Actors Inspiring Quotes

Every villain is a hero in his own mind.

Only the gentle are ever really strong.

Plants are more courageous than almost all human beings: an orange tree would rather die than produce lemons, whereas instead of dying the average person would rather be someone they are not.

Your need for acceptance can make you invisible in this world. Don't let anything stand in the way of the light that shines through this form. Risk being seen in all of your glory.

If you're waiting until you feel talented enough to make it, you'll never make it.

Every villian is a hero in his own mind.

An actor must never be afraid to make a fool of himself.

Actors in any capacity, artists of any stripe, are inspired by their curiosity, by their desire to explore all quarters of life, in light and in dark, and reflect what they find in their work. Artists instinctively want to reflect humanity, their own and each other's, in all its intermittent virtue and vitality, frailty and fallibility.

Creative work is not a selfish act or a bid for attention on the part of the actor. It's a gift to the world and every being in it. Don't cheat us of your contribution. Give us what you've got.

Me plus you. (Imma tell you one time) Me plus you. (Imma tell you one time) Me plus you. (Imma tell you one time) One time. When I met ya girl my heart when knock (knock knock) Now them butterflies in my stomach won't stop (stop stop) Even love is a struggle and it's all we got. So we gun keep keep climbing to the mountain top. 'Cause your world, is my world, and my breath is your breath, and my heart is yours...

My friends say I'm a fool to think that you're the one for me, I guess I'm just a sucker for love. (love love) 'Cause honsetly the truth is that you know I'm never leaving, 'cause your my angel sent from above. (bove bove) Me and you can do no wrong. My money is yours give you a lil more 'cause I love ya, love ya. With me girl is where you belong... -Love Me

All life is theatre,' he said. 'We are all actors, you and I, in a play which nobody wrote and which nobody will see. We have no audience but ourselves....

The entire universe is God's cosmic motion picture, and that individuals are merely actors in the divine play who change roles through reincarnation; mankind's deep suffering is rooted in identifying too closely with one's current role, rather than with the movie's director, or God.

Actors are agents of change. A film, a piece of theatre, a piece of music, or a book can make a difference. It can change the world.

Without writers, stories would not be written, Without actors, stories could not be brought to life.

Because the world is so corrupted, misspoken, unstable, exaggerated and unfair, one should trust only what one can experience with one's own senses, and THIS makes the senses stronger in Italy than anywhere in Europe. This is why, Barzini says, Italians will tolerate hideously incompetent generals, presidents, tyrants, professors, bureaucrats, journalists and captain of industry, but will never tolerate incompetent opera singers, conductors, ballerinas, courtesans, actors, film directors, cooks, tailors... In a world of disorder and disaster and fraud, sometimes only beauty can be trusted. Only artistic excellence is incorruptible. Pleasure cannot be bargained down. And sometimes the meal is the only currency that is real.

As a writer, I am just an actor in a play, telling a story that needs to be told.

Mañana, y mañana, y mañana se arrastra con paso mezquino día tras día hasta la sílaba final del tiempo escrito, y la luz de todo nuestro ayer guió a los bobos hacia el polvo de la muerte. ¡Apágate, apágate breve llama! La vida es una sombra que camina, un pobre actor que en escena se arrebata y contonea y nunca más se le oye. Es un cuento que cuenta un idiota, lleno de ruido y de furia, que no significa nada.

My team - an actor, a drunk, and a sociopath - didn't exactly inspire confidence.

Oppenheimer’s warnings were ignored—and ultimately, he was silenced. Like that rebellious Greek god Prometheus—who stole fire from Zeus and bestowed it upon humankind, Oppenheimer gave us atomic fire. But then, when he tried to control it, when he sought to make us aware of its terrible dangers, the powers-that-be, like Zeus, rose up in anger to punish him.

People never forget two things, their first love and the money they wasted watching a bad movie.

The theme for me is love and the lack of it. We all want that and we don't know how to get it, and everything we do is some kind of attempt to capture it for ourselves.

