Are Short Films In Quotes

A short story is a love affair, a novel is a marriage. A short story is a photograph; a novel is a film.

A life, remembered, is a series of photographs and disconnected short films.

That’s the thing with the young these days, isn’t it? They watch too many happy endings. Everything has to be wrapped up, with a smile and a tear and a wave. Everyone has learned, found love, seen the error of their ways, discovered the joys of monogamy, or fatherhood, or filial duty, or life itself. In my day, people got shot at the end of films, after learning only that life is hollow, dismal, brutish, and short.

If someone called me chubby, it would no longer be something that kept me up late at night. Being called fat is not like being called stupid or unfunny, which is the worst thing you could ever say to me. Do I envy Jennifer Hudson for being able to lose all that weight and look smokin’ hot? Of course, yes. Do I sometimes look at Gisele Bundchen and wonder how awesome life would be if I never had to wear Spanx? Duh, of course. That’s kind of the point of Gisele Bundchen. And maybe I will, once or twice, for a very short period of time. But on the list of things I want to do in my lifetime, that’s not near the top. I mean, it’s not near the bottom either. I’d say it’s right above “Learn to drive a vespa,” but several notches below “film a chase scene for a movie.

The past is unclear. It's as if there is a film over those early years. I can't even be sure that the things I remember happening really happened to me.

Idea For A Short Documentary Film Representatives of different food products manufacturers try to open their own packaging.

To vary your inspiration, consider varying your inputs. Turn the sound off to watch a film, listen to the same song on repeat, read only the first word of each sentence in a short story, arrange stones by size or color, learn to lucid dream. Break habits. Look for differences. Notice connections.

Sometimes books feel like the only thing that keep her sane. Actually, she knows that they're the only reason she's still even vaguely okay right now. That's what she clings to: reading great books and seeing great films and, for as long as she's immersed in them, being able to forget, if only for a short time, about the reality of her life.

And if we do speak out, we risk rejection and ridicule. I had a best friend once, the kind that you go shopping with and watch films with, the kind you go on holiday with and rescue when her car breaks down on the A1. Shortly after my diagnosis, I told her I had DID. I haven't seen her since. The stench and rankness of a socially unacceptable mental health disorder seems to have driven her away.

it was montage that gave birth to film as an art, setting it apart from mere animated photography, in short, creating a language.

Love That’s it: The cashless commerce. The blanket always too short. The loose connexion. To search behind the horizon. To brush fallen leaves with four shoes and in one’s mind to rub bare feet. To let and rent hearts; or in a room with shower and mirror, in a hired car, bonnet facing the moon, wherever innocence stops and burns its programme, the word in falsetto sounds different and new each time. Today, in front of a box office not yet open, hand in hand crackled the hangdog old man and the dainty old woman. The film promised love.

His hand gently caressed my leg as his lips nibbled on mine, and the tip of his tongue began asking permission, teasing me with short licks of my tongue that suggested so much more. I could feel myself breathing more heavily, until he slowly pulled away. “We still have a film to watch,” he whispered with a wink, before settling back into his seat.

All distances in time and space are shrinking. […] Yet the frantic abolition of all distances brings no nearness; for nearness does not consist in shortness of distance. What is least remote from us in point of distance, by virtue of its picture on film or its sound on radio, can remain far from us. What is incalculably far from us in point of distance can be near to us. […] Everything gets lumped together into uniform distanceless. […] What is it that unsettles and thus terrifies? It shows itself and hides itself in the way in which everything presences, namely, in the fact that despite all conquest of distances the nearness of things remains absent.

The whole trip felt like a series of short films, screened only once, and afterwards he had a sense of what they were about but no exact memories of the plot.

I flopped on the overstuffed kitchen couch and watched him go. I wondered what would happen to all his films and photographs in the upstairs closet - the documentaries on homelessness and drug addiction, the funny short subjects, the half-finished romantic comedy, the boxes of slice-of-life photographs that spoke volumes about the human condition. I wondered how you stop caring about what you've ached over, sweated over. (Thwonk)

When it comes to the Civil War, all of our popular understanding, our popular history and culture, our great films, the subtext of our arguments are in defiance of its painful truths. It is not a mistake that Gone with the Wind is one of the most read works of American literature or that The Birth of a Nation is the most revered touchstone of all American film. Both emerge from a need for palliatives and painkillers, an escape from the truth of those five short years in which 750,000 American soldiers were killed, more than all American soldiers killed in all other American wars combined, in a war declared for the cause of expanding "African slavery." That war was inaugurated not reluctantly, but lustily, by men who believed property in humans to be the cornerstone of civilization, to be an edict of God, and so delivered their own children to his maw. And when that war was done, the now-defeated God lived on, honored through the human sacrifice of lynching and racist pogroms. The history breaks the myth. And so the history is ignored, and fictions are weaved into our art and politics that dress villainy in martyrdom and transform banditry into chivalry, and so strong are these fictions that their emblem, the stars and bars, darkens front porches and state capitol buildings across the land to this day.

Upon its debut, The Room was a spectacular bomb, pulling in all of $1,800 during its initial two-week Los Angeles run. It wasn’t until the last weekend of the film’s short release that the seeds of its eventual cultural salvation were planted. While passing a movie theater, two young film students named Michael Rousselet and Scott Gairdner noticed a sign on the ticket booth that read: NO REFUNDS. Below the sign was this blurb from a review: “Watching this film is like getting stabbed in the head.” They were sold.

Check it out." Jonah removed the bubble wrap and held up the picture for his three cousins. Dan took a step backward. The shock was almost as powerful as it had been the day before at the Uffizi. "It's perfect! It's every bit as disgusting as the real one!" Amy nodded. "And so fast. We only called you yesterday." Jonah shrugged. "Even the Janus take a short cut every now and then. You can do a lot with digitization these days. You break the picture down to squares and reproduce them one at a time. The other two are just as fly." "You mean, hog ugly," Hamilton amended. "The serpents don't help," Dan put in critically. "Live fat spaghetti. Lady, if you're thinking of a modeling career, forget it!" The rapper clucked sympathetically. "You guys just don't appreciate the power of the visual image. The Wiz used to be like that–until Gangsta Kronikles. When you're in film industry, you understand the whole picture's-worth-a-thousand-words deal." Hamilton rolled his eyes. "Here we go again.

I have not read most of the big 19th — century novels that people consider “essential,” nor most of the 20th-century ones for that matter. But this does not embarrass me. There are many films to see, many friends to visit, many walks to take, many playlists to assemble and many favorite books to reread. Life’s too short for anxious score-keeping. Also, my grandmother is illiterate, and she’s one of the best people I know. Reading is a deep personal consolation for me, but other things console, too.

Where do ideas come from? From looking at one thing, and seeing another. From fooling around, from playing with possibilities, from speculating, from changing, pushing, pulling, transforming, and if you’re lucky, you come up with something worth saving, using, and building on. That’s where the game stops and the work begins.” ~ Short Film: Why Man Creates

A life, remembered, is a series of photographs and disconnected short films:

Sunt exact ce este un film de dragoste pentru oamenii profunzi, o simplă distracție, un divertisment ocazional, ceva ce se uită repede, nu ceva prost, dar nici neapărat bun.

Rare contact creates a stir. Gossip spreads. Tensions build. Denying Pissec, miserable Obelmäker and repressed Baumauer are all seething-jealous – openly or reservedly – within the hour. The pay rise promise is working a treat. Brichacek’s licking the tip of a pencil with her sticky pink tongue. “Stop flirting,” he tells her, but he looks at her breasts and thinks, The girls with the bruises in the sex films are just dead dolls, but this pretty toy is alive.

So in short, the success of a film is due to the contribution of the actors and technicians in excess of my expectations, which is why it belongs to them, while failure belongs to me alone, as it means that I failed in channelizing their equally great contributions to their intended destination.

As a kid, I would work tirelessly on adding elements to my game. I would see something I liked in person or on film, go practice it immediately, practice it more the next day, and then go out and use it. By the time I reached the league, I had a short learning curve. I could see something, download it, and have it down pat.

Michelle Dockery is Mary: There was one scene where I had a corset visible, so it was made for me. After we had filmed it, we removed all the details - flowers and ribbons - to make it a plain corset and then I could wear that as it was a perfect fit. I'm taller than most actresses, so most corsets tend to be to short in the body.

There's a picture in When the Lights Go Down: A Short Illustrated History of Film of Alec Matto smoking in a chair in a room with a slice of light blaring over his head toward a screen we can't see. 'Alec Matto reviewing dailies for Where Has Julia Gone? (1947) in his private screening room.' Joan had to tell me what dailies are, it's when the director takes sometime in the evening, while smoking, to see all the footage that was filmed that day, maybe just one scene, a man opening a door over and over, a woman pointing out the window, pointing out the window, pointing out the window. That's dailies, and it took seven or eight matches on the roof over the garage for me to go over our breathless dailies that night, the nervous wait with the tickets in my hand, Lottie Carson heading north on those trains, kissing you, kissing you, the strange conversation in A-Post Novelties that had me all nerve-wracky after I talked to Al about it, even though he said he had no opinion. The matches were little he loves me, he loves me not, but then I saw right on the box that I had twenty-four, which would end the game at not, so I just let the small handful sparkle and puff for a bit, each one a thrill, a tiny delicious jolt for each part I remembered, until I burned my finger and went back in still thinking of all we did together.

