Beaches Film Quotes

You will one day experience joy that matches this pain. You will cry euphoric tears at the Beach Boys, you will stare down at a baby’s face as she lies asleep in your lap, you will make great friends, you will eat delicious foods you haven’t tried yet, you will be able to look at a view from a high place and not assess the likelihood of dying from falling. There are books you haven’t read yet that will enrich you, films you will watch while eating extra-large buckets of popcorn, and you will dance and laugh and have sex and go for runs by the river and have late-night conversations and laugh until it hurts. Life is waiting for you. You might be stuck here for a while, but the world isn’t going anywhere. Hang on in there if you can. Life is always worth it.

People were complicated. They weren’t math problems; they were collections of feelings and decisions and dumb luck. The world was complicated too, not a beautifully hazy French film, but a disastrous, horrible mess, speckled with brilliance and love and meaning.

I should perhaps warn you that I am about to faint from anxiety and general depression, though. The film I saw last night was especially grueling, a teen-age beach musical. I almost collapsed during the singing sequence on surfboard.

Towards midnight the rain ceased and the clouds drifted away, so that the sky was scattered once more with the incredible lamps of stars. Then the breeze died too and there was no noise save the drip and tickle of water that ran out of clefts and spilled down, leaf by leaf, to the brown earth of the island. The air was cool, moist, and clear; and presently even the sound of the water was still. The beast lay huddled on the pale beach and the stains spread, inch by inch. The edge of the lagoon became a streak of phosphorescence which advanced minutely, as the great wave of the tide flowed. The clear water mirrored the clear sky and the angular bright constellations. The line of phosphorescence bulged about the sand grains and little pebbles; it held them each in a dimple of tension, then suddenly accepted them with an inaudible syllable and moved on. Along the shoreward edge of the shallows the advancing clearness was full of strange, moonbeam-bodied creatures with fiery eyes. Here and there a larger pebble clung to its own air and was covered with a coat of pearls. The tide swelled in over the rain-pitted sand and smoothed everything with a layer of silver. Now it touched the first of the stains that seeped from the broken body and the creatures made a moving patch of light as they gathered at the edge. The water rose further and dressed Simon's coarse hair with brightness. The line of his cheek silvered and the turn of his shoulder became sculptured marble. The strange, attendant creatures, with their fiery eyes and trailing vapours busied themselves round his head. The body lifted a fraction of an inch from the sand and a bubble of air escaped from the mouth with a wet plop. Then it turned gently in the water. Somewhere over the darkened curve of the world the sun and moon were pulling; and the film of water on the earth planet was held, bulging slightly on one side while the solid core turned. The great wave of the tide moved further along the island and the water lifted. Softly, surrounded by a fringe of inquisitive bright creatures, itself a silver shape beneath the steadfast constellations, Simon's dead body moved out towards the open sea.

If I learned anything about her it was that she lived with a vehemence most of us never have the courage for." Banks tells me. "But there was something about her that precluded an ordinary existence. In some ways, I'm not surprised she's dead. A job, husband, kids, a beach house? That wasn't her. I can't explain why, except she was more like a force that whipped through life, defying logic, scaring you, even hurting you because she was everything you wanted to be, but you knew you'd never have the guts - and then she was gone. That was my experience with Ashley Cordova.

I'm Cooper Taylor. I'm a Scorpio. I enjoy women, long walks on the beach, and my roommate says I use girly shampoo. Oh, and I generally hate anyone in the film industry because they're total assholes. Guess you could say I'm you Pai Mei." "Willow Avery. Actress, Cancer, and according to my team, on my last leg before porn.

A not 100-percent-perfect-looking-in-every-way female? You might as well film a dead squid decaying on a beach somewhere for two hours.