Audience can live without a movie but a movie cannot live without an audience.

What matters most with any regimen, whether it's to lose weight or stop drinking or smoking, is your willingness to seek help and your desire to say 'no more.

Don't chase people. Be yourself, do your own thing, & work hard. The right people ~ the ones who really belong in your life ~ will come to you & stay

Actors, painters, dancers, comedians, even just ordinary people doing ordinary things, what are they without an audience of some sort? See, that's what I do. I am the audience. I am the witness, I am the great appreciator that's what I do and that's all I want to do. I worked for a lot of years. I did a lot of things for a lot of years. Now, here I am in the rocking chair, and I don't mind it, Lucille. I don't feel useless. I feel lucky.

If your voice didn’t hold any power, people wouldn’t work so hard to make you feel so small.

Different things drive me at different points in time. Hopes, the things you envision, and even things that pull you down" - Kunal Karan Kapoor

If you're suddenly doing something you don't want to do for four years, just so you've got something to fall back on, by the time you come out you don't have that 16-year-old drive any more and you'll spend your life doing something you never wanted to do in the first place.

If you wait for a better time to create, better than this very moment, if you wait until you feel settled, divinely inspired, perfectly centered, unburdened of your usual worries, or free of your own skin, forget about it. You will still be waiting tomorrow and the next day, wondering why you never managed to begin, wondering

The Earth Is My Stage And The Sun Is My Spotlight

Picture sometimes says something that connects with people. Connection, that is what it is all about in the end".

I don't get as much fan mail as an actor or singer would, but when I get a letter 99% of the time it's pointing out something that really had an impact. Like after 'My Own Private Rodeo' all these people wrote to me and said Dale's dad inspired them to come out. And this was when it was still illegal to be gay in Texas and a few other states. Another one that really stuck with me was this girl who survived Columbine. See, "Wings of the Dope," the episode where Luanne's boyfriend comes back as an angel, aired two weeks after the shooting. About a month after that, I got a letter from a girl who was there and hid somewhere in the school when it was all going on. She said the first thing she was gonna do if she survived was tell a friend of hers she was in love with him. She never did. He ended up being one of the kids responsible for it. So you can imagine how - you know, to her, it felt wrong to grieve almost, and she bottled it up. But she saw that episode and Buckley walking away at the end and something just let her finally break down and greive and miss the guy. I remember she quoted Luanne - 'I wonder if he's guardianing some other girl,' or something along that line, because she never had the guts to tell the kid. That really gets to people at Comic Con.

Beauty can break a heart and make it think about something more spiritual than the mindless routine we go through day after day to get by. Francis was a singer, a poet, an actor. He knew that the imagination was a stealth way into people's souls, a way to get all of us to think about God. For him, beauty was its own apologetic. That's why a church should care about the arts. They inspire all of us to think about the eternal.

Make films that purify the soul with the flow of rational, vigorous and compassionate thinking.

Singers, actors or artists who touch on sorrow are trying to give comfort to aggrieved souls by giving some meaning to their sorrows.

All good storytellers study psychology ... Novelists, filmmakers, even actors. You have to know the rules of human behavior before you can make your characters break them.

People want so desperately to fit in that they forget what makes them stand out. Be loud. Take up space. Our differences are our strengths.

Get Ready, Get Ready!

The ability to be emotive comes from within...it's innate".

Follow your heart and go with the flow".

What I love is the span between 'Action' and 'Cut'. What I do in that span is what I love about my job".

Travel means a lot of learning experience to me".

Life is a wave of love for a lover, a gift for a giver, a drama for an actor, and a canvas for a painter.

An actor is just a part of a movie, but director - he is the movie.

The war for the Narmada valley is not just some exotic tribal war, or a remote rural war or even an exclusively Indian war. Its a war for the rivers and the mountains and the forests of the world. All sorts of warriors from all over the world, anyone who wishes to enlist, will be honored and welcomed. Every kind of warrior will be needed. Doctors, lawyers, teachers, judges, journalists, students, sportsmen, painters, actors, singers, lovers . . . The borders are open, folks! Come on in.

