Backwards Movie Quotes

It was a movie about American bombers in World War II and the gallant men who flew them. Seen backwards by Billy, the story went like this: American planes, full of holes and wounded men and corpses took off backwards from an airfield in England. Over France, a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground, and those planes flew up backwards to join the formation. The formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers , and lifted the containers into the bellies of the planes. The containers were stored neatly in racks. The Germans below had miraculous devices of their own, which were long steel tubes. They used them to suck more fragments from the crewmen and planes. But there were still a few wounded Americans though and some of the bombers were in bad repair. Over France though, German fighters came up again, made everything and everybody as good as new. When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was mainly women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground, to hide them cleverly, so they would never hurt anybody ever again.

Never presume to know a person based on the one dimensional window of the internet. A soul can’t be defined by critics, enemies or broken ties with family or friends. Neither can it be explained by posts or blogs that lack facial expressions, tone or insight into the person’s personality and intent. Until people “get that”, we will forever be a society that thinks Beautiful Mind was a spy movie and every stranger is really a friend on Facebook.

But there comes a point in the speech where I find my cadence. The crowd quiets rather than roars. It's the kind of moment I'd come to recognize in subsequent years, on certain magic nights. There's a physical feeling, a current of emotion that passes back and forth between you and the crowd, as if your lives and theirs are suddenly spliced together, like a movie reel, projecting backward and forward in time, and your voice creeps right up to the edge of cracking, because for an instant, you feel them deeply; you can see them whole. You've tapped into some collective spirit, a thing we all know and wish for - a sense of connection that overrides our differences and replaces them with a giant swell of possibility - and like all things that matter most, you know the moment is fleeting and that soon the spell will be broken.

Dorothy viewed my mother's propensity toward madness not as something to be afraid of, but rather as something to look forward to, like a movie or a newly released color of nail polish. 'Your mother is just expressing herself,' Dorothy would tell me when my mother stopped sleeping, started smoking the filters of her cigarettes and began writing backward with a glitter pen. No, she's not,' I would say. 'She's going insane again.' Don't be so mundane,' she would yawn, passing my mother a shoebox filled with cat vertebrae. 'She is a brilliant artist. If you want Hamburger Helper, go find some other mother.

GONE TO STATIC it sounds better than it is, this business of surviving, making it through the wrong place at the wrong time and living to tell. when the talk shows and movie credits wear off, it's just me and my dumb luck. this morning I had that dream again: the one where I'm dead. I wake up and nothing's much different. everything's gone sepia, a dirty bourbon glass by the bed, you're still dead. I could stumble to the shower, scrub the luck of breath off my skin but it's futile. the killer always wins. it's just a matter of time. and I have time. I have grief and liquor to fill it. tonight, the liquor and I are talking to you. the liquor says, 'remember' and I fill in the rest, your hands, your smile. all those times. remember. tonight the liquor and I are telling you about our day. we made it out of bed. we miss you. we were surprised by the blood between our legs. we miss you. we made it to the video store, missing you. we stopped at the liquor store hoping the bourbon would stop the missing. there's always more bourbon, more missing tonight, when we got home, there was a stray cat at the door. she came in. she screams to be touched. she screams when I touch her. she's right at home. not me. the whisky is open the vcr is on. I'm running the film backwards and one by one you come back to me, all of you. your pulses stutter to a begin your eyes go from fixed to blink the knives come out of your chests, the chainsaws roar out from your legs your wounds seal over your t-cells multiply, your tumors shrink the maniac killer disappears it's just you and me and the bourbon and the movie flickering together and the air breathes us and I am home, I am lucky I am right before everything goes black

Billy looked at the clock on the gas stove. He had an hour to kill before the saucer came. He went into the living room, swinging the bottle like a dinner bell, turned on the television. He came slightly unstuck in time, saw the late movie backwards, then forwards again. It was a movie about American bombers in the Second World War and the gallant men who flew them. Seen backwards by Billy, the story went like this: American planes, full of holes and wounded men and corpses took off backwards from an airfield in England. Over France a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground, and those planes flew up backwards to join the formation. The formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers, and lifted the containers into the bellies of the planes. The containers were stored neatly in racks. The Germans below had miraculous devices of their own, which were long steel tubes. They used them to suck more fragments from the crewmen and planes. But there were still a few wounded Americans, though, and some of the bombers were in bad repair. Over France, though, German fighters came up again, made everything and everybody as good as new. When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was mainly women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground., to hide them cleverly, so they would never hurt anybody ever again. The American fliers turned in their uniforms, became high school kids. And Hitler turned into a baby, Billy Pilgrim supposed. That wasn't in the movie. Billy was extrapolating. Everybody turned into a baby, and all humanity, without exception, conspired biologically to produce two perfect people named Adam and Eve, he supposed.

every movie theater ticket just to remind me of all the things i've loved and lost and love again unconditionally

The space behind me in the frame was not so much a space in the conventional sense as a perfectly composed harmony, a wider, more real-seeming reality with a deep silence around it, beyond sound and speech; where all was stillness and clarity, and at the same time, as in a backward-run movie, you could also imagine spilled milk leaping back into the pitcher, a jumping cat flying backward to land silently upon a table, a waystation where time didn’t exist or, more accurately, existed all at once in every direction, all histories and movements occurring simultaneously.