Why do I know I exist if I also know I will not? Why was I given access to logical space and the mathematical structure of the world? Just to lose them when my body is destroyed? Why do I wake up in the night with the thought that I will die, why do I sit up, drenched in sweat, and scream and slap myself and try to suppress the thought that I will disappear for all eternity, that I will never be again, to the end of time? Why will the world end with me? We age: we stand quietly in line with those condemned to death. We are executed one after the other in a sinister extermination camp. We are first stripped of our beauty, youth, and hope. We are next wrapped in the penitential robe of illness, weariness, and decay. Our grandparents die, our parents are executed in front of us, and suddenly time gets short, you suddenly see your reflection in the axeblade. And only then do you realize you are living in a slaughterhouse, that generations are butchered and swallowed by the earth, that billions are pushed down the throat of hell, that no one, absolutely no one escapes. That not one person that you see coming out of the factory gates in a Mélies film is still alive. That absolutely everyone in an eighty-year-old sepia photograph is dead. That we all come into this world from a frightening abyss without our memories, that we suffer unimaginably on a speck of dust, and that we then perish, all in a nanosecond, as though we had never lived, as though we had never been.

You go out into your world, and try and find the things that will be useful to you. Your weapons. Your tools. Your charms. You find a record, or a poem, or a picture of a girl that you pin to the wall and go, "Her. I'll try and be her. I'll try and be her - but here." You observe the way others walk, and talk, and you steal little bits of them - you collage yourself out of whatever you can get your hands on. You are like the robot Johnny 5 in Short Circuit, crying, "More input! More input for Johnny 5! as you rifle through books and watch films and sit in front of the television, trying to guess which of these things that you are watching - Alexis Carrington Colby walking down a marble staircase; Anne of Green Gables holding her shoddy suitcase; Cathy wailing on the moors; Courtney Love wailing in her petticoat; Dorothy Parker gunning people down; Grace Jones singing "Slave to the Rhythm" - you will need when you get out there. What will be useful. What will be, eventually, you? And you will be quite on your own when you do all this. There is no academy where you can learn to be yourself; there is no line manager slowly urging you toward the correct answer. You are midwife to yourself, and will give birth to yourself, over and over, in dark rooms, alone. And some versions of you will end in dismal failure - many prototypes won't even get out the front door, as you suddenly realize that no, you can't style-out an all-in-one gold bodysuit and a massive attitude problem in Wolverhampton. Others will achieve temporary success - hitting new land-speed records, and amazing all around you, and then suddenly, unexpectedly exploding, like the Bluebird on Coniston Water. But one day you'll find a version of you that will get you kissed, or befriended, or inspired, and you will make your notes accordingly, staying up all night to hone and improvise upon a tiny snatch of melody that worked. Until - slowly, slowly - you make a viable version of you, one you can hum every day. You'll find the tiny, right piece of grit you can pearl around, until nature kicks in, and your shell will just quietly fill with magic, even while you're busy doing other things. What your nature began, nature will take over, and start completing, until you stop having to think about who you'll be entirely - as you're too busy doing, now. And ten years will pass without you even noticing. And later, over a glass of wine - because you drink wine now, because you are grown - you will marvel over what you did. Marvel that, at the time, you kept so many secrets. Tried to keep the secret of yourself. Tried to metamorphose in the dark. The loud, drunken, fucking, eyeliner-smeared, laughing, cutting, panicking, unbearably present secret of yourself. When really you were about as secret as the moon. And as luminous, under all those clothes.

We crave nothing less that the perfect story; And while we chatter or listen all our lives to a din of craving – jokes, anecdotes, novels, dreams, films, plays, songs, half the words of our days – We are satisfied only by the one short tale we feel to be true; History is the will of a just God who knows us.

Levels of information were levels of dread, once it's out it won't go back in, you can't just blink it away or run the film backward out of consciousness. How many of those levels did you really want to hump yourself through, which plateau would you reach before you shorted out and started sending the messages back unopened?

Perhaps the deepest indication of our slavery is the monetization of time. It is a phenomenon with roots deeper than our money system, for it depends on the prior quantification of time. An animal or a child has “all the time in the world.” The same was apparently true for Stone Age peoples, who usually had very loose concepts of time and rarely were in a hurry. Primitive languages often lacked tenses, and sometimes lacked even words for “yesterday” or “tomorrow.” The comparative nonchalance primitive people had toward time is still apparent today in rural, more traditional parts of the world. Life moves faster in the big city, where we are always in a hurry because time is scarce. But in the past, we experienced time as abundant. The more monetized society is, the more anxious and hurried its citizens. In parts of the world that are still somewhat outside the money economy, where subsistence farming still exists and where neighbors help each other, the pace of life is slower, less hurried. In rural Mexico, everything is done mañana. A Ladakhi peasant woman interviewed in Helena Norberg-Hodge’s film Ancient Futures sums it all up in describing her city-dwelling sister: “She has a rice cooker, a car, a telephone—all kinds of time-saving devices. Yet when I visit her, she is always so busy we barely have time to talk.” For the animal, child, or hunter-gatherer, time is essentially infinite. Today its monetization has subjected it, like the rest, to scarcity. Time is life. When we experience time as scarce, we experience life as short and poor. If you were born before adult schedules invaded childhood and children were rushed around from activity to activity, then perhaps you still remember the subjective eternity of childhood, the afternoons that stretched on forever, the timeless freedom of life before the tyranny of calendar and clocks. “Clocks,” writes John Zerzan, “make time scarce and life short.” Once quantified, time too could be bought and sold, and the scarcity of all money-linked commodities afflicted time as well. “Time is money,” the saying goes, an identity confirmed by the metaphor “I can’t afford the time.” If the material world

People don't tend to employ me. I'm the wrong personality type. Or rather, people do tend to employ me for a short time and then they sack me. A film broker once told me, as she terminated my contract, that I have a misleading sort of face. "You're pretty", she complained. "Your features are symmetrical and there was an article in Grazia that says human beings are programmed to find those with symmetrical features more pleasing to they eye. So this isn't my fault, I was simply responding to a biological imperative. You've even teeth, so when you smile, you look...sweet, I suppose. But you're not, are you?" "I hope not," I said. "You see, there you go again. You're a smart-arse and you've no ability to filter your thoughts---" "And my thoughts are often abrasive." "Exactly." "I'll just get my brushes and sponges and leave." "If you would.

Maybe I loved him. I certainly was a victim of that romantic possibility.

In one Way or another, the day would come when my name would be a household word and my picture would occupy a place of honour in the memory book of every damp-eyed film fan

The drug hit him like an express train, a white-hot column of light mounting his spine from the region of his prostate, illuminating the sutures of his skull with x-rays of short-circuited sexual energy. His teeth sang in their individual sockets, each one pitch-perfect and clear as ethanol. His bones, beneath the hazy envelope of flesh, were chromed and polished, the joints lubricated with a film of silicone. Sandstorms raged across the scoured floor of his skull, generating waves of high thin static that broke behind his eyes, spheres of purest crystal, expanding...

Nothing Connell did there seemed to stay with him. The whole trip felt like a series of short films, screened only once, and afterward he had a sense of what they were about but no exact memories of the plot.

What is there more real, for instance, in our universe than a man's life, and how can we hope to preserve it better than a realistic film? But under what conditions is such a film possible? Under purely imaginary conditions. We should have to presuppose, in fact, an ideal camera focused on the man day and night and constantly registering his every move. The very projection of such a film would last a lifetime and could be seen only by an audience of people willing to waste their lives in watching someone else's life in great detail. Even under such conditions, such an unimaginable film would not be realistic for the simple reason that the reality of a man's life is not limited to the spot in which he happens to be. It lies also in other lives that give shape to his--lives of people he loves, to begin with, which would have to be filmed too, and also lives of unknown people, influential and insignificant, fellow citizens, policemen, professors, invisible comrades from the mines and foundries, diplomats and dictators, religious reformers, artists who create myths that are decisive for out conduct--humble representatives, in short, of the sovereign chance that dominates the most routine existences. Consequently, there is but one possible realistic film: one that is constantly shown us by an invisible camera on the world's screen. The only realistic artist, then, is God, if he exists. All other artists are, ipso facto, unfaithful to reality.

For some months I had been ill in health, but was now convalescent, and, with returning strength, found myself in one of those happy moods which are so precisely the converse of ennui — moods of the keenest appetency, when the film from the mental vision departs — the αχλυς ος πριν επηεν — and the intellect, electrified, surpasses as greatly its every-day condition, as does the vivid yet candid reason of Leibnitz, the mad and flimsy rhetoric of Gorgias. Merely to breathe was enjoyment; and I derived positive pleasure even from many of the legitimate sources of pain. I felt a calm but inquisitive interest in every thing.

Yet in recent years I have witnessed a new phenomenon among filmgoers, especially those considered intelligent and perceptive. I have a name for this phenomenon: the Instant White-out. People are closeted in cozy darkness; they turn off their mobile phones and willingly give themselves, for ninety minutes or two hours, to a new film that got a fourstar rating in the newspaper. They follow the pictures and the plot, understand what is spoken either in the original tongue or via dubbing or subtitles, enjoy lush locations and clever scenes, and even if they find the story superficial or preposterous, it is not enough to pry them from their seats and make them leave the theatre in the middle of the show. But something strange happens. After a short while, a week or two, sometimes even less, the film is whitened out, erased, as if it never happened. They can’t remember its name, or who the actors were, or the plot. The movie fades into the darkness of the movie house, and what remains is at most a ticket stub left accidentally in one’s pocket.

Tin Toy went on to win the 1988 Academy Award for animated short films, the first computer-generated film to do so. To celebrate, Jobs took Lasseter and his team to Greens, a vegetarian restaurant in San Francisco.

though actor Gael García Bernal, who starred as Che Guevara in the 2004 movie The Motorcycle Diaries, had already agreed to play Maziar Bahari in Rosewater, shortly before filming began he had asked for more money.

A lesson any writer can use. Don’t be afraid. That simple; don’t let them scare you. There’s nothing they can do to you. If they kick you out of films, do TV. If they kick you out of TV, write novels. If they won’t buy your novels, sell short stories. Can’t do that, then take a job as a bricklayer. A writer always writes. That’s what he’s for. And if they won’t let you write one kind of thing, if they chop you off at the pockets in the market place, then go to another market place. And if they close of all the bazaars, then by God go and work with your hands till you can write, because the talent is always there. But the first time you say, “Oh, Christ, they’ll kill me!” then you’re done. Because the chief commodity a writer has to sell is his courage. And if he has none, he is more than a coward. He is a sellout and a fink and a heretic, because writing is a holy chore.

