Audience Love Quotes

Do you remember all of your audiences?" Marco asks. "Not all of them," Celia says. "But I remember the people who look at me the way you do." "What way might that be?" "As though they cannot decide if they are afraid of me or they want to kiss me." " I am not afraid of you," Marco says.

It's easy to run to others. It's so hard to stand on one's own record. You can fake virtue for an audience. You can't fake it in your own eyes. Your ego is your strictest judge. They run from it. They spend their lives running. It's easier to donate a few thousand to charity and think oneself noble than to base self-respect on personal standards of personal achievement. It's simple to seek substitutes for competence--such easy substitutes: love, charm, kindness, charity. But there is no substitute for competence.

Some people are born to make great art and others are born to appreciate it. Don't you think? It is a kind of talent in itself, to be an audience, whether you are the spectator in the gallery or you are listening to the voice of the world's greatest soprano. Not everyone can be the artist. There have to be those who witness the art, who love and appreciate what they have been privileged to see.

I only share when I have no unmet needs that I'm trying to fill. I firmly believe that being vulnerable with a larger audience is only a good idea if the healing is tied to the sharing, not to the expectations I might have for the response I get.

His mouth captured hers, trying to show her with his kiss what he was still learning to express in words. He loved her. He worshipped her. He'd walk across fire for her. He— —still had the audience of her three brothers. Slowly breaking the kiss, he turned his face to the side. Anthony, Benedict, and Colin were still standing in the foyer. Anthony was studying the ceiling, Benedict was pretending to inspect his fingernails, and Colin was staring quite shamelessly.

We are the ones who take this thing called music and line it up with this thing called time. We are the ticking, we are the pulsing, we are underneath every part of this moment. And by making the moment our own, we are rendering it timeless. There is no audience. There are no instruments. There are only bodies and thoughts and murmurs and looks. It's the concert rush to end all concert rushes, because this is what matters. When the heart races, this is what it's racing towards.

I want to take my time with you - to learn … every inch of you. And this apartment has very, very thin walls. I don’t want to have an audience” he added as he leaned down again, brushing his mouth over the cut at the base of her throat, “when I make you moan, Aelin.

There was a magic about the sea. People were drawn to it. People wanted to love by it, swim in it, play in it, look at it. It was a living thing that as as unpredictable as a great stage actor: it could be calm and welcoming, opening its arms to embrace it's audience one moment, but then could explode with its stormy tempers, flinging people around, wanting them out, attacking coastlines, breaking down islands. It had a playful side too, as it enjoyed the crowd, tossed the children about, knocked lilos over, tipped over windsurfers, occasionally gave sailors helping hands; all done with a secret little chuckle

There is no better audience for someone in love than someone in love.

The artist must forget the audience, forget the critics, forget the technique, forget everything but love for the music. Then, the music speaks through the performance, and the performer and the listener will walk together with the soul of the composer, and with God.

I always am in a role, lovely – for you, for them – even for myself. Yeah... Even when I’m alone, I am still in a role – and I myself am the most exacting audience I have ever had.

You don’t have to say everything to be a light. Sometimes a fire built on a hill will bring interested people to your campfire.

no matter who you are, no matter what you do, no matter who your audience is: 30 percent will love it, 30 percent will hate it, and 30 percent won’t care. Stick with the people who love you and don’t spend a single second on the rest. Life will be better that way.

The emotions - love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust - are in the audience.

Knowledge that is acquired is not like this. Those who have it worry if audiences like it or not. It's a bait for popularity. Disputational knowing wants customers. It has no soul... The only real customer is God. Chew quietly your sweet sugarcane God-Love, and stay playfully childish.

She sang, of course, "M'ama!" and not "he loves me," since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.

Gently, he pulled my hands away from my face. Gently, he took my cheeks in his hands and brushed away my tears. I didn’t care that we had an audience as I lifted my head and beheld the joy and concern and love shining in those remarkable eyes. Neither did Rhys as he murmured, “My love,” and kissed me. I

They were stars on this stage, each playing to an audience of two.

Dear Child, Sometimes on your travel through hell, you meet people that think they are in heaven because of their cleverness and ability to get away with things. Travel past them because they don't understand who they have become and never will. These type of people feel justified in revenge and will never learn mercy or forgiveness because they live by comparison. They are the people that don't care about anyone, other than who is making them feel confident. They don’t understand that their deity is not rejoicing with them because of their actions, rather he is trying to free them from their insecurities, by softening their heart. They rather put out your light than find their own. They don't have the ability to see beyond the false sense of happiness they get from destroying others. You know what happiness is and it isn’t this. Don’t see their success as their deliverance. It is a mask of vindication which has no audience, other than their own kind. They have joined countless others that call themselves “survivors”. They believe that they are entitled to win because life didn’t go as planned for them. You are not like them. You were not meant to stay in hell and follow their belief system. You were bound for greatness. You were born to help them by leading. Rise up and be the light home. You were given the gift to see the truth. They will have an army of people that are like them and you are going to feel alone. However, your family in heaven stands beside you now. They are your strength and as countless as the stars. It is time to let go! Love, Your Guardian Angel

The captain of this sailing vessel has requested a private audience with you in his quarters. It seems you’ve a treasure map hidden on your person, and I mean to explore every inch of you until it is discovered.