Excellence in life, is like a play. For your real life play, the quality of the actors you bring on your life’s stage, determine your success. Always choose the best, most excellent actors.

River was a beautiful man, inside and out—too beautiful for this world, it turned out. It always seems to be the really talented guys who go down. Why is it that the original thinkers like River Phoenix and Heath Ledger die, but Keanu Reeves still walks among us? River was a better actor than me; I was funnier. But I certainly held my own in our scenes—no small feat, when I look back decades later. But more important, River just looked at the world in a different way than we all did, and that made him fascinating, and charismatic, and, yes, beautiful, but not in a Gap ad kinda way (though he was that, too)—in a there-is-no-one-else-in-the-world-like-him kind of way. Not to mention he was rocketing to stardom, yet you would never know it.

It's never too late to change your mind and be who you were meant to be. Our minds can be really powerful things, and they can come up with a million reasons as to why you can't make a change. Our minds can say that it's not logical, or it's been like this for too long, or it's too hard, or what are people going to think. But sometimes it's more important to live from your gut and from your heart than from your head... It's okay to decide that being happy is worth more than getting the law degree, or marrying your high-school sweetheart because they were nice enough, or being an actor because you think you're incapable of doing anything else. It's never too late to take charge of your destiny and make a different contribution to the world.

All the world’s a stage, but actors aren’t the only ones who play roles. Even when you’re not following a script, you might as well be. You don’t behave the same way in front of everyone. You know what makes your friends laugh, and what makes your parents proud, and what makes your teachers respect you - and you have a different persona for each of them. Given all these performances … how do you ever know who you really are? Well, you have to find that rare someone for whom you’re not putting on a show. Someone who shines a spotlight in your direction - not because you’re who they need you to be, or who they want you to be … just because you’re you.

1. Romantic: One who ruthlessly believes in love in its finest form and impresses those feelings onto his or her various relationships. May result in scaring off partners, falling for the wrong person, and desperately trying to turn life into a movie with glamorous Old Hollywood actors. May also result in some of the best, most inspiring, and deepest relationships around.

Use filmmaking for a greater purpose, than to just entertain some drowsy minds. Wake the whole world up with your movies. It has been sleeping for long. Its eternal sleep has become its darkest nemesis. Now is the time to wake it up.

Within sixty-minute limits or one-hundred-yard limits or the limits of a game board, we can look for perfect moments or perfect structures. In my fiction I think this search sometimes turns out to be a cruel delusion. No optimism, no pessimism. No homesickness for lost values or for the way fiction used to be written. Everybody seems to know everything. Subjects surface and are totally exhausted in a matter of days or weeks, totally played out by the publishing industry and the broadcast industry. Nothing is too arcane to escape the treatment, the process. Making things difficult for the reader is less an attack on the reader than it is on the age and its facile knowledge-market. The writer is the person who stands outside society, independent of affiliation and independent of influence. The writer is the man or woman who automatically takes a stance against his or her government. There are so many temptations for American writers to become part of the system and part of the structure that now, more than ever, we have to resist. American writers ought to stand and live in the margins, and be more dangerous. Writers in repressive societies are considered dangerous. That’s why so many of them are in jail. Some people prefer to believe in conspiracy because they are made anxious by random acts. Believing in conspiracy is almost comforting because, in a sense, a conspiracy is a story we tell each other to ward off the dread of chaotic and random acts. Conspiracy offers coherence. I see contemporary violence as a kind of sardonic response to the promise of consumer fulfillment in America... I see this desperation against the backdrop of brightly colored packages and products and consumer happiness and every promise that American life makes day by day and minute by minute everywhere we go. Discarded pages mark the physical dimensions of a writer’s labor. Film allows us to examine ourselves in ways earlier societies could not—examine ourselves, imitate ourselves, extend ourselves, reshape our reality. It permeates our lives, this double vision, and also detaches us, turns some of us into actors doing walk-throughs. Every new novel stretches the term of the contract—let me live long enough to do one more book. You become a serious novelist by living long enough.