Below the surface, the force driving noir stories is the urge to escape: from the past, from the law, from the ordinary, from poverty, from constricting relationships, from the limitations of the self. Noir found its fullest expression in America because the American psyche harbors a passion for independence . . . With this desire for autonomy comes a corresponding fear of loneliness and exile. The more we crave success, the more we dread failure; the more we crave freedom, the more we dread confinement. This is the shadow that spawns all of noir’s shadows: the anxiety imposed by living in a country that elevates opportunity above security; one that instills the compulsion to “make it big," but offers little sympathy to those who fall short. Film noir is about people who break the rules, pursuing their own interests outside the boundaries of decent society, and about how they are destroyed by society - or by themselves. Noir springs from a fundamental conflict between the values of individual freedom and communal safety: a fundamental doubt that the two can coexist. . . . Noir stories are powered by the need to escape, but they are structured around the impossibility of escape: their fierce, thwarted energy turns inward. The ultimate noir landscape, immeasurable as the ocean and confining as a jail cell, is the mind - the darkest city of all.

To most people today, the name Snow White evokes visions of dwarfs whistling as they work, and a wide–eyed, fluttery princess singing, "Some day my prince will come." (A friend of mine claims this song is responsible for the problems of a whole generation of American women.) Yet the Snow White theme is one of the darkest and strangest to be found in the fairy tale canon — a chilling tale of murderous rivalry, adolescent sexual ripening, poisoned gifts, blood on snow, witchcraft, and ritual cannibalism. . .in short, not a tale originally intended for children's tender ears. Disney's well–known film version of the story, released in 1937, was ostensibly based on the German tale popularized by the Brothers Grimm. Originally titled "Snow–drop" and published in Kinder–und Hausmarchen in 1812, the Grimms' "Snow White" is a darker, chillier story than the musical Disney cartoon, yet it too had been cleaned up for publication, edited to emphasize the good Protestant values held by Jacob and Wilhelm Grimm. (...) Variants of Snow White were popular around the world long before the Grimms claimed it for Germany, but their version of the story (along with Walt Disney's) is the one that most people know today. Elements from the story can be traced back to the oldest oral tales of antiquity, but the earliest known written version was published in Italy in 1634.

In Cecil B. DeMille’s 1920 film Why Change Your Wife?, the usually glamorous Gloria Swanson played a wife who wore glasses, listened to classical music, and read such books as How to Improve Your Mind. It was obvious to the audience why her husband left her for a perfumed, short-skirted man chaser. But a happy ending was achieved when Swanson’s character ordered some sleeveless, backless dresses and devoted herself to improving her dance steps instead of her mind.

The programme into which Cheryl was inducted combined all the different ways the intelligence community had learned could cause intense psychological change in adults and children. It had been learned through the use of both knowledgeable and 'unwitting' volunteers. They were subjected to sensory overload, isolation, drugs and hypnosis, all used on bodies that had been weakened from mild hunger. The horror of the programme was that it would be like having an elementary school sex education class conducted by a paedophile rapist. It would have been banned had the American government signed the Helsinki Accords. But, of course, they hadn't. For the test that day and in those that followed, Cheryl Hersha was positioned so she faced a portable movie screen. A 16mm movie projector was on a platform, along with several reels of film. Each was a short pornographic film meant to make her aware of sexuality in a variety of forms...

Emma's mid-twenties had brought a second adolescence even more self-absorbed and doom-laden than the first one. 'Why don't you just come home, sweetheart?' her mum had said on the phone last night, using her quavering, concerned voice, as if her daughter had been abducted. 'Your room's still here. There's jobs at Debenhams' - and for the first time she had been tempted. Once, she thought she could conquer London. She had imagined a whirl of literary salons, political engagement, larky parties, bittersweet romances conducted on Thames embankments. She had intended to form a band, make short films, write novels, but two years on slim volume of verse was no fatter, and nothing really good had happened to her since she'd been baton-charged at Poll Tax Riots.

Early in the summer of 1980, shortly after his son turned three, A. and the boy spent a week together in the country, in a house owned by friends who were off on vacation. A. noticed that Superman was playing in a local theater and decided to take the boy, on the off-chance that he would be able to sit through it. For the first half of the film, the boy was calm, working his way through a bin of popcorn, whispering his questions as A. had instructed him to do, and taking the business of exploding planets, rocket ships, and outer space without much fuss. But then something happened. Superman began to fly, and all at once the boy lost his composure. His mouth dropped open, he stood up in his seat, spilled his popcorn, pointed at the screen, and began to shout: "Look! Look! He's flying!

I came here in a car like everybody else. In a car filled with shit I thought meant something and shortly thereafter tossed on the street: DVDs, soon to be irrelevant, a box of digital and film cameras for a still-latent photography talent, a copy of On the Road that I couldn’t finish, and a Swedish-modern lamp from Walmart. It was a long, dark drive from a place so small you couldn’t find it on a generous map...Does anyone come to New York clean? I’m afraid not….Yes, I’d come to escape, but from what? The twin pillars of football and church? The low, faded homes on childless cul-de-sacs? Morning of the Gazette and boxed doughnuts? The sedated, sentimental middle of it? It didn’t matter. I would never know exactly, for my life, like most, moved only imperceptibly and definitely forward...Let’s say I was born in late June of 2006 when I came over the George Washington Bridge at seven a.m. with the sun circulating and dawning, the sky full of sharp corners of light, before the exhaust rose, before the heat gridlocked in, windows unrolled, radio turned up to some impossibly hopeful pop song, open, open, open.

Even back in 1968, the first time I was at the Berlin Film Festival with one of my films, I found it ossified and suffocating. I felt the festival should be opened up to everyone and screen work in other cinemas around the city, so I took the initiative, got hold of some prints by young filmmakers and rented a cinema for a few days in Neukölln, a working-class suburb of Berlin, which at the time was populated largely by immigrants and students. The free screenings at this parallel venue were a big success and generated intense discussions between audiences and filmmakers, which were exciting to witness. The whole thing was my rebellious moment against the Establishment, which I saw as being unnecessarily exclusive. I told the festival organisers they needed to have more free screenings and open the festival up to the wider public, which shortly afterwards they did.

The authors first replicated this effect, showing that watching a short film clip of something physically disgusting made subjects more morally judgmental—unless they had washed their hands after watching the film. Another study suggests that the washing decreases emotional arousal, as it decreased the diameter of subjects’ pupils.

If he were alive today, Plato—to take him as an example, because along with a dozen others he is regarded as the greatest thinker who ever lived—would certainly be ecstatic about a news industry capable of creating, exchanging, refining a new idea every day; where information keeps pouring in from the ends of the earth with a speediness he never knew in his own lifetime, while a staff of demiurges is on hand to check it all out instantaneously for its content of reason and reality. He would have supposed a newspaper office to be that topos uranios, that heavenly realm of ideas, which he has described so impressively that to this day all the better class of people are still idealists when talking to their children or employees. And of course if Plato were to walk suddenly into a news editor’s office today and prove himself to be indeed that great author who died over two thousand years ago he would be a tremendous sensation and would instantly be showered with the most lucrative offers. If he were then capable of writing a volume of philosophical travel pieces in three weeks, and a few thousand of his well-known short stories, perhaps even turn one or the other of his older works into film, he could undoubtedly do very well for himself for a considerable period of time. The moment his return had ceased to be news, however, and Mr. Plato tried to put into practice one of his well-known ideas, which had never quite come into their own, the editor in chief would ask him to submit only a nice little column on the subject now and then for the Life and Leisure section (but in the easiest and most lively style possible, not heavy: remember the readers), and the features editor would add that he was sorry, but he could use such a contribution only once a month or so, because there were so many other good writers to be considered. And both of these gentlemen would end up feeling that they had done quite a lot for a man who might indeed be the Nestor of European publicists but still was a bit outdated, and certainly not in a class for current newsworthiness with a man like, for instance, Paul Arnheim.

Not if you’ve been where we have. Forty years ago, in Südwest, we were nearly exterminated. There was no reason. Can you understand that? No reason. We couldn’t even find comfort in the Will of God Theory. These were Germans with names and service records, men in blue uniforms who killed clumsily and not without guilt. Search-and-destroy missions, every day. It went on for two years. The orders came down from a human being, a scrupulous butcher named von Trotha. The thumb of mercy never touched his scales.” “We have a word that we whisper, a mantra for times that threaten to be bad. Mba-kayere. You may find it will work for you. Mba-kayere. It means ‘I am passed over.’ To those of us who survived von Trotha, it also means that we have learned to stand outside our history and watch it, without feeling too much. A little schizoid. A sense for the statistics of our being. One reason we grew so close to the Rocket, I think, was this sharp awareness of how contingent, like ourselves, the Aggregat 4 could be—how at the mercy of small things…dust that gets in a timer and breaks electrical contact…a film of grease you can’t even see, oil from the touch of human fingers, left inside a liquid-oxygen valve, flaring up soon as the stuff hits and setting the whole thing off—I’ve seen that happen…rain that swells the bushings in the servos or leaks into a switch: corrosion, a short, a signal grounded out, Brennschluss too soon, and what was alive is only an Aggregat again, an Aggregat of pieces of dead matter, no longer anything that can move, or that has a Destiny with a shape—stop doing that with your eyebrows, Scuffling. I may have gone a bit native out here, that’s all. Stay in the Zone long enough and you’ll start getting ideas about Destiny yourself.

He’d been spending more time in the past lately. He liked to close his eyes and let his memories overtake him. A life, remembered, is a series of photographs and disconnected short films: the school play when he was nine, his father beaming in the front row; clubbing with Arthur in Toronto, under whirling lights; a lecture hall at NYU. An executive, a client, running his hands through his hair as he talked about his terrible boss. A procession of lovers, remembered in details: a set of dark blue sheets, a perfect cup of tea, a pair of sunglasses, a smile. The Brazilian pepper tree in a friend’s backyard in Silver Lake. A bouquet of tiger lilies on a desk. Robert's smile. His mother's hands, knitting while she listened to the BBC.