To be in love is to see yourself as someone else sees you, it is to be in love with the falsified and exalted image of yourself. In love we are incapable of honour - the courageous act is no more than playing a part to an audience of two.

There is too much negativity in the world. Do your best to make sure you aren't contributing to it.

A single whisper can be quite a disturbance when the rest of the audience is silent.

Be the girl you want your daughter to be. Be the girl you want your son to date. Be classy, be smart, be real, but most importantly be nice.

Audiences love both the feeling part (reliving the life) and the thinking part (figuring out the puzzle) of a story. Every good story has both.

He wants to know everything about her. How she spends her time when not performing. How she interacts with her audiences. How she takes her tea.

Today, spend a little time cultivating relationships offline. Never forget that everybody isn't on social media.

The audience falls in love with a leading man because he'll never belong to any of them.

You should look for your niche: all those people who will love your product because their needs and your product benefits match. we should try to reach a stage where our potential customer base is just perfect in size for us - not too big and not too little.

But I have long loved the written word, and come to see in it the power of the sleeping lion. This is my name. This is who I am. This is how I got here. In the absence of an audience, I will write down my story so that it waits like a restful beast with lungs breathing and heart beating.

The light. The light is so bright that all that remains is you and the darkness. You can feel the audience breathing. It's like holding a gun or standing on a precipice and knowing you must jump. It feels slow and fast. It's like dying and being born and fucking and crying. It's like falling in love and being utterly alone with God; you taste your own mouth and feel your own skin and I knew I was alive and I knew who I was and that that wasn't who I'd been up till then. I'd been so far away but I knew I was home.

I have always been a Laugher, disturbing people who are not laughers, upsetting whole audiences at theatres... I laugh, that's all. I love to laugh. Laugher to me is being alive. I have had rotten times, and I have laughed through them. Even in the midst of the very worst times I have laughed.

Seek out the company of those who will never ask you to jump," the earth advised. Bertie remembered the rush of feathers as she soared above the audience. "I can catch myself." "Of those whose love will never fill your lungs with water-" the earth argued. "But it did not kill me." "there should be more to love," said the earth, "than 'it did not kill me.' More than 'I survived it.

When I played Lady Day, I took Aba onstage with me as a joke. He started singing—in tune!—and the audience loved it. Eartha Kitt, when asked what tricks her poodle did.

My silence knot is tied up in my hair; as if to keep my love out of my eyes. I cannot speak to one for whom i care. A hatpin serves as part of my disguise. In the play, my role is baticeer; a word which here means "person who trains bats." The audience may feel a prick of fear, as if sharp pins are hidden in thier hats. My co-star lives on what we call a brae. His solitude might not be just an act. A piece of mail fails to arrive one day. This poignant melodrama's based on fact. The curtain falls just as the knot unties; the silence is broken by the one who dies.

Which one of us, anywhere in the world, doesn't yearn to be believed when the audience is watching?

On the stage Tristen bent over the piano, his fingers swift and sure, his blond hair gleaming under the spotlight. I glanced around at the audience, watching their faces, gratified that they were as captivated as I was by the dark, thunderous song that Tristen conjured.

If life came with an audience, mine would be laughing hysterically right now.

Overmodulation By Charlotte M Liebel-Fawls You're a cavity in my oasis, You're a porthole in my sea, You're a stretch of the imagination every time you look at me. You're an ocean in my wineglass, You're a Steinway on the beach, You're a captivating audience, an exciting Rembrandt, A Masterpiece.

You are not always right. It’s not always about being right. The best thing you can offer others is understanding. Being an active listener is about more than just listening, it is about reciprocating and being receptive to somebody else. Everybody has woes. Nobody is safe from pain. However, we all suffer in different ways. So learn to adapt to each person, know your audience and reserve yourself for people who have earned the depths of you

To engage Jews excluded by the harsh and judgmental elite, Jesus insisted on preaching out in nature to mass audiences. To renew appreciation for a loving and compassionate Divine, Jesus sat alongside the poor and the outcast, most notably lepers.

They were stars on this stage, each playing to an audience of two: the passion of their pretense created the actuality. Here, finally, was the quintessence of self-expression-- yet it was probable that for the most part their love expressed Gloria rather than Anthony. He felt often like a scarecly tolerated guest at a party she was giving.

A tip from Lubitsch: 'Let the audience add up two plus two and they'll love you forever.

To be in love is to see yourself as someone else sees you, it is to be in love with the falsified and exalted image of yourself. In love we are incapable of honor - the courageous act is no more than playing a part to an audience of two.

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

You’re just trying to find an audience who will love you and I’m not enough.

Where do they go, these dreams of mine? Do they live? Do they die? Do they fall? Do they fly?

Movies were America’s way of softening up the rest of the world, Hollywood relentlessly assaulting the mental defenses of audiences with the hit, the smash, the spectacle, the blockbuster, and, yes, even the box office bomb. It mattered not what story these audiences watched. The point was that it was the American story they watched and loved, up until the day that they themselves might be bombed by the planes they had seen in American movies.