[Marilyn] Monroe, the consummate sexual doll, is empowered to act but afraid to act, perhaps because no amount of acting, however inspired, can convince the actor herself that her ideal female life is not a dreadful form of dying. She grinned, she posed, she pretended, she had affairs with famous and powerful men. A friend of hers claimed that she had so many illegal abortions wrongly performed that her reproductive organs were severely injured. She died alone, possibly acting on her own behalf for the first time. Death, one imagines, numbs pain that barbiturates and alcohol cannot touch.

No one can be certain of Oppenheimer’s reaction had he learned that on the eve of the Hiroshima bombing, the president knew the Japanese were “looking for peace,” and that the military use of atomic bombs on cities was an option rather than a necessity for ending the war in August. But we do know that after the war he came to believe that he had been misled, and that this knowledge served as a constant reminder that it was henceforth his obligation to be skeptical of what he was told by government officials.

Give people films, they will forget after a few weeks, but give people ideas, they will assimilate them into their consciousness.

Anyone can act if he has the will to do so, and anyone who says he wants to but doesn't have the knack for it suffers from a lack of will, not a lack of talent.

Creativity without discipline will struggle, creativity with discipline will succeed.

Acha alama katika dunia baada ya kuondoka.

A Film has the potential to kindle such a spark of inspiration in an individual that it can alter the course of human progress.

Entertain, but also, give the viewer something to think about.

You won't get anything without hard work. What you get without hard work will never fructify.

El camino es el que hace las preguntas y el camino es el que da las respuestas, así que escúchalas siempre, porque somos tan solo parte de un escenario donde se sigue representando la misma obra pero con otros actores, esta vez nosotros…

Don’t wait. Writers are the only artists I know of who expect to get somewhere by waiting. Everyone knows you have to dance to be a dancer, you have to sing to be a singer, you have to act to be an actor, but far too many people seem to believe that you. don’t have to write to be a writer. So, instead of writing, they wait. Isaac Asimov said it beautifully in just six words: “It’s the writing that teaches you.” Writing is what teaches you. Writing is what leads to “inspiration.” Writing is what generates ideas. Nothing else-and nothing less. Don’t meditate, don’t do yoga, don’t do drugs. Just write.

The reason why we get the same partners is not because people are the same, but because we pull the dark shadow of past hurts over our eyes and we live the same all over again. We change the actors, but never the masks we give them in our play.

Finally, I want to thank all of the writers, filmmakers, actors, artists, musicians, programmers, game designers, and geeks whose work I’ve paid tribute to in this story. These people have all entertained and enlightened me, and I hope that—like Halliday’s hunt—this book will inspire others to seek out their creations.

When singers, actors or artists touch on sorrow, they are trying to give comfort to aggrieved souls by giving some meaning to their sorrows. The job of the singer, actor or artists ,in general, is to make us comfortable with our feelings or emotions―be it pain, hurt, anger, hatred, sadness, pleasure, love, cheerfulness or joy.

THE WORLD IS A STAGE AND EVERYONE IS AN ACTOR.

Whatever genre you deem suitable for your taste – romance, comedy, action, mystery, sci-fi or anything else, make sure it has the plain everyday human kindness.

Filmmaking has the power to fortify the feeble, unify the divided, raise the abandoned and inspire the ignorant.

Take the clapper and become the alarm that the world so desperately needs.

Use filmmaking to eliminate racism – use to it terminate misogyny – use it to destroy homophobia and all other primitiveness.

Find a good teacher, don't betray yourself to succeed and be a better person before being a better actor.

Atomic Theory and the Description of Nature.

Weinberg happily realized that at Berkeley, “Bohr was God and Oppie was his prophet.

was Born who in 1924 coined the term “quantum mechanics,” and it was Born who suggested that the outcome of any interaction in the quantum world is determined by chance.