Michael Heseltine, a wild-haired visionary, Klaus Kinski to Margaret's Thatcher's Werner Herzog, pushed Docklands across the Thames to the East Greenwich Peninsula. The Millennium Dome concept was a remake of 'Fitzcarraldo', a film in which suborned natives (expendable extras) drag a paddle steamer over a hill in order to force a short cut to more exploitable territory. The point being to bring Enrico Caruso, one of the gods of opera, to an upstream trading post. An insane achievement mirrored in the rebranding of the Dome, after its long and expensive limbo, as the O2 Arena, a popular showcase for cryogenic rock acts:Norma Desmond divas and the resurrected Michael Jackson, whose virtual rebirth,post-mortem, gave the shabby tent the status of a riverside cathedral.

continued. “The solution to almost every problem imaginable can be found in the outcome of a fairy tale. Fairy tales are life lessons disguised with colorful characters and situations. “‘The Boy Who Cried Wolf ’ teaches us the value of a good reputation and the power of honesty. ‘Cinderella’ shows us the rewards of having a good heart. ‘The Ugly Duckling’ teaches us the meaning of inner beauty.” Alex’s eyes were wide, and she nodded in agreement. She was a pretty girl with bright blue eyes and short strawberry-blonde hair that was always kept neatly out of her face with a headband. The way the other students stared at their teacher, as if the lesson being taught were in another language, was something Mrs. Peters had never grown accustomed to. So, Mrs. Peters would often direct entire lessons to the front row, where Alex sat. Mrs. Peters was a tall, thin woman who always wore dresses that resembled old, patterned sofas. Her hair was dark and curly and sat perfectly on the top of her head like a hat (and her students often thought it was). Through a pair of thick glasses, her eyes were permanently squinted from all the judgmental looks she had given her classes over the years. “Sadly, these timeless tales are no longer relevant in our society,” Mrs. Peters said. “We have traded their brilliant teachings for small-minded entertainment like television and video games. Parents now let obnoxious cartoons and violent movies influence their children. “The only exposure to the tales some children acquire are versions bastardized by film companies. Fairy

To follow somebody, without them knowing that you’re doing it, is not the doddle they make it seem in films. I’ve had some experience of professional following, and a lot more experience of professional going back to the office and saying ‘we lost him’. Unless your quarry is deaf, tunnel-sighted and lame, you need at least a dozen people and fifteen thousand quids-worth of short-wave radio to make a decent go of it.

I wanted a monument to myself in granite. I wanted my face in seven different colours. I wanted I LOVE YOU in giant red letters on top of the Museum of Modern Art. I wanted a new bridge across the Hudson in my name. I wanted a three-volume history of the Greeks dedicated to my memory. I wanted a filmed version of my life in Ektachrome Commercial. I wanted the Mercedes-Benz no longer to be for Mercedes. But I have small breasts.

Steamboat Willie put Walt Disney on the map as an animator. Business success was another story. Disney’s first studio went bankrupt. His films were monstrously expensive to produce, and financed at outrageous terms. By the mid-1930s Disney had produced more than 400 cartoons. Most of them were short, most of them were beloved by viewers, and most of them lost a fortune. Snow White and the Seven Dwarfs changed everything. The $8 million it earned in the first six months of 1938 was an order of magnitude higher than anything the company earned previously. It transformed Disney Studios. All company debts were paid off. Key employees got retention bonuses. The company purchased a new state-of-the-art studio in Burbank, where it remains today. An Oscar turned Walt from famous to full-blown celebrity. By 1938 he had produced several hundred hours of film. But in business terms, the 83 minutes of Snow White were all that mattered.

The more monetized society is, the more anxious and hurried its citizens. In parts of the world that are still somewhat outside the money economy, where subsistence farming still exists and where neighbors help each other, the pace of life is slower, less hurried. In rural Mexico, everything is done mañana. A Ladakhi peasant woman interviewed in Helena Norberg-Hodge's film Ancient Futures sums it all up in describing her city-dwelling sister: "She has a rice cooker, a car, a telephone — all kinds of time-saving devices. Yet when I visit her, she is always so busy we rarely have time to talk." For the animal, child, or hunter-gatherer, time is essentially infinite. Today its monetization has subjected it, like the rest, to scarcity. Time is life. When we experience time as scarce, we experience life as short and poor. If you were born before adult schedules invaded childhood and children were rushed around from activity to activity, then perhaps you still remember the subjective eternity of childhood, the afternoons that stretched on forever, the timeless freedom of life before the tyranny of calendar and clocks. "Clocks," writes John Zerzan, "make time scarce and life short." Once quantified, time too could be bought and sold, and the scarcity of all money-linked commodities afflicted time as well. "Time is money," the saying goes, an identity confirmed by the metaphor "I can't afford the time.

My mother doesn't even notice, she's jovial and curious and delighted and oblivious to snottiness. She's a bit loud because of her mild deafness and she laughs a lot and has questions about everything and no embarrassment in asking. In her mind there is no reason she and a group of beautiful film students hanging out at the Communist's Daughter could not party together every night of the week. She is the antithesis of what the Queen West crowd would like themselves to be. She's comfortable in her XXL pink cotton shorts and the T-shirt she won at a Scrabble tournament in Rhode Island. She would like to engage these pale, thin retail workers in conversation, she'd like to get their story, she'd like to know where the products come from, how they are chosen, how does one wear this, how does it wash, she's trying to learn more about her new home and to become acquainted with her new world, which makes their cold bony shoulder treatment of her that much more heartbreaking.

Perhaps vaguely aware that his movie so completely lacks gravitas, Moore concludes with a sonorous reading of some words from George Orwell. The words are taken from 1984 and consist of a third-person analysis of a hypothetical, endless and contrived war between three superpowers. The clear intention, as clumsily excerpted like this (...), is to suggest that there is no moral distinction between the United States, the Taliban and the Ba'ath Party, and that the war against jihad is about nothing. If Moore had studied a bit more, or at all, he could have read Orwell really saying, and in his own voice, the following: The majority of pacifists either belong to obscure religious sects or are simply humanitarians who object to taking life and prefer not to follow their thoughts beyond that point. But there is a minority of intellectual pacifists, whose real though unacknowledged motive appears to be hatred of western democracy and admiration for totalitarianism. Pacifist propaganda usually boils down to saying that one side is as bad as the other, but if one looks closely at the writing of the younger intellectual pacifists, one finds that they do not by any means express impartial disapproval but are directed almost entirely against Britain and the United States… And that's just from Orwell's Notes on Nationalism in May 1945. A short word of advice: In general, it's highly unwise to quote Orwell if you are already way out of your depth on the question of moral equivalence. It's also incautious to remind people of Orwell if you are engaged in a sophomoric celluloid rewriting of recent history.

They constructed a short film of two teams passing basketballs, one team wearing white shirts, the other wearing black. The viewers of the film are instructed to count the number of passes made by the white team, ignoring the black players. This task is difficult and completely absorbing. Halfway through the video, a woman wearing a gorilla suit appears, crosses the court, thumps her chest, and moves on. The gorilla is in view for 9 seconds. Many thousands of people have seen the video, and about half of them do not notice anything unusual.

And it is only in its early stage. All those who believe they will remain untouched by its wrath are delusional. If Ehsan Jafri, a former member of parliament with a line to the deputy prime minister’s office, could be dragged out of his home and gashed and burned alive, what makes anyone think he or she will remain unharmed? If Aamir Khan, one of India’s biggest film stars, can be unpersoned; if Gauri Lankesh, one of its boldest journalists, can be shot dead; if Ramachandra Guha, one of its greatest historians, can be stopped from lecturing; if Naseeruddin Shah, among its finest actors, can be branded a traitor; if Manmohan Singh, the former prime minister, can be labelled an agent of Pakistan by his successor; if B.H. Loya, a perfectly healthy judge, can abruptly drop dead; if a young woman can be stalked by the police machinery of the state because Modi has displayed an interest in her—what makes the rest of us think we will remain untouched and unharmed? Unless the republic is reclaimed, the time will come when all of us will be one incorrect meal, one interfaith romance, one unfortunate misstep away from being extinguished. The mobs that slaughtered ‘bad’ Muslims will eventually come for Hindus who are not ‘good’.

The most surprising discovery made by Baumeister’s group shows, as he puts it, that the idea of mental energy is more than a mere metaphor. The nervous system consumes more glucose than most other parts of the body, and effortful mental activity appears to be especially expensive in the currency of glucose. When you are actively involved in difficult cognitive reasoning or engaged in a task that requires self-control, your blood glucose level drops. The effect is analogous to a runner who draws down glucose stored in her muscles during a sprint. The bold implication of this idea is that the effects of ego depletion could be undone by ingesting glucose, and Baumeister and his colleagues have confirmed this hypothesis in several experiments. Volunteers in one of their studies watched a short silent film of a woman being interviewed and were asked to interpret her body language. While they were performing the task, a series of words crossed the screen in slow succession. The participants were specifically instructed to ignore the words, and if they found their attention drawn away they had to refocus their concentration on the woman’s behavior. This act of self-control was known to cause ego depletion. All the volunteers drank some lemonade before participating in a second task. The lemonade was sweetened with glucose for half of them and with Splenda for the others. Then all participants were given a task in which they needed to overcome an intuitive response to get the correct answer. Intuitive errors are normally much more frequent among ego-depleted people, and the drinkers of Splenda showed the expected depletion effect. On the other hand, the glucose drinkers were not depleted. Restoring the level of available sugar in the brain had prevented the deterioration of performance. It will take some time and much further research to establish whether the tasks that cause glucose-depletion also cause the momentary arousal that is reflected in increases of pupil size and heart rate.