Hi...ah..." What did she call him? Honey? Babe? Darling? "...Humraaz." The Urdu term of endearment came out before she could stop it. Liam's gaze shifted to her, and his face softened. Before he could ask her what it meant and ruin the performance, she rose up on her toes, pressed her hands against his chest, and kissed him. Without hesitation, Liam wrapped one arm around her waist, pressed his mouth against hers, and bent her over backward in a full-on movie kiss. Her breath hitched and her lips softened. His lips were firm and cool and tasted of coffee and something sweet. He slipped his tongue into her mouth and for a moment she thought her heart had stopped. But it didn't matter. Upside down, in front of her work colleagues, she was the woman she always wanted to be. Then she was up and back on her feet, lips tingling, an ache of desire between her thighs. "What does it mean?" he murmured gently. "The one with whom we share our secrets." "Then I am your humraaz," he said. "And you are mine.

The fly lands on the swatter. The movie runs backwards and catches fire in the projector. This species apes us well by talking only about itself

In these days when anything goes in literature, movies, and even TV, to think there are some places so isolated, so backward, so ill-informed as to what’s going on in the world

Say I was going to make love to you right now." He movied to stand eye to eye with her. "I would would gently take your shoulders and guide you backwards until your back was pressed into the wall behind you. I might run my hands as light as possible up and down these gorgeous arms and the entire time I'd have my mouth against yours in a soft, sensual kiss." "I'd wrap your long, sexy legs around my waist and slowly, gently, slide my cock into you." "But if I was going to fuck you." He gripped her thighs tightly and pushed his hips into her. "Maybe my hands would be rougher and there'd be nothing slow and gentle about my cock, but there'd be no shortage of passion. Every thrust, every touch would convey how fucking sexy I find you." ~Slade

This humanity we would claim for ourselves is the legacy, not only of the Enlightenment, but of the thousands of European peasants and poor townspeople who came here bringing their humanity and their sufferings with them. It is the absence of a stable upper class that is responsible for much of the vulgarity of the American scene. Should we blush before the visitor for this deficiency? The ugliness of American decoration, American entertainment, American literature - is not this the visible expression of the impoverishment of the European masses, a manifestation of all the backwardness, deprivation, and want that arrived here in boatloads from Europe? The immense popularity of American movies abroad demonstrates that Europe is the unfinished negative of which America is the proof. The European traveler, viewing with distaste a movie palace or a Motorola, is only looking into the terrible concavity of his continent of hunger inverted startlingly into the convex. Our civilization, deformed as it is outwardly, is still an accomplishment; all this had to come to light.

Some people find illeism annoying (although it doesn’t bother Daniel Pink). But its existence as a style of speech and narration exemplifies the final step in the regret-reckoning process. Talking about ourselves in the third person is one variety of what social psychologists call “self-distancing.” When we’re beset by negative emotions, including regret, one response is to immerse ourselves in them, to face the negativity by getting up close and personal. But immersion can catch us in an undertow of rumination. A better, more effective, and longer-lasting approach is to move in the opposite direction—not to plunge in, but to zoom out and gaze upon our situation as a detached observer, much as a movie director pulls back the camera. After self-disclosure relieves the burden of carrying a regret, and self-compassion reframes the regret as a human imperfection rather than an incapacitating flaw, self-distancing helps you analyze and strategize—to examine the regret dispassionately without shame or rancor and to extract from it a lesson that can guide your future behavior.

An alternative — and better — definition of reality can be found by naming some of its components: air, sunlight, wind, water, the motion of waves, the patterns of clouds before a coming storm. These elements, unlike 20th-century office routines, have been here since before life appeared on this planet, and they will continue long after office routines are gone. They are understood by everyone, not just a small segment of a highly advanced society. When considered on purely logical grounds, they are more real than the extremely transitory lifestyles of the modern civilization the depressed ones want to return to.If this is so, then it follows that those who see sailing as an escape from reality have their understanding of sailing and reality backward. Sailing is not an escape, but a return to and a confrontation of a reality from which modern civilization is itself an escape. For centuries, man suffered from the reality of an Earth that was too dark or too hot or too cold for his comfort, and to escape this he invented complex systems of lighting, heating and air conditioning.Sailing rejects these and returns to the old realities of dark and heat and cold. Modern civilization has found radio, television, movies, nightclubs and a huge variety of mechanized entertainment to titillate our senses and help us escape from the apparent boredom of the Earth and the Sun, the wind and the stars. Sailing returns to these ancient realities.