Just read this fabulous screenplay. A remake of Camus's The Stranger with Meursault as a bi break-dancing punk rocker. Randy showed it to me. I loved it. Randy thinks "basically unfilmable" and that filming an orange rolling around a parking lot for three hours would draw a bigger audience.

At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It's like making love. The act is always the same, but each time it's different.

Dandelion, staring into the dying embers, sat much longer, alone, quietly strumming his lute. It began with a few bars, from which an elegant, soothing melody emerged. The lyric suited the melody, and came into being simultaneously with it, the words bending into the music, becoming set in it like insects in translucent, golden lumps of amber. The ballad told of a certain witcher and a certain poet. About how the witcher and the poet met on the seashore, among the crying of seagulls, and how they fell in love at first sight. About how beautiful and powerful was their love. About how nothing - not even death - was able to destroy that love and part them. Dandelion knew that few would believe the story told by the ballad, but he was not concerned. He knew ballads were not written to be believed, but to move their audience. Several years later, Dandelion could have changed the contents of the ballad and written about what had really occurred. He did not. For the true story would not have move anyone. Who would have wanted to hear that the Witcher and Little Eye parted and never, ever, saw each other again? About how four years later Little Eye died of the smallpox during an epidemic raging in Vizima? About how he, Dandelion, had carried her out in his arms between corpses being cremated on funeral pyres and buried her far from the city, in the forest, alone and peaceful, and, as she had asked, buried two things with her: her lute and her sky blue pearl. The pearl from which she was never parted. No, Dandelion stuck with his first version. And he never sang it. Never. To no one. Right before the dawn, while it was still dark, a hungry, vicious werewolf crept up to their camp, but saw that it was Dandelion, so he listened for a moment and then went on his way.

You'll lose your audience and then where will we be? We have future gray-eyed babies to feed, you know.

He's wrong--high school isn't a pyramid with all the power clustered in a chosen few at the top--it's more of a movie theater with twenty-two screens showing simultaneously. The love story in theater three doesn't care what happens on the football field in theater twelve. Actors and audiences overlap on the screen in the hallways, but there's a place for everyone.

We love seeing raw truth and openness in other people, but we’re afraid to let them see it in us. We’re afraid that our truth isn’t enough—that what we have to offer isn’t enough without the bells and whistles, without editing, and impressing. I was afraid to walk on that stage and show the audience my kitchen-table self—these people were too important, too successful, too famous. My kitchen-table self is too messy, too imperfect, too unpredictable. Here’s the crux of the struggle: I want to experience your vulnerability but I don’t want to be vulnerable.

The men loved jokes, though they had heard each one before. Jack's manner was persuasive; few of them had seen the old stories so well delivered. Jack himeself laughed a little, but he was able to see the effect his performance had on his audience. The noise of their laughter roared like the sea in his ears. He wanted it louder and louder; he wanted them to drown out the war with their laughter. If the could should loud enough, they might bring the world back to its senses; they might laugh loud enough to raise the dead.

Faites de beaux rêves, monsieur," she called as she put out the light. Switters had always loved that expression, "Make fine dreams." In contrast to the English, "Have sweet dreams," the French implied that the sleeper was not a passive spectator, a captive audience, but had some control over and must accept some responsiblity for his or her dreaming. Moreover, a "fine" dream had much wider connotations than a "sweet" one.

I straighten and stretch my neck side to side. ‘I really need to hit something.’ Rafa’s mouth quirks. ‘I know what you need.’ ‘In your dreams.’ I know where this is going: it’s been the same banter for about five decades now. Usually he saves it for an audience. ‘In my dreams, Gabe, you end up slick with sweat and moaning.’ ‘I have food poisoning?’ He laughs, a beer halfway to his lips. Condensation drips from the bottle. He’s completely at ease here: three-quarter cargoes, frayed t-shirt, bare feet. ‘I’m just saying that if you need distracting, I’m your man.’ ‘If I wanted to go places everyone else has been, Rafa, I’d take a trip to Disneyland.’ He leans in closer. ‘Yeah, but don’t you want to know why everyone loves Space Mountain?

If an audience kept complete silence during a challenge parable from Jesus and if an audience filed past him afterward saying, 'Lovely parable, this morning, Rabbi,' Jesus would have failed utterly.

Humiliation and indifference, these are conditions every one of us finds unbearable — this is why the Coyote when falling is more concerned with the audience’s opinion of him than he is with the inevitable result of too much gravity.

Annie Wilkes was the perfect audience, a woman who loved stories without having the slightest interest in the mechanics of making them. She was the embodiment of that Victorian archetype, Constant Reader.

At the same time, we both remember we have an audience. Kiaran looks rather repelled by the whole exchange, and Aithinne has her head slightly tilted in unabashed interest. Aithinne says to Kiaran, “That’s lovely. Isn’t that lovely? You didn’t greet me like that when I saved you.” “I was unconscious,” Kiaran reminds her. “Oh. That’s right.

She’d look at me, and I’d stop dead in my tracks, never wanting to leave that moment. Do you know what that’s like?” I scanned the audience. “Day in and day out, you’re thrilled to be alive and experience a million moments of love and happiness that constantly compete with each other. Every day was better than the last.

