Fortune pointed to the quarterly report Tesla had filed just three days after the
crash, warning that»... we face inherent
risk of exposure to claims in the event our vehicles do not perform as expected resulting in
personal injury or death,» and specifically calling out Autopilot as a technology that could result in such claims and materially affect financial performance.
What attracted critical minds like Jacques Rivette, Eric Rohmer, and others to Nicholas Ray and his oeuvre — bored stiff as they were by the
risk - averse, respectable, and ultimately neutered «cinema
of quality» — was the stamp
of the
personal and the element
of danger they discerned in his films, whether that meant the improvisatory handling
of actors with a touch deft enough to coax remarkable performances out
of even non-professionals; the «superior clumsiness,» cited by Rivette in «Notes on a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions
of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous helicopter - mounted shots in They Live By Night to disorienting, subjective POV compositions like the «rolling camera» during a car
crash halfway through On Dangerous Ground, its very title indicating the source
of Ray's critical appeal.