Psychologists have devised some ingenious ways to help unpack the human "now." Consider how we run those jerky movie frames together into a smooth and continuous stream. This is known as the "phi phenomenon." The essence of phi shows up in experiments in a darkened room where two small spots are briefly lit in quick succession, at slightly separated locations. What the subjects report seeing is not a succession of spots, but a single spot moving continuously back and forth. Typically, the spots are illuminated for 150 milliseconds separated by an interval of fifty milliseconds. Evidently the brain somehow "fills in" the fifty-millisecond gap. Presumably this "hallucination" or embellishment occurs after the event, because until the second light flashes the subject cannot know the light is "supposed" to move. This hints that the human now is not simultaneous with the visual stimulus, but a bit delayed, allowing time for the brain to reconstruct a plausible fiction of what has happened a few milliseconds before. In a fascinating refinement of the experiment, the first spot is colored red, the second green. This clearly presents the brain with a problem. How will it join together the two discontinuous experiences—red spot, green spot—smoothly? By blending the colors seamlessly into one another? Or something else? In fact, subjects report seeing the spot change color abruptly in the middle of the imagined trajectory, and are even able to indicate exactly where using a pointer. This result leaves us wondering how the subject can apparently experience the "correct" color sensation before the green spot lights up. Is it a type of precognition? Commenting on this eerie phenomenon, the philosopher Nelson Goodman wrote suggestively: "The intervening motion is produced retrospectively, built only after the second flash occurs and projected backwards in time." In his book Consciousness Explained , philosopher Daniel Dennett points out that the illusion of color switch cannot actually be created by the brain until after the green spot appears. "But if the second spot is already 'in conscious experience,' wouldn't it be too late to interpose the illusory content between the conscious experience of the red spot and the conscious experience of the green spot?

Mentally subtract positive events. To take the hurt out of a regret, try a mental trick made famous in the 1946 movie It’s a Wonderful Life. On Christmas Eve, George Bailey stands on the brink of suicide when he’s visited by Clarence, an angel who shows George what life in Bedford Falls would be like had he never been born. Clarence’s technique is called “mentally subtracting positive events.

So let’s get this straight right now. Have you ever seen a teen movie or TV show with a big, raging party scene? Get that out of your mind. This is high school, not college, and it’s Texas. In Texas, we do bonfires on the ranch…not mansions and hotel rooms. We do daisy dukes, backward baseball caps and faded blue jeans…not sparkling cocktail dresses or fancy button ups. I love Texas. I love the laid-back, country style of my hometown and my people.

Someday, I’ll gain telepathic powers like every other regular movie ghost and I will go all Freddie Krueger on his bony, little, rat arse!” I rolled my eyes, but kept marching down the street. “Then I’d have to go all Ghostbusters on yours.”, I tried to keep my voice low to keep from drawing attention to myself. “No, you wouldn’t. You love my arse, darling!”, he walked backwards few feet in front of me. His big smile was enough to make me grin and roll my eyes again at him.

An interesting question: what was I thinking, as I watched his eyes widen with startled incredulity (“come on, fellas, you’re joking right?”) for what would be the very last time? Not of the fact that I was helping to save my friends, certainly not; nor of fear; nor guilt. But little things. Insults, innuendos, petty cruelties. The hundreds of small, unavenged humiliations which had been rising in me for months. It was of them I thought, and nothing more. It was because of them that I was able to watch him at all, without the slightest tinge of pity or regret, as he teetered on the cliff's edge for one long moment – arms flailing, eyes rolling, a silent-movie comedian slipping on a banana peel – before he toppled backwards, and fell to his death.

Years ago, when my wife and I were dating, she took me on a day trip to the seaside at Brighton. It was my first exposure to the British at play in a marine environment. It was a fairly warm day--I remember the sun came out for whole moments at a time--and large numbers of people were in the sea. They were shrieking with what I took to be pleasure, but now realize was agony. Naively, I pulled off my T-shirt and sprinted into the water. It was like running into liquid nitrogen. It was the only time in my life in which I have moved like someone does when a movie film is reversed. I dived into the water and then straight back out again, backward, and have never gone into an English sea again. Since that day, I have never assumed that anything is fun just because it looks like the English are enjoying themselves doing it, and mostly I have been right.