Often in my lectures when I use the phrase “imperialist white-supremacist capitalist patriarchy” to describe our nation’s political system, audiences laugh. No one has ever explained why accurately naming this system is funny. The laughter is itself a weapon of patriarchal terrorism. It functions as a disclaimer, discounting the significance of what is being named. It suggests that the words themselves are problematic and not the system they describe.

I don’t want to say it, I truly don’t, but if you’ve gone this far I suppose it’s obvious that what was ignited when I loved you continues to burn. But that’s of small importance to you now, and that’s how it should be. Everything is in its place. The past rests, breathing faintly in the darkness. It no longer holds me as it used to; now I must reach back to touch it. It is night and I am alone and there is still time, a moment more. I am standing on a long black stage, with a circle of light on me, which is my love for you, enduring. I have escaped—or have been expelled—from eternity and am back in time. But I step out once more to sing this aria, this confession, this testament without end. My arms open wide, not to embrace you but to embrace the world, the mystery we are caught in. There is no orchestra, no audience; it is an empty theater in the middle of the night and all the clocks in the world are ticking. And now for this last time, Jade, I don’t mind, or even ask if it is madness: I see your face, I see you, you; I see you in every seat.

When the lights go off in a movie theatre, everyone becomes this one entity: the audience watching the film. And most films aim to get the same emotions out of people. The same reactions. To laugh or be scared or cry or be inspired. The audience goes in as individuals and comes out as people who’ve all experienced the same thing, are all feeling the same way.

Who wouldn’t love this jargon we dress common sense in: "formal innovation is no longer transformative, having been co-opted by the forces of stabilization and post-industrial inertia," blah, blah. But this co-optation might actually be a good thing if it helped keep younger writers from being able to treat mere formal ingenuity as an end in itself. MTV-type co-optation could end up a great prophylactic against cleveritis—you know, the dreaded grad-school syndrome of like "Watch me use seventeen different points of view in this scene of a guy eating a Saltine." The real point of that shit is "Like me because I’m clever"—which of course is itself derived from commercial art’s axiom about audience-affection determining art’s value.

A director is a general in charge of an army of traitors like any showman. An audience will love you, laugh with you and wait outside your stage door when you're hot and on a roll, but no audience is ever truly friendly. Not for long. Bore 'em or disappoint 'em - even once - and they'll turn on you and tear you to pieces, regardless of who you are or might once have been.

What?” he asked, finishing the second of his nine-ounce steaks, medium rare. “Why are you looking at me that way?” [...] I sighed theatrically, resting my chin on my cupped hands and bracing my elbows on the table. “You are too gorgeous, you know?” I said it just loud enough that the people who’d been watching us surreptitiously could hear me. Unholy laughter lit his eyes—telling me he’d been noticing the looks we’d been getting. But his face was completely serious, as he purred, “So. Am I worth what you paid for me, baby?” I loved it when he played along with me. I sighed again, a sound that I drew up from my toes, a contented, happy sound. I’d get him back for that “baby.” Just see if I didn’t. “Oh, yes,” I told our audience. “I’ll tell Jesse that she was right. Go for the sexy beast, she told me. If you’re going to shell out the money, don’t settle.” He threw back his head and laughed until he had to wipe tears of hilarity off his face. “Jeez, Mercy,” he said. “The things you say.” Then he leaned across the table and kissed me. A while later he pulled back, grinned at me, and sat back in his chair. I had to catch my breath before I spoke. “Best five bucks I ever spent,” I told him fervently.

Art is love-times-love; the creator loves it and his audience adores it. To miss the sensation of loving art is to miss a kind of parenthood—false pregnancy perhaps—but as Van Gogh said, "If, defrauded of the power to create physically, a man tries to create thoughts in place of children, he is still part of humanity"...a big part.

Neither one of us could really articulate how we felt until I heard Lamott referencing Paul Tillich and telling the audience, “The opposite of faith is not doubt—it’s certainty.” Steve and I didn’t leave religion because we stopped believing in God. Religion left us when it started putting politics and certainty before love and mystery.

They should." "Should be like a wood bee," she said. It was a private joke, a mocking appreciation of the slipperiness of even the simplest hope, a nonce catchphrase like so many others lifted from favorite movies or TV shows that served as a rote substitute for conversation and bound them like shut-in twins, each other's best and, most often, only audience.

The Black homosexual is hard pressed to gain audience among his heterosexual brothers; even if he is more talented, he is inhibited by his silence or his admissions. This is what the race has depended on in being able to erase homosexuality from our recorded history. The "chosen" history. But the sacred constructions of silence are futile exercises in denial. We will not go away with our issues of sexuality. We are coming home. It is not enough to tell us that one was a brilliant poet, scientist, educator, or rebel. Whom did he love? It makes a difference. I can't become a whole man simply on what is fed to me: watered-down versions of Black life in America. I need the ass-splitting truth to be told, so I will have something pure to emulate, a reason to remain loyal.