I started by collecting copies of all the novels and short stories featuring him and piled them up beside my bed. I wanted to get to the very heart of what Dame Agatha thought of him and what he was really like, and to do that, I had to read every word his creator had ever written about him. I didn’t want my Poirot to be a caricature, something made up in a film or television studio, I wanted him to be real, as real as he was in the books, as real as I could possibly make him. The first thing I realised was that I was a slightly too young to play him. He was a retired police detective in his sixties when he first appeared in The Mysterious Affair at Styles, while I was in my early forties. Not only that, he was also described as a good deal fatter than I was. There was going to have to be some considerable padding, not to mention very careful make-up and costume, if I was going to convince the world that I was the great Hercule Poirot. Even more important, the more I read about him, the more convinced I became that he was a character that demanded to be taken seriously. He wasn’t a silly little man with a funny accent, any more than Sherlock Holmes was just a morphine addict with a taste for playing the violin. There was a depth and quality to the Poirot that Dame Agatha had created – and that was what I desperately wanted to bring to the screen.

Rubens discovered a peculiar thing: memory does not make films, it makes photographs. What he recalled from any of the women were at most a few mental photographs. He didn't recall their coherent motions; he visualized even their short gestures not in all their fluent fullness, but only in the rigidity of a single second. His erotic memory provided him with a small album of pornographic pictures but no pornographic film. And when I say an album of pictures, that is an exaggeration, for all he had was some seven or eight photographs. These photos were beautiful, they fascinated him, but their number was after all depressingly limited: seven, eight fragments of less than a second each, that's what remained in his memory of his entire erotic life, to which he had once decided to devote all his strength and talent. I see Rubens sitting at a table with his head supported on the palm of his hand, looking like Rodin's Thinker. What is he thinking about? If he has made peace with the idea that his life has narrowed down to sexual experiences and these again to only seven still pictures, seven photographs, he would at least like to hope that in some corner of his memory there may be concealed some eighth, ninth, or tenth photograph. That's why he is sitting with his head leaning on the palm of his hand. He is once again trying to evoke individual women and find some forgotten photograph for each one of them.

EVEN THOUGH I KNEW it was going to be what she would ask me, Graciela McCaleb’s request gave me pause. Terry McCaleb had died on his boat a month earlier. I had read about it in the Las Vegas Sun. It had made the papers because of the movie. FBI agent gets heart transplant and then tracks down his donor’s killer. It was a story that had Hollywood written all over it and Clint Eastwood played the part, even though he had a couple decades on Terry. The film was a modest success at best, but it still gave Terry the kind of notoriety that guaranteed an obituary notice in papers across the country. I had just gotten back to my apartment near the strip one morning and picked up the Sun. Terry’s death was a short story in the back of the A section.

the audience, unaccustomed to any of this, went wild: America! The high point of this whirring, pale-blue era was 1960. The average American earned more than 5,000 dollars a year; a newly built house cost 12,500 dollars, a car 2,600, a pair of shoes 13, a litre of gasoline 6.7 cents. The tail fins on the new Cadillac Eldorado were the largest and sharpest ever seen. In April, the world’s first weather satellite was launched. In the Philippines, the Japanese government tried in vain to coax the last two Japanese soldiers out of the jungle – they refused to believe the war was over. Xerox put the first commercial photocopier on the market. Chubby Checker started a new dance craze, the twist. Frank Sinatra, cigarette in hand, stood and sang in a short film called Music for

I'm more of a sprinter than a marathoner when it comes to many aspects of life. For example, when I'm running. Over short distances--up to two yards--I can run faster than cheap panty hose on an itchy porcupine. But over long distances, I'm not so impressive. I try to compensate for my lack of long-distance endurance by having good form. I'm told that my running style is quite majestic. That's probably because I learned to run by watching nature films in which leopards chased frightened zebras. Now when I run, I open my eyes real wide and let my tongue slap the side of my face. If you saw it, you'd be saying, "That's very majestic." And then you'd run like a frightened zebra. That's why my homeowners association voted to ask me to do my jogging with a pillowcase over my head.

In The Shawshank Redemption, there's a short scene between Andy and Red that reveals the difference in their points of view. After almost twenty years in Shawshank Prison, Red is cynical because, in his eyes, the concept of hope is simply a four-letter word. His spirit has been so crushed by the prison system that he angrily declares to Andy, 'Hope is a dangerous thing. Drives a man insane. It's got no place here. Better get used to the idea.' And it is Red's emotional journey that leads him to the understanding that 'hope is a good thing.' The film ends on a note of hope, with Red breaking his parole and riding the bus to meet Andy in Mexico: 'I hope I can make it across the border. I hope to see my friend and shake his hand. I hope the Pacific is as blue as it has been in my dreams. I hope.

A fair, sweet, and honest country face was revealed, reposing in a nest of wavy chestnut hair. It was between pretty and beautiful. Though her eyes were closed, one could easily imagine the light necessarily shining in them as the culmination of the luminous workmanship around. The groundwork of the face was hopefulness; but over it now I ay like a foreign substance a film of anxiety and grief. The grief had been there so shortly as to have abstracted nothing of the bloom, and had as yet but given a dignity to what it might eventually undermine. The scarlet of her lips had not had time to abate, and just now it appeared still more intense by the absence of the neighbouring and more transient colour of her cheek. The lips frequently parted, with a murmur of words. She seemed to belong rightly to a madrigal - to require viewing through rhyme and harmony.

It's the time ahead that's the worry. Not only the frequent occurrence of breakfast, the days chasing each other like Keystone Cops at the end of an old movie or Benny Hill after girls. It's not the bother of walking with a stick ... it's not the time spent planning how to get to your feet, or the need to persuade those around you to sit on chairs to stop them falling over when you grab them as an aid to standing. It's not even that you may be compelled, in the not-too-distant future, to write off for the 'Adjustable Urinal' ('Secure, yet comfortable to wear like an athlete's support'), the 'Practical Bath Seat', the 'Gentle Pelvic Extender', the 'Complete Video Guide to Manageable Sex Over Sixty', or even the 'Decorative Sticker Window Films' to stop you walking into glass doors. ... The real trouble with old age is that it lasts for such a short time.

The whitewash of Kingdom of Heaven Kingdom of Heaven is a classic cowboys-and-Indians story in which the Muslims are noble and heroic and the Christians are venal and violent. The script is heavy on modern-day PC clichés and fantasies of Islamic tolerance; brushing aside dhimmi laws and attitudes (of which Ridley Scott has most likely never heard), it invents a peace-and-tolerance group called the “Brotherhood of Muslims, Jews and Christians.” But of course, the Christians spoiled everything. A publicist for the film explained, “They were working together. It was a strong bond until the Knights Templar caused friction between them.” Ah yes, those nasty “Christian extremists.” Kingdom of Heaven was made for those who believe that all the trouble between the Islamic world and the West has been caused by Western imperialism, racism, and colonialism, and that the glorious paradigm of Islamic tolerance, which was once a beacon to the world, could be reestablished if only the wicked white men of America and Europe would be more tolerant. Ridley Scott and his team arranged advance screenings for groups like the Council on American-Islamic Relations, making sure that sensitive Muslim feelings were not hurt. It is a dream movie for the PC establishment in every way except one: It isn’t true. Professor Jonathan Riley-Smith, author of A Short History of the Crusades and one of the world’s leading historians of the period, called the movie “rubbish,” explaining that “it’s not historically accurate at all” as it “depicts the Muslims as sophisticated and civilised, and the Crusaders are all brutes and barbarians. It has nothing to do with reality.” Oh, and “there was never a confraternity of Muslims, Jews and Christians. That is utter nonsense.

Millions have been taught that if they don’t believe, if they don’t accept in the right way, that is, the way the person telling them the Gospel does, and they were hit by a car and died later that same day, God would have no choice but to punish them forever in conscious torment in hell. God would, in essence, become a fundamentally different being to them in that moment of death, a different being to them forever. A loving heavenly Father who will go to extraordinary lengths to have a relationship with them would, in the blink of an eye, become a cruel, mean, vicious tormenter who would ensure that they had no escape from an endless future of agony. Does God become somebody totally different the moment you die? That kind of God is simply devastating. Psychologically crushing. We can’t bear it. No one can. And that is the secret deep in the heart of many people, especially Christians: they don’t love God. They can’t, because the God they’ve been presented with and taught about can’t be loved. That God is terrifying and traumatizing and unbearable. And so there are conferences about how churches can be more “relevant” and “missional” and “welcoming,” and there are vast resources, many, many books and films, for those who want to “reach out” and “connect” and “build relationships” with people who aren’t part of the church. And that can be helpful. But at the heart of it, we have to ask: Just what kind of God is behind all this? Because if something is wrong with your God, if your God is loving one second and cruel the next, if your God will punish people for all of eternity for sins committed in a few short years, no amount of clever marketing or compelling language or good music or great coffee will be able to disguise that one, true, glaring, untenable, unacceptable, awful reality.[32]

Our life together was filled with contrasts. One week we were croc hunting with Dateline in Cape York. Only a short time after that, Steve and I found ourselves out of our element entirely, at the CableACE Award banquet in Los Angeles. Steve was up for an award as host of the documentary Ten Deadliest Snakes in the World. He lost out to the legendary Walter Cronkite. Any time you lose to Walter Cronkite, you can’t complain too much. After the awards ceremony, we got roped into an after-party that was not our cup of tea. Everyone wore tuxedos. Steve wore khaki. Everyone drank, smoked, and made small talk, none of which Steve did at all. We got separated, and I saw him across the room looking quite claustrophobic. I sidled over. “Why don’t we just go back up to our room?” I whispered into his ear. This proved to be a terrific idea. It fit in nicely with our plans for starting a family, and it was quite possibly the best seven minutes of my life! After our stay in Los Angeles, Steve flew directly back to the zoo, while I went home by way of one my favorite places in the world, Fiji. We were very interested in working there with crested iguanas, a species under threat. I did some filming for the local TV station and checked out a population of the brilliantly patterned lizards on the Fijian island of Yadua Taba. When I got back to Queensland, I discovered that I was, in fact, expecting. Steve and I were over the moon. I couldn’t believe how thrilled he was. Then, mid-celebration, he suddenly pulled up short. He eyed me sideways. “Wait a minute,” he said. “You were just in Fiji for two weeks.” “Remember the CableACE Awards? Where you got bored in that room full of tuxedos?” He gave me a sly grin. “Ah, yes,” he said, satisfied with his paternity (as if there was ever any doubt!). We had ourselves an L.A. baby.