Albert Einstein’s daughter, Margot, was there to honor the man who had been her father’s boss at the Institute for Advanced Study.

Trinity,” the test on July 16, 1945, of the first atomic bomb.

He told friends that this ancient Hindu text—“The Lord’s Song”—was “the most beautiful philosophical song existing in any known tongue.

Life is not a movie, and that is why you must never tolerate actors who come in the name of love yet are filled with too many lies.

Bohr Was God, and Oppie Was His Prophet

Adler insisted that the answer to anti-Semitism was the global spread of intellectual culture.

don’t spend your time chasing after an inspiration that once chanced your way. It is as unrecoverable as yesterday, as the joys of childhood, as first love. Bend your efforts to creating a new and fresh inspiration for today. There is no reason to suppose that it will be less good than yesterday’s. It may not be as brilliant. But you have the advantage of possessing it today.

An inner voice tells me that this is not the true Jacob. The theory accomplishes a lot, but it does not bring us closer to the secrets of the Old One. In any case, I am convinced that He does not play dice.

The most relevant political fact about Robert Oppenheimer was that in the 1930s he was devoted to working for social and economic justice in America, and to achieve this goal he chose to stand with the left.

His intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect. (About Philip Seymour Hoffman)

Adler insisted that the answer to anti-Semitism was the global spread of intellectual culture. Interestingly, Adler criticized Zionism as a withdrawal into Jewish particularism: “Zionism itself is a present-day instance of the segregating tendency.” For Adler, the future for Jews lay in America, not Palestine: “I fix my gaze steadfastly on the glimmering of a fresh morning that shines over the Alleghenies and the Rockies, not on the evening glow, however tenderly beautiful, that broods and lingers over the Jerusalem hills.

All the world's a stage, but actors aren't the only ones who play roles. Even when you're not following a script, you might as well be. You don't behave the same way in front of everyone. You know what makes your friends laugh, and what makes your parents proud, and what makes your teachers respect you-and you have a different persona for each of them. Given all these performances...how do you ever know who you really are? Well you have to find that rare someone for whom you're not putting on a show. Someone who shines a spotlight in your direction-not because you're who they need you to be, or who they want you to be...just because you're you.

The casting of the brash United States Army Air Force officer Colonel Robert E. Hogan and the pompous German Luftwaffe officer Colonel Wilhelm Klink was inspired. For this series—a comedy with the serious backdrop of war—to succeed, the lead players had to be the perfect fit. The dynamic portrayal of this military odd couple had to be articulate, accurate, and precise. For the show to work, for the concept to be accepted, for one of the most outlandish premises in television history to be believed, the actors signed to play the two leading characters not only had to bring these extreme individuals to life with broad, fictional strokes, they had to make them real in the details.

Make sure your goal is not focused on having this or that, such as a mansion by the sea, your own company, or ten million dollars in the bank. An enlarged image of yourself or a vision of yourself having this or that are all static goals and therefore don’t empower you. Instead, make sure your goals are dynamic, that is to say, point toward an activity that you are engaged in and through which you are connected to other human beings as well as to the whole. Instead of seeing yourself as a famous actor and writer and so on, see yourself inspiring countless people with your work and enriching their lives. Feel how that activity enriches or deepens not only your life but that of countless others.

Thomas Hobbes said that man is a wolve for anothe one. It seems to me that this became the basic foundation ideology for the Marxians. Though, it seems also inspired in Max Weber's ides, but actually, Weber reject it. According Stjerno, who quote Weber's idea about man (2005, p. 37), that for Weber, action is social when the individual gives it a subjective meaning that takes account of the behaviour of other and lets his ouw course of action, (Weber; 1978 (1922). Social relationship,said Weber, developed when many actors took into account of the hehaviour of the actions of others. A relationship is symmetrical when each actor gives it the same meaning. However, complet symmetry, Weber maintained, Stjerno added, was rare. Generally, the parts of a social relationship orient their actions on a rational basis,zweckrational - goal-oriented, but in part; they are also motivated by their values and sense of duty,(Stjerno, Steinar: 2005)