KAUFMAN Sir, what if a writer is attempting to create a story where nothing much happens, where people don't change, they don't have any epiphanies. They struggle and are frustrated and nothing is resolved. More a reflection of the real world — MCKEE The real world? KAUFMAN Yes, sir. MCKEE The real fucking world? First of all, you write a screenplay without Conflict or Crisis, you'll bore your audience to tears. Secondly: nothing happens in the world? Are you out of your fucking mind? People are murdered every day! There's genocide, war, corruption! Every fucking day somewhere in the world somebody sacrifices his life to save someone else! Every fucking day someone somewhere makes a conscious decision to destroy someone else! People find love! People lose it! For Christ's sake! A child watches her mother beaten to death on the steps of a church! Someone goes hungry! Somebody else betrays his best friend for a woman! If you can't find that stuff in life, then you, my friend, don't know CRAP about life! And WHY THE FUCK are you wasting my two precious hours with your movie? I don't have any use for it! I don't have any bloody use for it! KAUFMAN Okay, thanks.

My first kiss...and it was everything I’d imagined it to be, with the exception of there being an audience for it. But it was hard to acknowledge them or their cheering and whistles. Flames scorched my already heated skin. Dez’s lips moved against mine, working the tight seam open. I gasped, wondering where in the world he’d learned to kiss like that. Jealousy flared like a beacon on the heels of that thought. Okay. I didn’t want to know how he’d learned.

I love memories. They are our ballads, our personal foundation myths. But I must acknowledge that memory can be cruel if left unchallenged. Memory is often our only connection to who we used to be. Memories are fossils, the bones left by dead versions of ourselves. More potently, our minds are a hungry audience, craving only the peaks and valleys of experience. The bland erodes, leaving behind the distinctive bits to be remembered again and again. Painful or passionate, surreal or sublime, we cherish those little rocks of peak experience, polishing them with the ever-smoothing touch of recycled proxy living. In so doing—like pagans praying to a sculpted mud figure—we make of our memories the gods which judge our current lives. I love this. Memory may not be the heart of what makes us human, but it’s at least a vital organ.

The farm brook ran down from the mountain in a straight line for the fold then swerved to the west to go its way down into the marshes. There were two knee-high falls in it and two pools, knee-deep. At the bottom there was shingle, pebbles and sand. It ran in many curves. Each curve had its own tone, but not one of them was dull; the brook was merry and music-loving, like youth, but yet with various strings, and it played its music without thought of any audience and did not care though no one heard for a hundred years, like the true poet.

Mac Rebennack, better known as Dr. John, once told me that when a brass band plays at a small club back up in one of the neighborhoods, it's as if the audience--dancing, singing to the refrains, laughing--is part of the band. They are two parts of the same thing. The dancers interpret, or it might be better to say literally embody, the sounds of the band, answering the instruments. Since everyone is listening to different parts of the music--she to the trumpet melody, he to the bass drum, she to the trombone--the audience is a working model in three dimensions of the music, a synesthesic transformation of materials. And of course the band is also watching the dancers, and getting ideas from the dancers' gestures. The relationship between band and audience is in that sense like the relationship between two lovers making love, where cause and effect becomes very hard to see, even impossible to call by its right name; one is literally getting down, as in particle physics, to some root stratum where one is freed from the lockstop of time itself, where time might even run backward, or sideways, and something eternal and transcendent is accessed.

Shaun has working his audience into a frenzy down to a science; by the time he's done with them, they get excited by the mysterious discovery of pocket lint. It's impressive, but I'd rather watch him move. There's something wonderful about the way he lets go, becoming all energy and excitement as he outlines what's coming next. Maybe it's geeky for a girl my age to admit she still loves her brother. I don't care. I love him, and one day I'll bury him, and until then, I'm going to be grateful that I'm allowed to watch him talk.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

Self-Exam Dear audience, please stand if you were raised By a terrible mother. Okay, okay, Approximately half of you. So I'd say That terrible mothers are commonplace. Just like terrible fathers. So let's mourn For the children who never knew childhood. Our grief is justified. Our anger is good. I won't blame children for childish scorn. But there comes a day when a broken child Becomes an adult. On that day, you'll need To choose between the domestic and wild. You'll need to escalate war or declare peace. I tell you this because I'm the kid, mother-stung, Who became a terrible adult son. And I'm to blame for that. I made that mess. Because I am the Amateur of Forgiveness.

You don’t get many second chances in this world.  Don’t turn your back on them.  You don’t get many true loves.  Embrace the ones in your life and set your fears aside.  You only get two parents.  Forgive them.  Not every business in this country will willingly hand you a paycheck.  Do your work with presence.  And if the stars align and the heavens deem your art acceptable enough for an audience, love every new friend and never put ads on your website.

There was no room for dust devils in the laws of physics, as least in the rigid form in which they were usually taught. There is a kind of unspoken collusion going on in mainstream science education: you get your competent but bored, insecure and hence stodgy teacher talking to an audience divided between engineering students, who are going to be responsible for making bridges that won’t fall down or airplanes that won’t suddenly plunge vertically into the ground at six hundred miles an hour, and who by definition get sweaty palms and vindictive attitudes when their teacher suddenly veers off track and begins raving about wild and completely nonintuitive phenomena; and physics students, who derive much of their self-esteem from knowing that they are smarter and morally purer than the engineering students, and who by definition don’t want to hear about anything that makes no fucking sense. This collusion results in the professor saying: (something along the lines of) dust is heavier than air, therefore it falls until it hits the ground. That’s all there is to know about dust. The engineers love it because they like their issues dead and crucified like butterflies under glass. The physicists love it because they want to think they understand everything. No one asks difficult questions. And outside the windows, the dust devils continue to gambol across the campus.