The tornadic bundle of legs and arms and feet and hands push farther into the kitchen until only the occasional flailing limb is visible from the living room, where I can’t believe I’m still standing. A spectator in my own life, I watch the supernova of my two worlds colliding: Mom and Galen. Human and Syrena. Poseidon and Triton. But what can I do? Who should I help? Mom, who lied to me for eighteen years, then tried to shank my boyfriend? Galen, who forgot this little thing called “tact” when he accused my mom of being a runaway fish-princess? Toraf, who…what the heck is Toraf doing, anyway? And did he really just sack my mom like an opposing quarterback? The urgency level for a quick decision elevates to right-freaking-now. I decide that screaming is still best for everyone-it’s nonviolent, distracting, and one of the things I’m very, very good at. I open my mouth, but Rayna beats me to it-only, her scream is much more valuable than mine would have been, because she includes words with it. “Stop it right now, or I’ll kill you all!” She pushed past me with a decrepit, rusty harpoon from God-knows-what century, probably pillaged from one of her shipwreck excursions. She waves it at the three of them like a crazed fisherman in a Jaws movie. I hope they don’t notice she’s got it pointed backward and that if she fires it, she’ll skewer our couch and Grandma’s first attempt at quilting. It works. The bare feet and tennis shoes stop scuffling-out of fear or shock, I’m not sure-and Toraf’s head appears at the top of the counter. “Princess,” he says, breathless. “I told you to stay outside.” “Emma, run!” Mom yells. Toraf disappears again, followed by a symphony of scraping and knocking and thumping and cussing. Rayna rolls her eyes at me, grumbling to herself as she stomps into the kitchen. She adjusts the harpoon to a more deadly position, scraping the popcorn ceiling and sending rust and Sheetrock and tetanus flaking onto the floor like dirty snow. Aiming it at the mound of struggling limbs, she says, “One of you is about to die, and right now I don’t really care who it is.” Thank God for Rayna. People like Rayna get things done. People like me watch people like Rayna get things done. Then people like me round the corner of the counter as if they helped, as if they didn’t stand there and let everyone they love beat the shizzle out of one another. I peer down at the three of them all tangled up. Crossing my arms, I try to mimic Rayna’s impressive rage, but I’m pretty sure my face is only capable of what-the-crap-was-that. Mom looks up at me, nostrils flaring like moth wings. “Emma, I told you to run,” she grinds out before elbowing Toraf in the mouth so hard I think he might swallow a tooth. Then she kicks Galen in the ribs. He groans, but catches her foot before she can re-up. Toraf spits blood on the linoleum beside him and grabs Mom’s arms. She writhes and wriggles, bristling like a trapped badger and cussing like sailor on crack. Mom has never been girlie. Finally she stops, her arms and legs slumping to the floor in defeat. Tears puddle in her eyes. “Let her go,” she sobs. “She’s got nothing to do with this. She doesn’t even know about us. Take me and leave her out of this. I’ll do anything.” Which reinforces, right here and now, that my mom is Nalia. Nalia is my mom. Also, holy crap.

The truth is technical, clinical, not well understood. Essentially, somewhere behind my overactive, often dysfunctional frontal lobe, my hippocampus is getting hot, and in the back of my brain, deep inside the little, almond-shaped amygdala, flashes of light are igniting a fire that burns through my memory like a box of random photos left for too long in a dusty firetrap of an attic. Some are vivid, bright, resplendent in the superior technology that preserves their detail, context, meaning. Truth. Others, many in fact, are so faded I can hardly see the contrast of negative on positive. I can barely remember the incidents, events, places, and people that were, for whatever reason, worth recording. Where does the brain stop and the mind begin? Which part of my movie is merely mechanical, chemical? And how do fantasy, fear, desire, joy, loss emerge to become the story? If there is an answer, it’s all in the editing. For most of my life, my memories have been cut together, if not perfectly, then according to some system that has allowed me reasonable access to my story. To what I wanted to remember and how I chose to remember it. I had final cut. Now they are a mess. A beautiful mess, cut and recut, and playing in no particular order across the insides of my eyelids, running both forward and backward in time as the electrical fire in my brain chases them down and ignites them. I want to reach out my hand. I want to salvage one or two of my favorite frames. But memory is fast and my hands are strapped to this table.

Based on a 1934 play by George S. Kaufman and Moss Hart, Merrily We Roll Along tells the story of three friends—Franklin Shepard, a composer; Charley Kringas, a playwright and lyricist; and Mary Flynn, a novelist—who meet in the enthusiasm of youth, when everything seems possible. The play traces what happens to their dreams and goals as time passes and they are faced with life’s surprises, travails, successes, and disappointments. The trick here is that the play moves chronologically backward. It begins on an evening in 1976 at a party for the opening of a movie Frank has produced. The movie is apparently a hit, but Frank’s personal life is a mess. His second wife, Gussie, formerly a Broadway star, was supposed to have starred in the movie but was deemed too old; she resents being in the shadows and suspects, correctly, that Frank is having an affair with the young actress who took over her part. Frank is estranged from his son from his first marriage. He is also estranged from Charley, his former writing partner—so estranged, in fact, that the very mention of his name brings the party to an uncomfortable standstill. Mary, unable to re-create the success of her one and only novel and suffering from a longtime unreciprocated love for Frank, has become a critic and a drunk; the disturbance she causes at the party results in a permanent break with Frank. The opening scene reaches its climax when Gussie throws iodine in the eyes of Frank’s mistress. The ensemble, commenting on the action much like the Greek chorus in Allegro, reprises the title song, asking, “How did you get to be here? / What was the moment?” (F 387). The play then moves backward in time as it looks for the turning points, the places where multiple possibilities morphed into narrative necessity.