I walked out of the condos onto the flat lithesome beach this morning, and took a walk in my swimming trunks and no shirt on. And I thought that one natural effect of life is to cover you in a thin layer of . . . what? A film? A residue or skin of all the things you've done and been and said and erred at? I'm not sure. But you are under it, and for a long time, and only rarely do you know it, except that for some unexpected reason or opportunity you come out--for an hour or even a moment--and you suddenly feel pretty good. And in that magical instant you realize how long it's been since you felt just that way. Have you been ill, you ask. Is life itself an illness or a syndrome? Who knows? We've all felt that way, I'm confident, since there's no way that I could feel what hundreds of millions of other citizens haven't. Only suddenly, then, you are out of it--that film, that skin of life--as when you were a kid. And you think: this must've been the way it was once in my life, though you didn't know it then, and don't really even remember it--a feeling of wind on your cheeks and your arms, of being released, let loose, of being the light-floater. And since that is not how it has been for a long time, you want, this time, to make it last, this glistening one moment, this cool air, this new living, so that you can preserve a feeling of it, inasmuch as when it comes again it may just be too late. You may just be too old. And in truth, of course, this may be the last time that you will ever feel this way again.

They came there regularly every evening drawn by some need. It was as if the water floated off and set sailing thoughts which had grown stagnant on dry land, and gave to their bodies even some sort of physical relief. First, the pulse of colour flooded the bay with blue, and the heart expanded with it and the body swam, only the next instant to be checked and chilled by the prickly blackness on the ruffled waves. Then, up behind the great black rock, almost every evening spurted irregularly, so that one had to watch for it and it was a delight when it came, a fountain of white water; and then while one waited for that, one watched, on the pale semicircular beach, wave after wave shedding again and again smoothly, a film of mother-of-pearl.

We proclaimed the freedom of the individual, bought and drove millions of cars to prove it, built more roads for the cars to drive on so we could go the everywhere that was nowhere. We watered our lawns, we washed our cars, we gulped plastic bottles of water to stay hydrated in our dehydrated land, we put up water parks. We built temples to our fantasies--film studios, amusement parks, crystal cathedrals, megachurches--and flocked to them. We went to the beach, rode the waves, and poured our waste into the water we said we loved. We reinvented ourselves every day, remade our culture, locked ourselves in gated communities, we ate healthy food, we gave up smoking, we lifted our faces while avoiding the sun, we had our skin peeled, our lines removed, our fat sucked away like our unwanted babies, we defied aging and death. We made gods of wealth and health. A religion of narcissism. In the end, we worshipped only ourselves. In the end, it wasn't enough.

We live in a strange world, where we think we can buy or build our way out of a crisis that has been created by buying and building things. Where a football game or a film gala gets more media attention than the biggest crisis humanity has ever faced. Where celebrities, film and pop stars who have stood up against all injustices will not stand up for our environment and for climate justice because that would inflict on their right to fly around the world visiting their favourite restaurants, beaches and yoga retreats.

I got to play a brain-dead comatose rapist who wakes up every full moon to cause hell in the small cult film: “Coma Man From Manhattan Beach.

the number of models per square foot here on South Beach was higher than anywhere else in the world and that commercial and film shoots were common.