In the theatre that I was used to in school and colleges and in amateur circles, the actors rehearsed more or less in secrecy and then sprung their finished perfection. on an unsuspecting audience who were of course surprised into envious admiration: oh, what perfection, what talent, what inspired gifts - I certainly could never do such a thing! Such a theatre is part of the general bourgeois education system which practices education as a process of weakening people, of making them feel they cannot do this or that - oh, it must take such brains! - In other words education as a means of mystifying knowledge and hence reality. Education, far from giving people -the confidence in their ability and capacities to overcome obstacles or to become masters of the laws governing external nature as human beings, tends to make them feel their inadequacies, their weaknesses and their incapacities in the face of reality; and their inability to do anything about the conditions governing their lives. They become more and more alienated from themselves and from their natural and social environment. Education as a process of alienation produces a gallery of active stars and an undifferentiated mass of grateful admirers. The Olympian gods of the Greek mythology or the dashing knights of the middle ages are reborn in the -twentieth century as superstar politicians, scientists, sportsmen, actors, the handsome doers or heroes, with the ordinary people watching passively, gratefully, admiringly.

Groves already had Oppenheimer in mind as a candidate for the directorship of the proposed central laboratory. He perceived three drawbacks to Oppenheimer’s selection. First, the physicist lacked a Nobel Prize, and Groves thought that fact might make it difficult for him to direct the activities of so many of his colleagues who had won that prestigious award. Second, he had no administrative experience. And third, “[his political] background included much that was not to our liking by any means.

There is a new trend among authors to thank every famous people for inspiration, non-existent assistance, and/or some casual reference to the author’s work. Authors do this to pump themselves up. So, on the off chance that this is helpful, I wish to thank the following people: the Prime Minister of India for promoting literacy; Dr APJ Abdul Kalam, who called me up one day and said, “Hey, you’re a good writer”; Kabir Das, who inspired me to write about love; Shahrukh Khan, who is an awesome actor; and last but not least, President of India, who once waved to me in New Delhi as the convoy moved from the streets to the Rashtrapati Bhavan Building, screwing up traffic for half an hour, thereby forcing me to kill time by thinking of a great plot to write this book.

We live in a world where we have to sacrifice our comfort for the sake of others. Where we have to go an extra mile to meet others' needs. Where we have to dig deep in our resources to please others. I have gone out of my comfort zone for some people. Some people have gone out of their comfort zone for me. And I'm grateful. It's life. It's a common thing. There is no right or wrong to this behaviour. We do it because either we want to or that we must. By the way, our self-sacrificing service can be unhealthy to us. Some people burn themselves down trying to keep others warm. Some break their backs trying to carry the whole world. Some break their bones trying to bend backwards for their loved ones. All these sacrifices are, sometimes, not appreciated. Usually we don't thank the people who go out of their comfort zone to make us feel comfortable. Again, although it's not okay, it's a common thing. It's another side of life. To be fair, we must get in touch with our humanity and show gratitude for these sacrifices. We owe it to so many people. And sometimes we don't even realise it. Thanks be to God for forgiving our sins — which we repeat. Thanks to our world leaders and the activists for the work that they do to make our economic life better. Thanks to our teachers, lecturers, mentors, and role models for shaping our lives. Thanks to our parents for their continual sacrifices. Thanks to our friends for their solid support. Thanks to our children, nephews, and nieces. They allow us to practise discipline and leadership on them. Thanks to the doctors and nurses who save our lives daily. Thanks to safety professionals and legal representatives. They protect us and our possessions. Thanks to our church leaders, spiritual gurus and guides, and meditation partners. They shape our spiritual lives. Thanks to musicians, actors, writers, poets, and sportspeople for their entertainment. Thanks to everyone who contributes in a positive way to our society. Whether recognised or not. Thank you. Thank you. Thank you!