American planes, full of holes and wounded men and corpses took off backwards from an airfield in England. Over France, a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground, and those planes flew up backwards to join the formation. The formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers, and lifted the containers into the bellies of the planes. The containers were stored neatly in racks. The Germans below had miraculous devices of their own, which were long steel tubes. They used them to suck more fragments from the crewmen and planes. But there were still a few wounded Americans, though, and some of the bombers were in bad repair. Over France, though, German fighters came up again, made everything and everybody as good as new. •  •  • When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was mainly women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground, to hide them cleverly, so they would never hurt anybody ever again. The American fliers turned in their uniforms, became high school kids. And Hitler turned into a baby, Billy Pilgrim supposed. That wasn’t in the movie. Billy was extrapolating. Everybody turned into a baby, and all humanity, without exception, conspired biologically to produce two perfect people named Adam and Eve, he supposed.

Where’s Sam?” Brianna asked. “He’s out. So is Edilio,” Dekka said. “You going to tell us what’s in the bag or do we have to guess?” Brianna stopped. She was disappointed. In her imagination the big revelation would have been to an admiring Sam Temple. He was the one she wanted to impress. Failing that, Edilio, who was generally warm and sweet to her. But she was tired and wanted to put the bag down. Also, she couldn’t keep the secret any longer. She climbed nimbly up to the top deck of the boat, grinned, and said, “Is it anyone’s birthday? Because I have a present.” “Breeze,” Dekka warned. So Brianna opened the bag. Dekka looked inside. “What is it?” So Brianna upended the bag. Dead lizards, broken eggs, and Drake’s head landed on the antiskid flooring. “Ahhhh!” Astrid screamed. “Ah, Jesus!” Dekka yelled. “I know,” Brianna said proudly. What lay there was something to strike envy into the heart of a horror movie special-effects expert. The two halves of Drake’s head had started to rejoin. But because the halves had been tossed wildly together, the process was very incomplete. Very. In fact at the moment the halves were backward, so that the left half was looking one direction and the right half another. Sections of neck and spine stuck both up and down. The part that held most of Drake’s mouth was stuffed with hair from the back of his head. And, somehow, bits of dead lizard were squeezed in between. But the dead lizards thus incorporated were no longer dead. And there was egg white smeared across one eye. The mouth was trying to speak and not managing it. A lizard tail whipped one eye—hard to tell if it was left or right—a parody of Drake’s whip arm. The three of them stared: Astrid with blue eyes wide, hand over mouth; Dekka with mouth wide open and brow furrowed; Brianna like a proud school kid showing off her art project. “Ta-da!” Brianna said.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.” Amelia blushes, though she is angry more than embarrassed. She agrees with some of what A.J. has said, but his manner is unnecessarily insulting. Knightley Press doesn’t even sell half of that stuff anyway. She studies him. He is older than Amelia but not by much, not by more than ten years. He is too young to like so little. “What do you like?” she asks. “Everything else,” he says. “I will also admit to an occasional weakness for short-story collections. Customers never want to buy them though.” There is only one short-story collection on Amelia’s list, a debut. Amelia hasn’t read the whole thing, and time dictates that she probably won’t, but she liked the first story. An American sixth-grade class and an Indian sixth-grade class participate in an international pen pal program. The narrator is an Indian kid in the American class who keeps feeding comical misinformation about Indian culture to the Americans. She clears her throat, which is still terribly dry. “The Year Bombay Became Mumbai. I think it will have special int—” “No,” he says. “I haven’t even told you what it’s about yet.” “Just no.” “But why?” “If you’re honest with yourself, you’ll admit that you’re only telling me about it because I’m partially Indian and you think this will be my special interest. Am I right?” Amelia imagines smashing the ancient computer over his head. “I’m telling you about this because you said you liked short stories! And it’s the only one on my list. And for the record”—here, she lies—“it’s completely wonderful from start to finish. Even if it is a debut. “And do you know what else? I love debuts. I love discovering something new. It’s part of the whole reason I do this job.” Amelia rises. Her head is pounding. Maybe she does drink too much? Her head is pounding and her heart is, too. “Do you want my opinion?” “Not particularly,” he says. “What are you, twenty-five?” “Mr. Fikry, this is a lovely store, but if you continue in this this this”—as a child, she stuttered and it occasionally returns when she is upset; she clears her throat—“this backward way of thinking, there won’t be an Island Books before too long.

I should say that it was only for me that Marxism seemed over. Surely, I would tell G. at least once a week, it had to count for something that every single self-described Marxist state had turned into an economically backward dictatorship. Irrelevant, he would reply. The real Marxists weren’t the Leninists and Stalinists and Maoists—or the Trotskyists either, those bloodthirsty romantics—but libertarian anarchist-socialists, people like Anton Pannekoek, Herman Gorter, Karl Korsch, scholarly believers in true workers’ control who had labored in obscurity for most of the twentieth century, enjoyed a late-afternoon moment in the sun after 1968 when they were discovered by the New Left, and had now once again fallen back into the shadows of history, existing mostly as tiny stars in the vast night sky of the Internet, archived on blogs with names like Diary of a Council Communist and Break Their Haughty Power. They were all men. The group itself was mostly men. This was, as Marxists used to say, no accident. There was something about Marxist theory that just did not appeal to women. G. and I spent a lot of time discussing the possible reasons for this. Was it that women don’t allow themselves to engage in abstract speculation, as he thought? That Marxism is incompatible with feminism, as I sometimes suspected? Or perhaps the problem was not Marxism but Marxists: in its heyday men had kept a lock on it as they did on everything they considered important; now, in its decline, Marxism had become one of those obsessive lonely-guy hobbies, like collecting stamps or 78s. Maybe, like collecting, it was related, through subterranean psychological pathways, to sexual perversions, most of which seemed to be male as well. You never hear about a female foot fetishist, or a woman like the high-school history teacher of a friend of mine who kept dated bottles of his own urine on a closet shelf. Perhaps women’s need for speculation is satisfied by the intense curiosity they bring to daily life, the way their collecting masquerades as fashion and domesticity—instead of old records, shoes and ceramic mixing bowls—and their perversity can be satisfied simply by enacting the highly artificial role of Woman, by becoming, as it were, fetishizers of their own feet.