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— If love wants you; if you’ve been melted down to stars, you will love with lungs and gills, with warm blood and cold. With feathers and scales. Under the hot gloom of the forest canopy you’ll want to breathe with the spiral calls of birds, while your lashing tail still gropes for the waes. You’ll try to haul your weight from simple sea to gravity of land. Caught by the tide, in the snail-slip of your own path, for moments suffocating in both water and air. If love wants you, suddently your past is obsolete science. Old maps, disproved theories, a diorama. The moment our bodies are set to spring open. The immanence that reassembles matter passes through us then disperses into time and place: the spasm of fur stroked upright; shocked electrons. The mother who hears her child crying upstairs and suddenly feels her dress wet with milk. Among black branches, oyster-coloured fog tongues every corner of loneliness we never knew before we were loved there, the places left fallow when we’re born, waiting for experience to find its way into us. The night crossing, on deck in the dark car. On the beach wehre night reshaped your face. In the lava fields, carbon turned to carpet, moss like velvet spread over splintered forms. The instant spray freezes in air above the falls, a gasp of ice. We rise, hearing our names called home through salmon-blue dusk, the royal moon an escutcheon on the shield of sky. The current that passes through us, radio waves, electric lick. The billions of photons that pass through film emulsion every second, the single submicroscopic crystal struck that becomes the phograph. We look and suddenly the world looks back. A jagged tube of ions pins us to the sky. — But if, like starlings, we continue to navigate by the rear-view mirror of the moon; if we continue to reach both for salt and for the sweet white nibs of grass growing closest to earth; if, in the autumn bog red with sedge we’re also driving through the canyon at night, all around us the hidden glow of limestone erased by darkness; if still we sish we’d waited for morning, we will know ourselves nowhere. Not in the mirrors of waves or in the corrading stream, not in the wavering glass of an apartment building, not in the looming light of night lobbies or on the rainy deck. Not in the autumn kitchen or in the motel where we watched meteors from our bed while your slow film, the shutter open, turned stars to rain. We will become indigestible. Afraid of choking on fur and armour, animals will refuse the divided longings in our foreing blue flesh. — In your hands, all you’ve lost, all you’ve touched. In the angle of your head, every vow and broken vow. In your skin, every time you were disregarded, every time you were received. Sundered, drowsed. A seeded field, mossy cleft, tidal pool, milky stem. The branch that’s released when the bird lifts or lands. In a summer kitchen. On a white winter morning, sunlight across the bed.

Cannes was to blame, he told himself defensively. It was a city made for the indulgence of the senses, all ease and sunshine and provocative flesh. “What had he seen, what had he learned? He had seen all kinds of movies, good and bad, mostly bad. He had been plunged into a carnival, a delirium of film. In the halls, on the terraces, on the beach, at the parties, the art or industry or whatever it deserved to be called in these few days was exposed at its essence. The whole thing was there—the artists and pseudo-artists, the businessmen, the con men, the buyers and sellers, the peddlers, the whores, the pornographers, critics, hangers-on, the year’s heroes, the year’s failures. And then the distillation of what it was all about, a film of Bergman's and one of Bunuel's, pure and devastating.

I felt so lost again. Every time I started to find my way, I seemed to slip further down. How could I trust what Gus and I have? How could I trust my own feelings? People were complicated. They weren't math problems; they were collections of feelings and decisions and dumb luck. The world was complicated too, not a beautifully hazy French film, but a disastrous, horrible mess, speckled with brilliance and love and meaning.

I looked out over the water, into the night that was coming in on the tide, and I felt nothing at all. The beach looked like something I had seen in an old film, once upon a time; that hotheaded boy felt like a character from some book I had read and given away in childhood. Only, somewhere far inside my spine and deep in the palms of my hands, something hummed; like a sound too low to hear, like a warning, like a cello string when a tuning fork strikes the perfect tone to call it awake.

If I had three lives, I’d marry you in two. And the other? That life over there at Starbucks, sitting alone, writing — a memoir, maybe a novel or this poem. No kids, probably, a small apartment with a view of the river, and books — lots of books and time to read. Friends to laugh with; a man sometimes, for a weekend, to remember what skin feels like when it’s alive. I’m thinner in that life, vegan, practice yoga. I go to art films, farmers markets, drink martinis in swingy skirts and big jewelry. I vacation on the Maine coast and wear a flannel shirt weekend guy left behind, loving the smell of sweat and aftershave more than I do him. I walk the beach at sunrise, find perfect shell spirals and study pockmarks water makes in sand. And I wonder sometimes if I’ll ever find you.