Not too many years ago, the names of our perfumes bore testimony to such things. There was a popular scent called Tabu, there was Sorcery, My Sin, Vampire, Voodoo, Evening in Paris, Jungle Gardenia, Bandit, Shocking, Intimate, Love Potion, and L'Heure Bleue—The Blue Hour. Nowadays what do we find? Vanderbilt, Miss Dior, Lauren, and Armani, perfumes named after glorified tailors"—there were murmurs and gasps in the audience—"names that evoke not the poetic, the erotic, the magic, but economic status, social snobbery, and the egomania of designers. Perfumes that confuse the essence of creation with the essence of money. How much sustenance can the soul receive from a scent entitled Bill Blass?

Five years ago, I said vows. And I believe in vows. I meant them, and not just when I said them out loud for an audience to hear but as a motto and a life choice. For as long as we both shall live. I hadn't anticipated the sandy flow of feeling, the yin-yang of love and dread, or the residual buildup of grievances and the slow draining of the benefit of doubt. In good times and in bad. Yes, sure, but in my naivete, I interpreted this as external; we would support each other when the world imposed and intruded. No one tells you that it's the internal that's the real challenge: those moments of decisiveness equal to taking a vow, when you feel the clawing grip of your pormises.

All my girlhood I always planned to do something big…something constructive. It’s queer what ambitious dreams a girl has when she is young. I thought I would sing before big audiences or paint lovely pictures or write a splendid book. I always had that feeling in me of wanting to do something worth while. And just think, Laura…now I am eighty and I have not painted nor written nor sung.” “But you’ve done lots of things, Grandma. You’ve baked bread…and pieced quilts…and taken care of your children.” Old Abbie Deal patted the young girl’s hand. “Well…well…out of the mouths of babes. That’s just it, Laura, I’ve only baked bread and pieced quilts and taken care of children. But some women have to, don’t they?...But I’ve dreamed dreams, Laura. All the time I was cooking and patching and washing, I dreamed dreams. And I think I dreamed them into the children…and the children are carrying them out...doing all the things I wanted to and couldn’t.

When alone in a dark forest waiting for an audience with an evil god, the most prudent course of action is to be quiet and wait. ‘Prudent’ wasn’t one of my favourite words. “Hello? I’ve come to borrow a cup of sugar. Anybody? Perhaps there is an old woman with a house made of candy who could help me?” “Marrying for love isn’t wise.” The voice came from somewhere to the left. Melodious, but not soft, definitely female and charged with a promise of hidden power. Something told me that hearing her scream would end very badly for me. I stopped and pivoted toward the voice. “Marry for safety. Marry for power. But only fools marry for love.” When a strange voice talks to you in the black woods, only idiots answer. I was that idiot. “Thank you, counsellor. How much do I owe you for this session?

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!

There are things you do when you are a teenager, or a dancer, or just a girl, I guess. You cut your food up in special ways, or you cut yourself, or paper dolls. You pretend that there is an invisible audience watching you all the time, and you do things to impress them or pretend that they didn’t see what you just did because their live video feed was interrupted somehow. You steal things or tell lies or speak to strangers in a Russian accent. You have sex with someone you love, or with someone who gets you really drunk. You lie to your parents, your boyfriend, yourself, your therapist. You cheat on your homework or do other people’s homework for money. You get up, you take class, you rehearse, you perform, you go to bed. How do you decide which of these things are truly crazy and which are just being alive?

I prefer your company, Em." He said it as if it were obvious. I snorted again, assuming he was teasing me. "Over the company of a tavern filled with a rapt and grateful audience? I'm sure you do." "Over anyone else's company." Again, he said it with some amusement, as if wondering what I was doing speculating about something so evident. "You are drunk," I said. "Shall I prove it to you?" "No, you shan't," I said, alarmed, but he was already sweeping to the floor, bending his knee and taking my hand between his. "What in God's name are you doing?" I said between my teeth. "And why are you doing it now?" "Shall I make an appointment?" he said, then laughed. "Yes, I believe you would like that. Well, name the time when it would be convenient for you to receive a declaration of love." "Oh, get up," I said, furious now. "What sort of jest is this, Wendell?" "You don't believe me?" He smiled, all mischief, a look I'd seen from other Folk, enough to know not to trust him one inch. "Ask for my true name, and I'll give it to you." "Why on earth would you do that?" I demanded, yanking my hand back. "Oh, Em," he said forlornly. "You are the cleverest dolt I have ever met." I stared at him, my heart thundering. Of course, I am not a dolt in any sense; I had supposed he felt something for me and had only hoped he would keep it to himself. Forever. Not that a part of me didn't wish for the opposite. But that was when I assumed his feelings in that respect were equivalent to what he felt for any of the nameless women who passed in and out of his bed. And why would I lower myself to that, when he and I already had something that was vastly more valuable?