We now know that all extant living creatures derive from a single common ancestor, called the 'Last Universal Common Ancestor' (LUCA). It’s hard to think of a more unifying view of life. All living things are linked to a single-celled creature, the deepest root to the complex-branching tree of life. If we could play the movie of life backward, we would find this microscopic primogenitor at the starting point of biological evolution, the sole actor in what would become a very dramatic story, lasting some 3.5 billion years leading to us.

The movies were just kind of figuring out how to use computers in 2003, and nobody was just kind of figuring out how to use computers harder than Michael Bay. It’s tempting to say that every frame of Bad Boys II looks like a TV commercial, but truly every frame looks like a print advertisement, like those Candies ads where Jenny McCarthy’s taking a shit, shallow and glossy and tinged acid green. There are four car chases, one of which is at least fifteen minutes long. Even the most passing transitions are giddily tasteless: the camera EXPLODES out of the speedboat’s tailpipe and ZOOMS across Biscayne Bay and WHAMS down the ventilation shaft in the backward sunglasses factory and SHOOMPS into the buttcrack of a raver’s low-rise jeans and SPROINGS across her transverse colon and SQUEAKS through her appendix and AIRHORNS out her belly button and PLOPS into the Cuban drug lord’s mojito as he shoots his favorite nephew in the head while saying, “Adios, kemosabe,” or something fucking cool like that. When faced with a choice, Bay picks “all of the above” every time. He’s like a dog in one of those obedience trials who’s like, “Obedience? I don’t know her,” and just goes buck wild on the sausages. Except instead of “obedience” it’s “having a coherent plot that holds the audience’s attention” and instead of “sausages” it’s “explosions, Ferrari chases, and how many different cool kinds of box could a gun come in.

And the book... and the work.. and the life goes to the whole beginning... and trying to answer how in real did we met. (Mr.Nobody, No One Tell)

Time’s arrow is irreversible, because entropy cannot decrease of its own accord without violating the second law of thermodynamics. A reversible arrow would be like a movie run backward. The scenes in the movie are not impossible by the laws of classical mechanics, but they are patently absurd.

I’d also toyed with calling him Caverat before that ‒ which I’ll explain in a minute. Anyway, Twitch was the nickname of the kid that took Zero's place and who I named Z after when he ran away in Holes ‒ which is still my favorite book ever. Now that I think about it, it's probably my favorite movie too. Not only that but my other cat’s name was X-Ray. He was mostly black but had several white markings that looked sorta like fuzzy bones ‒ with one in particular running down his left hind leg about where his tibia would show up in an actual x-ray. So I probably would've called him X-Ray no matter what but it sure didn't hurt that it's the name of the leader of the kids at Camp Green Lake. I even considered Stanley before that ‒ who's the book’s main character and of course, the star of its’ movie. Before that that, I’d actually debated calling him Bob ‒ if you can believe it. But cats shouldn't have regular old people names as far as I'm concerned ‒ with maybe just a few exceptions. I decided that neither Bob ‒ which only came up in the first place because I like palindromes ‒ nor Stanley were one of 'em. Even besides the bone-like birthmarks making X-Ray the obvious choice. To be honest, it was Nat's suggestion anyway. Back to Stanley though, even though his nickname at Camp Green Lake was Caveman, I decided against Cave-cat right away. But it did seem to fit Twitch since he was hiding under the china cabinet and all. Another name I’d thought about before she brought up X-Ray was Yelnats ‒ which is Stanley's last name and the emordnilap of his first ‒ and plenty un-regular-old-people-like enough but as I pointed out at the time, we already had a Nat in the house who yells. That made her laugh but it wasn't exactly true plus on top of it, I ended up having to admit that her idea was better all along. By the way, if you didn’t know it, an emordnilap is the reverse of a word or phrase that isn't a nonsense string but also isn’t a palindrome ‒ which spells the same thing forwards and backwards. Other palindromes besides ‘Bob’ are 'refer'; ‘bird rib’; 'a nut for a jar of tuna’; ‘borrow or rob?’; ‘racecar’; ‘Yo banana boy!’; 'deified'; ‘Go Hang a Salami, I'm a Lasagna Hog’ ‒ or like I already half mentioned… Stanley Yelnats. Emordnilaps make a new one instead ‒ such as ‘live’ and ‘evil’; ‘lived’ and ‘devil’; ‘dog’ and ‘god’; ‘stressed’ and ‘desserts’; ‘stops’ and ‘spots’; or ‘keep reward’ and ‘drawer peek’. As you’ve probably figured out already, ‘emordnilap’ is the emordnilap of ‘palindrome’ so therefore ‘palindrome’ is not a palindrome.