stimuli that normally attract attention. The most dramatic demonstration was offered by Christopher Chabris and Daniel Simons in their book The Invisible Gorilla. They constructed a short film of two teams passing basketballs, one team wearing white shirts, the other wearing black. The viewers of the film are instructed to count the number of passes made by the white team, ignoring the black players. This task is difficult and completely absorbing. Halfway through the video, a woman wearing a gorilla suit appears, crosses the court, thumps her chest, and moves on. The gorilla is in view for 9 seconds. Many thousands of people have seen the video, and about half of them do not notice anything unusual. It is the counting task—and especially the instruction to ignore one of the teams—that causes the blindness. No one who watches the video without that task would miss the gorilla. Seeing and orienting are automatic

Her disillusionment with the business had intensified as the need to simplify her stories increased. Her original treatments for Blondie of the Follies and The Prizefighter and the Lady had much more complexity and many more characters than ever made it to the screen, and adapting The Good Earth had served as a nagging reminder of the inherent restraints of film. Frances found herself inspired by memories of Jack London, sitting on the veranda with her father as they extolled the virtues of drinking their liquor “neat,” and remembered his telling her that he went traveling to experience adventure, but “then come back to an unrelated environment and write. I seek one of nature’s hideouts, like this isolated Valley, then I see more clearly the scenes that are the most vivid in my memory.” So she arrived in Napa with the idea of writing the novel she started in her hospital bed with the backdrop of “the chaos, confusion, excitement and daily tidal changes” of the studios, but as she sat on the veranda at Aetna Springs, she knew she was still too close to her mixed feelings about the film business.48 As she walked the trails and passed the schoolhouse that had served the community for sixty years, she talked to the people who had lived there in seclusion for several generations and found their stories “similar to case histories recorded by Freud or Jung.” She concentrated on the women she saw carrying the burden in this community and all others and gave them a depth of emotion and detail. Her series of short stories was published under the title Valley People and critics praised it as a “heartbreak book” that would “never do for screen material.” It won the public plaudits of Dorothy Parker, Rupert Hughes, Joseph Hergesheimer, and other popular writers and Frances proudly viewed Valley People as “an honest book with no punches pulled” and “a tribute to my suffering sex.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

For some reason newspapers are not the laboratories and experimental stations of the mind that they could be, to the public's great benefit, but usually only its warehouses and stock exchanges. If he were alive today, Plato—to take him as an example, because along with a dozen others he is regarded as the greatest thinker who ever lived—would certainly be ecstatic about a news industry capable of creating, exchanging, refining a new idea every day; where information keeps pouring in from the ends of the earth with a speediness he never knew in his own lifetime, while a staff of demiurges is on hand to check it all out instantaneously for its content of reason and reality. He would have supposed a newspaper office to be that topos uranios, that heavenly realm of ideas, which he has described so impressively that to this day all the better class of people are still idealists when talking to their children or employees. And of course if Plato were to walk suddenly into a news editor’s office today and prove himself to be indeed that great author who died over two thousand years ago he would be a tremendous sensation and would instantly be showered with the most lucrative offers. If he were then capable of writing a volume of philosophical travel pieces in three weeks, and a few thousand of his well-known short stories, perhaps even turn one or the other of his older works into film, he could undoubtedly do very well for himself for a considerable period of time. The moment his return had ceased to be news, however, and Mr. Plato tried to put into practice one of his well-known ideas, which had never quite come into their own, the editor in chief would ask him to submit only a nice little column on the subject now and then for the Life and Leisure section (but in the easiest and most lively style possible, not heavy: remember the readers), and the features editor would add that he was sorry, but he could use such a contribution only once a month or so, because there were so many other good writers to be considered. And both of these gentlemen would end up feeling that they had done quite a lot for a man who might indeed be the Nestor of European publicists but still was a bit outdated, and certainly not in a class for current newsworthiness with a man like, for instance, Paul Arnheim.

Serious” film strikes me as absurd. It’s bowdlerized life. Filmic drama asks me to care about loves, losses, supposed triumphs—things that together amount to the chiseled dash connecting my birth to my death on my tombstone. To me, the modern horror film has more to do with first-world existence as it is lived today. In the modern horror film, we no longer come together to defeat an existential threat, gaining knowledge of and confidence in ourselves along the way. Altruism is not rewarded. Even the most self-sacrificing character will be killed off, often for laughs. One protagonist, if any, makes it out alive by becoming more brutal than the monster. He trades debasement for survival, which is short-lived—because of course the monster comes back, for the lucrative sequels. In horror, characters are stripped of everything they think they know and believe they are. Education and privilege mean nothing. Security is a delusion; today is the last day of the rest of your life. You, what makes you you, your blemishes and singular characteristics, will disappear in an instant. Stalking everything you do is death, and all that matters is how furiously you go out.

Infinite Jest (V?). Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. 'Madame Psychosis' ; no other definitive data. Thorny problem for archivists. Incandenza's last film, Incandenza's death occurring during its post-production. Most archival authorities list as unfinished, unseen. Some list as completion of Infinite Jest (IV), for which Incandenza also used 'Psychosis,' thus list the film under Incandenza's output for Y.T.M.P. Though no scholarly synopsis or report of viewing exists, two short essays in different issues of Cartridge Quarterly East refer to to film as 'extraordinary' and 'far away [James O. Incandenza's] most entertaining and compelling work.' West Coast archivists list the film's gauge as '16...78... n mm.,' basing the gauge on critical allusions to 'radical experiments in viewers' optical perspective and context' as IJ (V?)'s distinctive feature. Though Canadian archivist Tete-Beche lists the film as completed and privately distributed by P.Y.E.U. through posthumous provisions in the filmmaker's will, all other comprehensive filmographies have the film either unfinished or UNRELEASED, its Master cartridge either destroyed or vaulted sui testator.

Cassidy had been created by Clarence Mulford, writer of formula western novels and pulpy short stories. In the stories, Cassidy was a snorting, drinking, chewing relic of the Old West. Harry Sherman changed all that when he bought the character for the movies. Sherman hired Boyd, a veteran of the silent screen whose star had faded, to play a badman in the original film. But Boyd seemed more heroic, and Sherman switched the parts before the filming began. As Cassidy, Boyd became a knight of the range, a man of morals who helped ladies cross the street but never stooped to kiss the heroine. He was literally black and white, his silver hair a vivid contrast to his black getup. He did not smoke, believed absolutely in justice, honor, and fair play, and refused to touch liquor. Boyd’s personal life was not so noble. Born in Ohio in 1898, he had arrived in Hollywood for the first golden age, working with Cecil B. DeMille in a succession of early silents. By the mid-1920s he was a major star. Wine, women, and money were his: he drank and gambled, owned estates, married five times. But it all ended when another actor named William Boyd was arrested for possession of whiskey and gambling equipment.

The reason you might be having trouble with your practice in the long run—if you were capable of building a practice in the short run—is nearly always because you are afraid. The fear, the resistance, is very insidious. It doesn’t leave a lot of fingerprints, but the person who manages to make a movie short that blows everyone away but can’t raise enough cash to make a feature film, the person who gets a little freelance work here and there but can’t figure out how to turn it into a full-time gig—that person is practicing self-sabotage. These people sabotage themselves because the alternative is to put themselves into the world as someone who knows what they are doing. They are afraid that if they do that, they will be seen as a fraud. It’s incredibly difficult to stand up at a board meeting or a conference or just in front of your peers and say, “I know how to do this. Here is my work. It took me a year. It’s great.” This is hard to do for two reasons: (1) it opens you to criticism, and (2) it puts you into the world as someone who knows what you are doing, which means tomorrow you also have to know what you are doing, and you have just signed up for a lifetime of knowing what you are doing. It

focusing on a task can make people effectively blind, even to stimuli that normally attract attention. The most dramatic demonstration was offered by Christopher Chabris and Daniel Simons in their book The Invisible Gorilla. They constructed a short film of two teams passing basketballs, one team wearing white shirts, the other wearing black. The viewers of the film are instructed to count the number of passes made by the white team, ignoring the black players. This task is difficult and completely absorbing. Halfway through the video, a woman wearing a gorilla suit appears, crosses the court, thumps her chest, and moves on. The gorilla is in view for 9 seconds. Many thousands of people have seen the video, and about half of them do not notice anything unusual. It is the counting task—and especially the instruction to ignore one of the teams—that causes the blindness. No one who watches the video without that task would miss the gorilla. Seeing and orienting are automatic functions of System 1, but they depend on the allocation of some attention to the relevant stimulus. The authors note that the most remarkable observation of their study is that people find its results very surprising. Indeed, the viewers who fail to see the gorilla are initially sure