Do you know someone who needs hours alone every day? Who loves quiet conversations about feelings or ideas, and can give a dynamite presentation to a big audience, but seems awkward in groups and maladroit at small talk? Who has to be dragged to parties and then needs the rest of the day to recuperate? Who growls or scowls or grunts or winces when accosted with pleasantries by people who are just trying to be nice? If so, do you tell this person he is "too serious," or ask if he is okay? Regard him as aloof, arrogant, rude? Redouble your efforts to draw him out? If you answered yes to these questions, chances are that you have an introvert on your hands—and that you aren't caring for him properly.

Maman had been a gifted writer. Pari has read every word Maman had written in French and every poem she had translated from Farsi as well. The power and beauty of her writing was undeniable. But if the account Maman had given of her life in the interview was a lie, then where did the images of her work come from? Where was the wellspring for words that were honest and lovely and brutal and sad? Was she merely a gifted trickster? A magician, with a pen for a wand, able to move an audience by conjuring emotions she had never known herself? Was that even possible? Pari does not know—she does not know. And that, perhaps, may have been Maman’s true intent, to shift the ground beneath Pari’s feet. To intentionally unsteady and upend her, to turn her into a stranger to herself, to heave the weight of doubt on her mind, on all Pari thought she knew of her life, to make her feel as lost as if she were wandering through a desert at night, surrounded by darkness and the unknown, the truth elusive, like a single tiny glint of light in the distance flickering on and off, forever moving, receding.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

I never knew the difference between loving someone and being in love,” he began. “I don’t know why, because now it seems so obvious. I mean, it’s in the name: in love. When you love someone that just means you care; but when you’re in love, that means you’re a part of it.” He scanned the audience and landed on Paxton and Jade holding hands in the third row. “The feeling consumes you,” he continued. “And when you’re surrounded by that want and that need to make that other person happy, you can’t see anything else. You’re blind to all of the hate and the hurt that’s waiting on the outside. None of it matters, because in here – in love – nothing hurts.” Larson watched as a drop of his own tears fell onto the surface in front of him. “I don’t care if I’m blind for the rest of my life. I loved Owen. I’m in love with him. And even though he’s gone, I’ll never leave this place we made.

He was perfectly astonished with the historical account gave him of our affairs during the last century; protesting “it was only a heap of conspiracies, rebellions, murders, massacres, revolutions, banishments, the very worst effects that avarice, faction, hypocrisy, perfidiousness, cruelty, rage, madness, hatred, envy, lust, malice, and ambition, could produce.” His majesty, in another audience, was at the pains to recapitulate the sum of all I had spoken; compared the questions he made with the answers I had given; then taking me into his hands, and stroking me gently, delivered himself in these words, which I shall never forget, nor the manner he spoke them in: “My little friend Grildrig, you have made a most admirable panegyric upon your country; you have clearly proved, that ignorance, idleness, and vice, are the proper ingredients for qualifying a legislator; that laws are best explained, interpreted, and applied, by those whose interest and abilities lie in perverting, confounding, and eluding them. I observe among you some lines of an institution, which, in its original, might have been tolerable, but these half erased, and the rest wholly blurred and blotted by corruptions. It does not appear, from all you have said, how any one perfection is required toward the procurement of any one station among you; much less, that men are ennobled on account of their virtue; that priests are advanced for their piety or learning; soldiers, for their conduct or valour; judges, for their integrity; senators, for the love of their country; or counsellors for their wisdom. As for yourself,” continued the king, “who have spent the greatest part of your life in travelling, I am well disposed to hope you may hitherto have escaped many vices of your country. But by what I have gathered from your own relation, and the answers I have with much pains wrung and extorted from you, I cannot but conclude the bulk of your natives to be the most pernicious race of little odious vermin that nature ever suffered to crawl upon the surface of the earth.

One woman sent me on a letter written to her by her daughter, and the young girl's words are a remarkable statement about artistic creation as an infinitely versatile and subtle form of communication: '...How many words does a person know?' she asks her mother. 'How many does he use in his everyday vocabulary? One hundred, two, three? We wrap our feelings up in words, try to express in words sorrow and joy and any sort of emotion, the very things that can't in fact be expressed. Romeo uttered beautiful words to Juliet, vivid, expressive words, but they surely didn't say even half of what made his heart feel as if it was ready to jump out of his chest, and stopped him breathing, and made Juliet forget everything except her love? There's another kind of language, another form of communication: by means of feeling, and images. That is the contact that stops people being separated from each other, that brings down barriers. Will, feeling, emotion—these remove obstacles from between people who otherwise stand on opposite sides of a mirror, on opposite sides of a door.. The frames of the screen move out, and the world which used to be partitioned off comes into us, becomes something real... And this doesn't happen through little Audrey, it's Tarkovsky himself addressing the audience directly, as they sit on the other side of the screen. There's no death, there is immortality. Time is one and undivided, as it says in one of the poems. "At the table are great-grandfathers and grandchildren.." Actually Mum, I've taken the film entirely from an emotional angle, but I'm sure there could be a different way of looking at it. What about you? Do write and tell me please..