And each of the train's hundred windows had a face. Passing quickly, it became a strip of film so worked as film does: one continuous story formed, The Man of A Hundred Faces. I ran alongside, so slow (that trick of perception) I ran backwards. Finally, I was a child. I looked up in the movie theater I went to each Saturday afternoon, the screen like a window, and waved to the figure there, an old man at the station just as we pulled away." - The Story

i have a safe i call the boyfriend box and in it every saved receipt every movie theater ticket just to remind me of all the things i’ve loved and lost and loved again unconditionally

To be a victim is to be forever frozen in amber by that person’s actions at that moment. Victimization only looks backward, never forward, which is why my family was incapable of moving on or redefining themselves. If I allowed myself to be defined by what my father did to me, it would put him at the center of my identity. He would have control over me for the rest of my life, even once he was gone. Yes, I was stuck in a box with a monster, but wallowing in indulgent self-pity wasn’t the solution; the task before me was to survive the monster without becoming the monster. In a way, I was lucky that my father was as awful as he was. He had no good qualities to negate. Had he been a better human being, I would have become a worse one.

He explained to Steve that there was an important difference in the digital media value chain as well. In physical retail, Amazon operated at the middle of the value chain. We added value by sourcing and aggregating a vast selection of goods, tens of millions of them, on a single website and delivering them quickly and cheaply to customers. To win in digital, because those physical retail value adds were not advantages, we needed to identify other parts of the value chain where we could differentiate and serve customers well. Jeff told Steve that this meant moving out of the middle and venturing to either end of the value chain. On one end was content, where the value creators were book authors, filmmakers, TV producers, publishers, musicians, record companies, and movie studios. On the other end was distribution and consumption of content. In digital, that meant focusing on applications and devices consumers used to read, watch, or listen to content, as Apple had already done with iTunes and the iPod. We all took note of what Apple had achieved in digital music in a short period of time and sought to apply those learnings to our long-term product vision.

It seemed to me that going forward we had to get out of the never-ending cycle of bidding against Netflix and, later, Hulu. We didn’t want to pay studios additional fees for each and every country we entered. We had to control our own destiny. That led me to a startling conclusion: we had to create our own content. It was time to make our own movies and TV shows.

With nothing else to take up his time, Scott resigned himself to spending the afternoon pretending he was going to do the laundry. In reality, he took a nap, forced himself to eat his last apple, and put on a movie on Netflix, then counted all the odd numbers from 511 up to 627 and backwards by threes to distract himself from the thought of swallowing all of his remaining pills.

Statement on Generative AI Just like Artificial Intelligence as a whole, on the matter of Generative AI, the world is divided into two camps - one side is the ardent advocate, the other is the outspoken opposition. As for me, I am neither. I don't have a problem with AI generated content, I have a problem when it's rooted in fraud and deception. In fact, AI generated content could open up new horizons of human creativity - but only if practiced with conscience. For example, we could set up a whole new genre of AI generated material in every field of human endeavor. We could have AI generated movies, alongside human movies - we could have AI generated music, alongside human music - we could have AI generated poetry and literature, alongside human poetry and literature - and so on. The possibilities are endless - and all above board. This way we make AI a positive part of human existence, rather than facilitating the obliteration of everything human about human life. This of course brings up a rather existential question - how do we distinguish between AI generated content and human created material? Well, you can't - any more than you can tell the photoshop alterations on billboard models or good CGI effects in sci-fi movies. Therefore, that responsibility must be carried by experts, just like medical problems are handled by healthcare practitioners. Here I have two particular expertise in mind - one precautionary, the other counteractive. Let's talk about the counteractive measure first - this duty falls upon the shoulders of journalists. Every viral content must be source-checked by responsible journalists, and declared publicly as fake, i.e. AI generated, unless recognized otherwise. Littlest of fake content can do great damage to society - therefore - journalists, stand guard! Now comes the precautionary part. Precaution against AI generated content must be borne by the makers of AI, i.e. the developers. No AI model must produce any material without some form of digital signature embedded in them, that effectively makes the distinction between AI generated content and human material mainstream. If developers fail to stand accountable out of their own free will, they must be held accountable legally. On this point, to the nations of the world I say, you can't expect backward governments like our United States to take the first step - where guns get priority over children - therefore, my brave and civilized nations of the world - you gotta set the precedent on holding tech giants accountable - without depending on morally bankrupt democratic imperialists. And remember, the idea is not to ban innovation, but to adapt it with human welfare. All said and done, the final responsibility falls upon just one person, and one person alone - the everyday ordinary consumer. Your mind has no reason to not believe the things you find on the internet, unless you make it a habit to actively question everything - or at least, not accept anything at face value. Remember this. Just because it's viral, doesn't make it true. Just because it's popular, doesn't make it right.