Globalization has shipped products at a faster rate than anything else; it’s moved English into schools all over the world so that now there is Dutch English and Filipino English and Japanese English. But the ideologies stay in their places. They do not spread like the swine flu, or through sexual contact. They spread through books and films and things of that nature. The dictatorships of Latin America used to ban books, they used to burn them, just like Franco did, like Pope Gregory IX and Emperor Qin Shi Huang. Now they don’t have to because the best place to hide ideologies is in books. The dictatorships are mostly gone—Brazil, Argentina, Uruguay. The military juntas. Our ideologies are not secrets. Even the Ku Klux Klan holds open meetings in Alabama like a church. None of the Communists are still in jail. You can buy Mao’s red book at the gift shop at the Museum of Communism. I will die soon, in the next five to ten years. I have not seen progress during my lifetime. Our lives are too short and disposable. If we had longer life expectancies, if we lived to 200, would we work harder to preserve life or, do you think that when Borges said, ‘Jews, Christians, and Muslims all profess belief in immortality, but the veneration paid to the first century of life is proof that they truly believe in only those hundred years, for they destine all the rest, throughout eternity, to rewarding or punishing what one did when alive,’ we would simply alter it to say ‘first two centuries’? I have heard people say we are living in a golden age, but the golden age has passed—I’ve seen it in the churches all over Latin America where the gold is like glue. The Middle Ages are called the Dark Ages but only because they are forgotten, because the past is shrouded in darkness, because as we lay one century of life on top of the next, everything that has come before seems old and dark—technological advances provide the illusion of progress. The most horrendous tortures carried out in the past are still carried out today, only today the soldiers don’t meet face to face, no one is drawn and quartered, they take a pill and silently hope a heart attack doesn’t strike them first. We are living in the age of dissociation, speaking a government-patented language of innocence—technology is neither good nor evil, neither progress nor regress, but the more advanced it becomes, the more we will define this era as the one of transparent secrets, of people living in a world of open, agile knowledge, oceans unpoliced—all blank faces, blank minds, blank computers, filled with our native programming, using electronic appliances with enough memory to store everything ever written invented at precisely the same moment we no longer have the desire to read a word of it.

Where do the biggest movie star of his generation and a revered director (and great actor in his own right) stay when they are visiting someone? Would you believe the local Holiday Inn? Hoping to forge a better connection to Chris, Clint Eastwood and Bradley Cooper came to see me and the rest of the family in early spring of 2014, before they started filming American Sniper. The unpretentiousness of their visit and their genuine goodwill floored me. It was a great omen for the movie. Bubba and I picked them up at the local airport and brought them home; within minutes Bubba had Bradley out in the back playing soccer. Meanwhile, Clint and I talked inside. He reminded me of my grandfather with his courtly manners and gracious ways. He was very funny, with a quiet, quick wit and dry sense of humor. After dinner--it was an oryx Chris had killed shortly before he died--Bradley took Bubba to the Dairy Queen for dessert. Even in small-town Texas, he couldn’t quite get away without being recognized, and when someone asked for his photo, he stepped aside to pose. Bubba folded his arms across his chest and scanned the area much as his dad would have: on overwatch. I guess I didn’t really understand how unusual the situation was until later, when I dropped them off at the Holiday Inn. I watched them walk into the lobby and disappear. That’s Clint Eastwood and Bradley Cooper! Awesome!

Neoliberal economics, the logic of which is tending today to win out throughout the world thanks to international bodies like the World Bank or the International Monetary Fund and the governments to whom they, directly or indirectly, dictate their principles of ‘governance’,10 owes a certain number of its allegedly universal characteristics to the fact that it is immersed or embedded in a particular society, that is to say, rooted in a system of beliefs and values, an ethos and a moral view of the world, in short, an economic common sense, linked, as such, to the social and cognitive structures of a particular social order. It is from this particular economy that neoclassical economic theory borrows its fundamental assumptions, which it formalizes and rationalizes, thereby establishing them as the foundations of a universal model. That model rests on two postulates (which their advocates regard as proven propositions): the economy is a separate domain governed by natural and universal laws with which governments must not interfere by inappropriate intervention; the market is the optimum means for organizing production and trade efficiently and equitably in democratic societies. It is the universalization of a particular case, that of the United States of America, characterized fundamentally by the weakness of the state which, though already reduced to a bare minimum, has been further weakened by the ultra-liberal conservative revolution, giving rise as a consequence to various typical characteristics: a policy oriented towards withdrawal or abstention by the state in economic matters; the shifting into the private sector (or the contracting out) of ‘public services’ and the conversion of public goods such as health, housing, safety, education and culture – books, films, television and radio – into commercial goods and the users of those services into clients; a renunciation (linked to the reduction in the capacity to intervene in the economy) of the power to equalize opportunities and reduce inequality (which is tending to increase excessively) in the name of the old liberal ‘self-help’ tradition (a legacy of the Calvinist belief that God helps those who help themselves) and of the conservative glorification of individual responsibility (which leads, for example, to ascribing responsibility for unemployment or economic failure primarily to individuals, not to the social order, and encourages the delegation of functions of social assistance to lower levels of authority, such as the region or city); the withering away of the Hegelian–Durkheimian view of the state as a collective authority with a responsibility to act as the collective will and consciousness, and a duty to make decisions in keeping with the general interest and contribute to promoting greater solidarity. Moreover,

On the playground, “cooties” seems harmless and innocuous (unless you’ve been on the other end of that game). But sociomoral disgust can quickly scale up in intensity and become the engine behind the very worst of human atrocities. During times of social stress or chaos, those persons or populations already associated with disgust properties will provide the community a location of blame, fear, and paranoia. In short, sociomoral disgust is implicated in the creation of monsters and scapegoats, where outgroup members are demonized and selected for exclusion or elimination. As David Gilmore writes in his book Monsters, a monster is “the demonization of the ‘Other’ in the image of the monster as a political device for scapegoating those whom the rules of society deem impure or unworthy - the transgressors and deviants.” These deviants are considered to be “deformed, amoral, [and] unsocialized to the point of inhumanness.” Take, for an example, the Nazi propaganda film The Eternal Jew, where an early shot in the film showed rats emerging from a sewer juxtaposed with a crowd of Jewish persons in a Polish city. In America, as another example, proponents of anti-gay legislation have circulated pamphlets claiming that gay men eat human feces and drink human blood. In each of these instances, sociomoral disgust is used to demonize and scapegoat populations, creating “monsters” who are threatening to society.

The reason you might be having trouble with your practice in the long run—if you were capable of building a practice in the short run—is nearly always because you are afraid. The fear, the resistance, is very insidious. It doesn’t leave a lot of fingerprints, but the person who manages to make a movie short that blows everyone away but can’t raise enough cash to make a feature film, the person who gets a little freelance work here and there but can’t figure out how to turn it into a full-time gig—that person is practicing self-sabotage. These people sabotage themselves because the alternative is to put themselves into the world as someone who knows what they are doing. They are afraid that if they do that, they will be seen as a fraud. It’s incredibly difficult to stand up at a board meeting or a conference or just in front of your peers and say, “I know how to do this. Here is my work. It took me a year. It’s great.” This is hard to do for two reasons: (1) it opens you to criticism, and (2) it puts you into the world as someone who knows what you are doing, which means tomorrow you also have to know what you are doing, and you have just signed up for a lifetime of knowing what you are doing. It’s much easier to whine and sabotage yourself and blame the client, the system, and the economy. This is what you hide from—the noise in your head that says you are not good enough, that says it is not perfect, that says it could have been better.

Gene looked at me, and smiled kindly. “You never learn how to write a novel,” he told me. “You only learn to write the novel you’re on.” He was right. I’d learned to write the novel I was writing, and nothing more. Still, it was a fine, strange novel to have learned how to write. I was always aware of how very far short it fell of the beautiful, golden, gleaming, perfect book I had in my head, but even so, it made me happy. I grew a beard and I did not cut my hair while I was writing this book, and many people thought I was a trifle odd (although not the Swedes, who approved and told me that a king of theirs had done something very similar, only not with a novel). I shaved the beard off at the end of the first draft, and disposed of the unfeasibly long hair shortly after that. The second draft was mostly a process of excavation and clarification. Moments that needed to grow grew and moments that needed to be shorter were trimmed. I wanted it to be a number of things. I wanted to write a book that was big and odd and meandering, and I did and it was. I wanted to write a book that included all the parts of America that obsessed and delighted me, which tended to be the bits that never showed up in the films and television shows. I finished it, eventually, and I handed it in, taking a certain amount of comfort in the old saying that a novel can best be defined as a long piece of prose with something wrong with it, and I was fairly sure that I’d written one of those.

What I find difficult, when I read, is to encounter other people’s achievements passed off as one’s own. I find it difficult to discover literary tradition so warmly embraced and coddled, as if artists existed merely to have flagrant intercourse with the past, guaranteed to draw a crowd but also certain to cover that crowd in an old, heavy breading. I find it difficult when a narrative veers toward soap opera, when characters are explained by their childhoods, when setting is used as spackle to hold together chicken-wire characters who couldn’t even stand up to an artificial wind, when depictions of landscape are intermissions while the author catches his breath and gets another scene ready. I find writing difficult that too readily subscribes to the artistic ideas of other writers, that willingly accepts language as a tool that must be seen and not heard, that believes in happy endings, easy revelations, and bittersweet moments of self-understanding. I find writing difficult that could have been written by anyone. That’s difficult to me, horribly so. Mr. Difficult? It’s not Gaddis. Mr. Difficult is the writer willing to sell short the aims of literature, to serve as its fuming, unwanted ambassador, to apologize for its excesses or near misses, its blind alleys, to insult the reading public with film-ready versions of reality and experience and inner sensations, scenes flying jauntily by under the banner of realism, which lately grants it full critical immunity.

Often interfaces are assumed to be synonymous with media itself. But what would it mean to say that “interface” and “media” are two names for the same thing? The answer is found in the remediation or layer model of media, broached already in the introduction, wherein media are essentially nothing but formal containers housing other pieces of media. This is a claim most clearly elaborated on the opening pages of Marshall McLuhan’s Understanding Media. McLuhan liked to articulate this claim in terms of media history: a new medium is invented, and as such its role is as a container for a previous media format. So, film is invented at the tail end of the nineteenth century as a container for photography, music, and various theatrical formats like vaudeville. What is video but a container for film. What is the Web but a container for text, image, video clips, and so on. Like the layers of an onion, one format encircles another, and it is media all the way down. This definition is well-established today, and it is a very short leap from there to the idea of interface, for the interface becomes the point of transition between different mediatic layers within any nested system. The interface is an “agitation” or generative friction between different formats. In computer science, this happens very literally; an “interface” is the name given to the way in which one glob of code can interact with another. Since any given format finds its identity merely in the fact that it is a container for another format, the concept of interface and medium quickly collapse into one and the same thing.