Her friend - and her partner on the stage. You will not believe me, but making love to Kitty - a thing done in passion, but always, too, in shadow and silence, and with an ear half-cocked for the sound of footsteps on the stairs - making love to Kitty and posing at her side in a shaft of limelight, before a thousand pairs of eyes, to a script I knew by heart, in an attitude I had laboured for hours to perfect - these things were not so very different. A double act is always twice the act that the audience thinks it; beyond our songs, our steps, our bits of business with coins and canes and flowers, there was a private language, in which we held an endless, delicate exchange of which the crowd knew nothing. This was a language not of the tongue but of the body, its vocabulary the pressure of a finger or a palm, the nudging of a hip, the holding or breaking of a gaze, that said, You are too slow - you got too fast - not there but here - that's good - that's better! It was as if we walked before the crimson curtain, lay down upon the boards and kissed and fondled - and were clapped, and cheered, and paid for it!

Fame requires every kind of excess. I mean true fame, a devouring neon, not the somber renown of waning statesmen or chinless kings. I mean long journeys across gray space. I mean danger, the edge of every void, the circumstance of one man imparting an erotic terror to the dreams of the republic. Understand the man who must inhabit these extreme regions, monstrous and vulval, damp with memories of violation. Even if half-mad he is absorbed into the public's total madness; even if fully rational, a bureaucrat in hell, a secret genius of survival, he is sure to be destroyed by the public's contempt for survivors. Fame, this special kind, feeds itself on outrage, on what the counselors of lesser men would consider bad publicity-hysteria in limousines, knife fights in the audience, bizarre litigation, treachery, pandemonium and drugs. Perhaps the only natural law attaching to true fame is that the famous man is compelled, eventually, to commit suicide. (Is it clear I was a hero of rock'n'roll?) Toward the end of the final tour it became apparent that our audience wanted more than music, more even than its own reduplicated noise. It's possible the culture had reached its limit, a point of severe tension. There was less sense of simple visceral abandon at our concerts during these last weeks. Few cases of arson and vandalism. Fewer still of rape. No smoke bombs or threats of worse explosives. Our followers, in their isolation, were not concerned with precedent now. They were free of old saints and martyrs, but fearfully so, left with their own unlabeled flesh. Those without tickets didn't storm the barricades, and during a performance the boys and girls directly below us, scratching at the stage, were less murderous in their love of me, as if realizing finally that my death, to be authentic, must be self-willed- a succesful piece of instruction only if it occured by my own hand, preferrably ina foreign city. I began to think their education would not be complete until they outdid me as a teacher, until one day they merely pantomimed the kind of massive response the group was used to getting. As we performed they would dance, collapse, clutch each other, wave their arms, all the while making absolutely no sound. We would stand in the incandescent pit of a huge stadium filled with wildly rippling bodies, all totally silent. Our recent music, deprived of people's screams, was next to meaningless, and there would have been no choice but to stop playing. A profound joke it would have been. A lesson in something or other. In Houston I left the group, saying nothing, and boarded a plane for New York City, that contaminated shrine, place of my birth. I knew Azarian would assume leadership of the band, his body being prettiest. As to the rest, I left them to their respective uproars- news media, promotion people, agents, accountants, various members of the managerial peerage. The public would come closer to understanding my disappearance than anyone else. It was not quite as total as the act they needed and nobody could be sure whether I was gone for good. For my closest followers, it foreshadowed a period of waiting. Either I'd return with a new language for them to speak or they'd seek a divine silence attendant to my own. I took a taxi past the cemetaries toward Manhattan, tides of ash-light breaking across the spires. new York seemed older than the cities of Europe, a sadistic gift of the sixteenth century, ever on the verge of plague. The cab driver was young, however, a freckled kid with a moderate orange Afro. I told him to take the tunnel. Is there a tunnel?" he said.

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.

It's like Romeo & Juliet,' I say. 'You can't separate them. Otherwise, there would be no Shakespeare.' Silence. I decide to be more straightforward. I tell him, 'Nothing frightens me anymore. I am not even afraid to die.' Bussey's eyes, already wide open, grow even wider. My death is the last thing he needs. I have the strange feeling that there are two of me. One observes the conversation while the other does the talking. Everything is abnormal, especially this extreme calm that has taken me over. I try to explain to Bussey that if I decide to die, it will be without bitterness. I know I did everything I possibly could, so it will be respectful farewell. I will bow to life like an actor, who, having delivered his lines, bends deeply to his audience & retires. I tell Bussey that this decision has nothing to do with him, that it is entirely mine. I will choose either to live or to die, but I cannot allow myself to live in the in-between. I do not want to go through life like a ghost. 'Do you think you'll find Danny this way?' Bussey asks. My mind sifts through all available theories on the afterlife. It is as if this metaphysical question has become as real as the air we breathe. Buddhism teaches that life is an eternal cycle without beginning or end. I recall the metaphor: "Our individual lives are like waves produced from the great ocean that is the universe. The emergence of a wave is life, and its abatement is death. This rhythm repeats eternally." Finally I answer Bussey, 'No, I don't think so.' Bussey seems relieved, but I'm more panicky, because I had never thought that I could wind up alone. In my mind, whatever the odds, Danny & I were & would be together forever.

The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.' 'Oh my God... said Jonathan, his mouth stalling the open position. 'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")