No flickering in my head movies projected in Bellevue

Cass had photo recall and could speak backward at will. Aly was a hacker genius and movie expert. Marco was Michael Jordan on steroids, without the steroids. I was chopped liver.

Run all the way to the end of the episode, float back down into the theatre, float into the movie, and then run it backward so everybody walks backward and talks backward, and throw in a little circus music so it’s as ridiculous as it could be. Then, clear your mind for ten minutes and then go back and think of what you were afraid of. You will be amazed to discover that your fear has severely diminished if not disappeared entirely.

It may take a few tries at this because habits develop over years, but over time it will be effective. For years and years, this particular woman who was raped had run the same life-size movie in her head over and over again. It became a habit. What she needed to do was to break it up. If you can make the image small enough or, if you can, white it out often enough, that will make a difference. If you can run it backward enough, that will change the feeling. You can also disassociate it. You do this by putting yourself in the picture and pushing it off into the distance. Then you can go inside your mind and replace it with something else because it’s not enough to get over the past, you have to start to look at what you want in the future.

Sprocket fiend is the name I have for the subterranean dimension to my film addiction. The subtle, beneath-the-sound-track sound of the clattering projector in those old rep theaters, especially the New Beverly. The defiant, twenty-four-frames-per-second mechanical heartbeat that says, at least for the duration of whatever movie you're watching, the world's time doesn't apply to you. You're safe in whatever chronal flow the director chooses to take you through. Real time, or a span of months or years, or backward and forward through a life. You are given the space of a film to steal time. And the projector is your only clock. And the need for that subtle, clicking sprocket time makes you - made me - a sprocket fiend.

He’s babbling about getting dinner before the movie. I already regret saying yes. I’m going to have to listen to him for hours. He wants to “get to know me,” which is code for trying to get some action. I don’t do action. I have no need for it. It’s messy and dramatic and far less impressive than a well-timed Volcano spell.

At the conclusion of Hollywood disaster movies and epics, time moves backward, piecing together like a jigsaw the elements that had come apart. The Titanic resumes its journey; Russell Crowe is reunited with his murdered wife and son. It's not a happy ending; it's a convention created for the purposes of an impossible sense of uplift at the end of death and tragedy: the happy beginning. Technology makes Hades unnecessary.

He walked backward out of the kitchen. “I will.” He paused before stepping out into the living room. “And besides that, maybe you’re right. I should broaden my scope and stop depending on you for late-night movies and chats. Less pressure that way.” Dominic

Finally, out of breath, they tried to slip behind some trash cans at the end of a narrow alley. But Floyd ducked a moment too late, and Alice’s rabbit ears gave them away. Leona squealed with delight. Yo Ho Ho! I see something funny. It’s Pirate Floyd And his baby bunny! The witches roared with laughter and slapped each other on the back. Floyd winced, but as he drew his saber, his face lit up with a pirate’s grin. First, he kept the witches at bay so his friends could carry little Alice to safety. Then, growling like a movie pirate, he swung out of reach on an overhanging tree limb, turned a quick flip, and somersaulted backward over the fence. “I didn’t know you could do that,” Mona said. Floyd looked surprised. “Neither did I.” “Come on,” shouted Wendell. “They’re right behind us!” They ran until they found themselves in an even stranger part of town. “It’s pretty creepy around here,” muttered Floyd. Wendell suggested they hide in the graveyard, but Mona scoffed. “You’ve got to be kidding.” “No, it’s perfect. They’ll never follow us into a place like this.” Actually, the witches didn’t mind the graveyard at all. “We see you, Wendell!” Leona crowed. What’s wrong with Wendell? Let me think. He must be MAD ‘Cause he’s dressed in pink! The witches shrieked and hooted, laughing so hard they nearly cried. For a moment Wendell’s face turned as pink as his smock. But then an idea began to brew. He reached into his mad scientist’s kit and started mixing potions. “Drink this!” he told his friends. “It will make us invisible.” At the word “invisible” the witches roared even louder. But their laughter turned to puzzled yelps when Wendell, Floyd, Mona, and Alice suddenly disappeared!

Several of the filmʼs key sound effects were accomplished musically, the most famous being the monsterʼs roars, which went beyond the sound departmentʼs capabilities.  Various animal noises were recorded and modified but nothing worked until Ifukube came to the rescue by using a contrabass (basically a large bass fiddle); however the only one in existence in all Japan was at the prestigious Tokyo Music Conservatoryʼs Music Department which was not about to loan-out their precious instrument for the purpose of making a monster movie.  So one night Ifukube “borrowedˮ it, removed its lowest string, then had pupil Sei Ikuno stroke the remaining strings with a coarse leather glove coated with resin.  The sound was then tape-recorded before being played backwards at a slower speed supplemented with echo-chamber mixing, and the different roars were achieved by changing the playback speeds, giving the monster a melodic quality (the sound of the monster using its radioactive ray was a sped-up cymbal roll).