Delbert was the only Bumpus kid in my grade, but they infested Warren G. Harding like termites in an outhouse. There was Ima Jean, short and muscular, who was in the sixth grade, when she showed up, but spent most of her time hanging around the poolroom. There was a lanky, blue-jowled customer they called Jamie, who ran the still and was the only one who ever wore shoes. He and his brother Ace, who wore a brown fedora and blue work shirts, sat on the front steps at home on the Fourth of July, sucking at a jug and pretending to light sticks of dynamite with their cigars when little old ladies walked by. There were also several red-faced girls who spent most of their time dumping dishwater out of windows. Babies of various sizes and sexes crawled about the back yard, fraternizing indiscriminately with the livestock. They all wore limp, battleship-gray T-shirts and nothing else. They cried day and night. We thought that was all of them—until one day a truck stopped in front of the house and out stepped a girl who made Daisy Mae look like Little Orphan Annie. My father was sprinkling the lawn at the time; he wound up watering the windows. Ace and Emil came running out onto the porch, whooping and hollering. The girl carried a cardboard suitcase—in which she must have kept all her underwear, if she owned any—and wore her blonde hair piled high on her head; it gleamed in the midday sun. Her short muslin dress strained and bulged. The truck roared off. Ace rushed out to greet her, bellowing over his shoulder as he ran: “MAH GAWD! HEY, MAW, IT’S CASSIE! SHE’S HOME FROM THE REFORMATORY!” Emil

Among the people who asked about them was Bradley Cooper, thanks to Jason, who’d championed Chris and the book. Cooper was already a huge star, one who had a reputation for taking big risks and trying a variety of roles (including one in the TV series Alias the connection I promised earlier). None of that was important to Chris. If there was a movie, he wanted the actor who portrayed him to be a true American. He couldn’t stand actors who would make unpatriotic statements against the war and then turn around and do war films. He’d told Jim he didn’t want a hypocrite playing him. I think he would have chosen not to let a movie be done rather than agree to let people proceed with it whom he didn’t consider patriotic. And so for Chris, the most impressive thing about Bradley Cooper was not his acting ability or the enormous research he put into his roles, but the work he’d done helping veterans. He was a supporter of Got Your 6, an organization that helps veterans reintegrate into family life and their communities. He had also done some USO tours. I couldn’t imagine a better match. Still, Chris didn’t just say okay. He talked to Bradley before deciding to let him option the book and his life rights. I remember Chris coming out of his home office after the final conversation. He was smiling; Bradley had a great sense of humor, which was probably the first thing they bonded over. “How’d it go?” I asked. “Went good. I told him, ‘My only concern with you, Bradley--I might have to tie you up with a rope and pull you behind my truck to knock some of the pretty off you.” Bradley laughed. Still, he did just about everything short of that to prepare for the movie. He grew a beard, studied photos and videos, and worked out like a madman, getting himself into the proper shape to play a SEAL in the movie.

One day, on the verge of dying of boredom, Uncle Johnny had had enough. He turned to me and said sternly, “Noah, I’m not gonna sit in here like we’re in an oversized coffin. We’re either opening the door or we’re turning the TV on. Which one do you want?” I rolled my eyes and grumbled for a few minutes before answering, “All right. Turn on the TV.” Without hesitation Uncle Johnny shot up out of that chair and reached up to hit the power button on the TV mounted from the ceiling. No sooner had his butt hit the chair seat than he was right back up again. “Fuck that. I am opening the door, too, because I want it open.” He vigorously emphasized his intention so I didn’t protest. He marched over and swung that door open. I swear he might have even taken a deep breath as if it were fresh mountain air. Then he came back to his chair and sat down. There was a movie on starring Matthew Broderick. I’d never heard of it before but Uncle Johnny was explaining to me that this was a remake and Gene Wilder had played Broderick’s character in the original film. In spite of myself, and my stubborn wish to sit and suffer in silence, I really liked the movie. And I remember thinking, I am really enjoying myself. I even turned to Uncle Johnny and said, “I’m glad we turned the TV on. This is great!” Uncle Johnny just smiled as if to say, “Of course! Finally!” We were right in the middle of the movie when one of my machines started to malfunction. The machine’s beeps drowned out the movie. A nurse came in to fix the problem and it just happened to be the hot nurse I had a crush on. She had short hair, a few tattoos on her arm, and she always wore a bandana over her head. The machine she was trying to fix was plugged in on the other side of the bed, up against the wall. “Oh, I see. Hold on. I have to move the bed out from the wall to fix this,” she said. At this point I was just watching her. She fixed the machine and pushed the bed back up against the wall. She actually hit the wall with the bed and zap! The TV went out! “WHAT?! NO!” I screamed. She couldn’t get it to turn back on. She tried but nothing worked. “Oh no, I’m sorry. We’ll have to get maintenance down here to fix it,” she said with an apologetic look that I met with a glare of disdain. She was no longer hot to me. She was just the nurse who broke the TV. Maintenance didn’t come to repair the TV until the next day. I didn’t get to watch the rest of the movie. In fact, I never saw the end of the movie and I didn’t even know the name of it until years later. Maybe one of these days I’ll get to see The Producers from start to finish.

Globalization has shipped products at a faster rate than anything else; it’s moved English into schools all over the world so that now there is Dutch English and Filipino English and Japanese English. But the ideologies stay in their places. They do not spread like the swine flu, or through sexual contact. They spread through books and films and things of that nature. The dictatorships of Latin America used to ban books, they used to burn them, just like Franco did, like Pope Gregory IX and Emperor Qin Shi Huang. Now they don’t have to because the best place to hide ideologies is in books. The dictatorships are mostly gone—Brazil, Argentina, Uruguay. The military juntas. Our ideologies are not secrets. Even the Ku Klux Klan holds open meetings in Alabama like a church. None of the Communists are still in jail. You can buy Mao’s red book at the gift shop at the Museum of Communism. I will die soon, in the next five to ten years. I have not seen progress during my lifetime. Our lives are too short and disposable. If we had longer life expectancies, if we lived to 200, would we work harder to preserve life or, do you think that when Borges said, ‘Jews, Christians, and Muslims all profess belief in immortality, but the veneration paid to the first century of life is proof that they truly believe in only those hundred years, for they destine all the rest, throughout eternity, to rewarding or punishing what one did when alive,’ we would simply alter it to say ‘first two centuries’? I have heard people say we are living in a golden age, but the golden age has passed—I’ve seen it in the churches all over Latin America where the gold is like glue. The Middle Ages are called the Dark Ages but only because they are forgotten, because the past is shrouded in darkness, because as we lay one century of life on top of the next, everything that has come before seems old and dark—technological advances provide the illusion of progress. The most horrendous tortures carried out in the past are still carried out today, only today the soldiers don’t meet face to face, no one is drawn and quartered, they take a pill and silently hope a heart attack doesn’t strike them first. We are living in the age of dissociation, speaking a government-patented language of innocence—technology is neither good nor evil, neither progress nor regress, but the more advanced it becomes, the more we will define this era as the one of transparent secrets, of people living in a world of open, agile knowledge, oceans unpoliced—all blank faces, blank minds, blank computers, filled with our native programming, using electronic appliances with enough memory to store everything ever written invented at precisely the same moment we no longer have the desire to read a word of it.” ― John M. Keller, Abracadabrantesque

Editing is the most obvious way of manipulating vision. And yet, the camera sometimes sees what you don’t - a person in the background, for example, or an object moving in the wind. I like these accidents. My first full-length film, Esperanza, was about a woman I befriended on the Lower East Side when I was a film student at NYU. Esperanza had hoarded nearly all the portable objects she had touched every day for thirty years: the Chock Full O’Nuts paper coffee cups, copies of the Daily News, magazines, gum wrappers, price tags, receipts, rubber bands, plastic bags from the 99-cent store where she did most of her shopping, piles of clothes, torn towels, and bric-a-brac she had found in the street. Esperanza’s apartment consisted of floor-to-ceiling stacks of stuff. At first sight, the crowded apartment appeared to be pure chaos, but Esperanza explained to me that her piles were not random. Her paper cups had their own corner. These crenellated towers of yellowing, disintegrating waxed cardboard stood next to piles of newspapers … One evening, however, while I was watching the footage from a day’s filming, I found myself scrutinizing a pile of rags beside Esperanza’s mattress. I noticed that there were objects carefully tucked in among the fraying bits of coloured cloth: rows of pencils, stones, matchbooks, business cards. It was this sighting that led to the “explanation.” She was keenly aware that the world at large disapproved of her “lifestyle,” and that there was little room left for her in the apartment, but when I asked her about the objects among the rags, she said that she wanted to “keep them safe and sound.” The rags were beds for the things. “Both the beds and the ones that lay down on them,” she told me, “are nice and comfy.” It turned out that Esperanza felt for each and every thing she saved, as if the tags and town sweaters and dishes and postcards and newspapers and toys and rags were imbued with thoughts and feelings. After she saw the film, my mother said that Esperanza appeared to believe in a form of “panpsychism.” Mother said that this meant that mind is a fundamental feature of the universe and exists in everything, from stones to people. She said Spinoza subscribed to this view, and “it was a perfectly legitimate philosophical position.” Esperanza didn’t know anything about Spinoza … My mother believed and I believe in really looking hard at things because, after a while, what you see isn’t at all what you thought you were seeing just a short time before. looking at any person or object carefully means that it will become increasingly strange, and you will see more and more. I wanted my film about this lonely woman to break down visual and cultural cliches, to be an intimate portrait, not a piece of leering voyeurism about woman’s horrible accumulations.