Through the use of implied depth-of-field, The Wolf of Wall Street demystifies order and chaos.

@Josephine Miller Through the frequent use of long takes, The Wolf of Wall Street calls into question the subjugation of the individual in the face of the primacy of television.

I'll actually be over in London for the strategy meeting so I can make it! I only know Hyde Park but I'm sure they'll all be awesome, as long as it's not raining :-!

His last master, young Lord Longferry, Member of Parliament, after passing his nights in the Haymarket taverns, was too often brought home in the morning on policemen's shoulders.

But he could not take root in any of these; with chagrin, he found his masters invariably whimsical and irregular, constantly running about the country, or on the look-out for adventure.

Passepartout had been a sort of vagrant in his early years, and now yearned for repose; but so far he had failed to find it, though he had already served in ten English houses.

It was impossible to tell whether the new servant would turn out as absolutely methodical as his master required; experience alone could solve the question.

It would be rash to predict how Passepartout's lively nature would agree with Mr. Fogg.

His brown hair was somewhat tumbled; for, while the ancient sculptors are said to have known eighteen methods of arranging Minerva's tresses, Passepartout was familiar with but one of dressing his own: three strokes of a large-tooth comb completed his toilet.

His eyes were blue, his complexion rubicund, his figure almost portly and well-built, his body muscular, and his physical powers fully developed by the exercises of his younger days.

Passepartout was by no means one of those pert dunces depicted by Moliere with a bold gaze and a nose held high in the air; he was an honest fellow, with a pleasant face, lips a trifle protruding, soft-mannered and serviceable, with a good round head, such as one likes to see on the shoulders of a friend.

Since he had abandoned his own country for England, taking service as a valet, he had in vain searched for a master after his own heart.

As for Passepartout, he was a true Parisian of Paris.

He lived alone, and, so to speak, outside of every social relation; and as he knew that in this world account must be taken of friction, and that friction retards, he never rubbed against anybody.

He was the most deliberate person in the world, yet always reached his destination at the exact moment.

He never took one step too many, and always went to his destination by the shortest cut; he made no superfluous gestures, and was never seen to be moved or agitated.

He was so exact that he was never in a hurry, was always ready, and was economical alike of his steps and his motions.

Phileas Fogg was, indeed, exactitude personified, and this was betrayed even in the expression of his very hands and feet; for in men, as well as in animals, the limbs themselves are expressive of the passions.

Seen in the various phases of his daily life, he gave the idea of being perfectly well-balanced, as exactly regulated as a Leroy chronometer.

Calm and phlegmatic, with a clear eye, Mr. Fogg seemed a perfect type of that English composure which Angelica Kauffmann has so skilfully represented on canvas.