other people
comfortable, you may feel good, but you’re not going to get what you
really want.

To get ahead at work, you need to be more assertive, but you don’t have
to be too aggressive about it — there are ways to do it in a positive
manner. Here are some tips Frankel has for women to drop the “nice” act:

Leverage Your Relationships: If you have cultivated a great network and
relationships, don’t feel bad about reaching out to someone for help.
Many “nice girls” feel bad asking others for help, but they need to get
over that and take advantage of the relationships they worked hard to
build。

Don’t Say Yes All the Time: Pick and choose what you’ll say yes to, and
be sure to “manage people’s expectations” by stating your limitations
about the project and what you’ll realistically be able to get done。

Use Less Words: Instead of talking too much, try to make your messages
succinct and to the point. Frankel says, “Women tend to use more words
than men because they either feel as if they have to compensate for
something or prove themselves.” Use less words and gestures. Be sure to
be mindful of filler words such as “like” and “uh-huh” as well。