In a few weeks almost everyone’s gonna forget about the Beirut bombing, like we forgot about the ever-incoming nuke, like we forgot about the President campaigning on student loan forgiveness, like we forgot about the actor who said not enough Jews died in the Holocaust and that he hoped his wife got gang raped, like how each new President makes the other Presidents look kinder and gentler, like we forget about war crimes, like we forget about the secret police, like we forget about the homeless when we can’t see them, like we forget what it’s like to be poor to be hungry the minute we have food we have money, like we forgot about Three Mile Island, like we forgot that fall and spring used to be as long as winter and summer like we forgot we could do something about this, like we forget about anything we don’t turn into a holiday and remember only the signs and symbols of the horror, like we forget each time we remember that it’s not that we forget, it’s that there are just too many tragedies, every week, forever and ever, and to remember them all would kill you. Your heart would break and stop beating and you'd die. So we forget.

Lynum had plenty of information to share. The FBI's files on Mario Savio, the brilliant philosophy student who was the spokesman for the Free Speech Movement, were especially detailed. Savio had a debilitating stutter when speaking to people in small groups, but when standing before a crowd and condemning his administration's latest injustice he spoke with divine fire. His words had inspired students to stage what was the largest campus protest in American history. Newspapers and magazines depicted him as the archetypal "angry young man," and it was true that he embodied a student movement fueled by anger at injustice, impatience for change, and a burning desire for personal freedom. Hoover ordered his agents to gather intelligence they could use to ruin his reputation or otherwise "neutralize" him, impatiently ordering them to expedite their efforts. Hoover's agents had also compiled a bulging dossier on the man Savio saw as his enemy: Clark Kerr. As campus dissent mounted, Hoover came to blame the university president more than anyone else for not putting an end to it. Kerr had led UC to new academic heights, and he had played a key role in establishing the system that guaranteed all Californians access to higher education, a model adopted nationally and internationally. But in Hoover's eyes, Kerr confused academic freedom with academic license, coddled Communist faculty members, and failed to crack down on "young punks" like Savio. Hoover directed his agents to undermine the esteemed educator in myriad ways. He wanted Kerr removed from his post as university president. As he bluntly put it in a memo to his top aides, Kerr was "no good." Reagan listened intently to Lynum's presentation, but he wanted more--much more. He asked for additional information on Kerr, for reports on liberal members of the Board of Regents who might oppose his policies, and for intelligence reports about any upcoming student protests. Just the week before, he had proposed charging tuition for the first time in the university's history, setting off a new wave of protests up and down the state. He told Lynum he feared subversives and liberals would attempt to misrepresent his efforts to establish fiscal responsibility, and that he hoped the FBI would share information about any upcoming demonstrations against him, whether on campus or at his press conferences. It was Reagan's fear, according to Lynum's subsequent report, "that some of his press conferences could be stacked with 'left wingers' who might make an attempt to embarrass him and the state government." Lynum said he understood his concerns, but following Hoover's instructions he made no promises. Then he and Harter wished the ailing governor a speedy recovery, departed the mansion, slipped into their dark four-door Ford, and drove back to the San Francisco field office, where Lynum sent an urgent report to the director. The bedside meeting was extraordinary, but so was the relationship between Reagan and Hoover. It had begun decades earlier, when the actor became an informer in the FBI's investigation of Hollywood Communists. When Reagan was elected president of the Screen Actors Guild, he secretly continued to help the FBI purge fellow actors from the union's rolls. Reagan's informing proved helpful to the House Un-American Activities Committee as well, since the bureau covertly passed along information that could help HUAC hold the hearings that wracked Hollywood and led to the blacklisting and ruin of many people in the film industry. Reagan took great satisfaction from his work with the FBI, which gave him a sense of security and mission during a period when his marriage to Jane Wyman was failing, his acting career faltering, and his faith in the Democratic Party of his father crumbling. In the following years, Reagan and FBI officials courted each other through a series of confidential contacts. (7-8)

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.