Your gran says you’re not eating enough,’ she says, and we keep moving. ‘She also says you’ve turned into a zombie who hides in her room, sleeps all day and spends her nights at the beach with her mother, who has always turned into a zombie.’ Rose throws cans of tuna in the trolley while I’m trying to get a look at myself in the cake tins to see if I do actually look like the undead. The news isn’t entirely good. ‘She has no idea what a zombie actually is,’ Rose says. ‘So I wouldn’t worry.’ ‘Cal introduced her to zombies. Shaun of the Dead is her top movie of all time.’ ‘Jesus,’ Rose says. ‘We didn’t even get to watch TV when we were growing up. Now she’s watching Simon Pegg films and telling me my niece needs to have sex. But don’t worry,’ she says, looking at my horrified face. ‘I set her straight about that. I told her to leave you alone.’ ‘Good.’ ‘I told her zombies don’t have sex

There is one last way to break with your past and begin a new stage of your career journey, which is to take some advice that appears at the end of the 1964 film Zorba the Greek. Zorba, the great lover of life, is sitting on the beach with the repressed and bookish Basil, an Englishman who has come to a tiny Greek island with the hope of setting up a small business. The elaborate cable system that Zorba has designed and built for Basil to bring logs down the mountainside has just collapsed on its very first trial. Their whole entrepreneurial venture is in complete ruins, a failure before it has even begun. And that is the moment when Zorba unveils his philosophy of life to Basil: ZORBA: Damn it boss, I like you too much not to say it. You’ve got everything except one thing: madness! A man needs a little madness, or else… BASIL: Or else? ZORBA:…he never dares cut the rope and be free. Basil then stands up and, completely out of character, asks Zorba to teach him how to dance. The Englishman has finally learned that life is there to be lived with passion, that risks are there to be taken, the day is there to be seized. To do otherwise is a disservice to life itself. Zorba’s words are one of the great messages for the human quest in search of the good life. Most of us live bound by our fears and inhibitions. Yet if we are to move beyond them, if we are to cut the rope and be free, we need to treat life as an experiment and discover the little bit of madness that lies within us all.

Brian and Avis deliver their stacks and try to refuse dinner, but the waiters bring them glasses of burgundy, porcelain plates with thin, peppery steaks redolent of garlic, scoops of buttery grilled Brussels sprouts, and a salad of beets, walnuts, and Roquefort. They drag a couple of lawn chairs to a quiet spot on the street and they balance the plates on their laps. Some ingredient in the air reminds Avis of the rare delicious trips they used to make to the Keys. Ten years after they'd moved to Miami they'd left Stanley and Felice with family friends and Avis and Brian drove to Key West on a sort of second honeymoon. She remembers how the land dropped back into distance: wetlands, marsh, lazy-legged egrets flapping over the highway, tangled, sulfurous mangroves. And water. Steel-blue plains, celadon translucence. She and Brian had rented a vacation cottage in Old Town, ate small meals of fruit, cheese, olives, and crackers, swam in the warm, folding water. Each day stirring into the next, talking about nothing more complicated than the weather, spotting a shark off the pier, a mysterious constellation lowering in the west. Brian sheltered under a celery-green umbrella while Avis swam: the water formed pearls on the film of her sunscreen. They watched the night's rise, an immense black curtain from the ocean. Up and down the beach they hear the sounds of the outdoor bars, sandy patios switching on, distant strains of laughter, bursts of music. Someone played an instrument- quick runs of notes, arpeggios floating in soft ovals like soap bubbles over the darkening water.

Dubrovnik, Croatia Dubrovnik’s old architecture, all wrapped within its ancient stone walls, have made this city a World Heritage Site. It’s an old sea port that sits above the Adriatic Sea. Its background, from medieval times was trade between the east and Europe and the city rivalled Venice for its reach and connections. Today, however, the principle economy is based on tourism. The old town is a warren of narrow, cobbled streets, sometimes steep, but pedestrianised which makes it easy to walk. However, be careful – signs do not always point to where they say they are going – many of them are old and the hotels, restaurants, bus stations have moved. The City Walls might look familiar to fans of Game of Thrones – many scenes were filmed here and there are Game of Thrones tours to visit the film’s settings. The area suffered a devastating earthquake in the 17th century, therefore much of the original architecture did not survive. The Sponza Palace, near the Bell Tower, is one of the few Gothic buildings left in the city. The Stradun is the main street in the Old Town – restaurants, shops and bars all pour out onto here. It’s lively, especially towards the end of the day. Don’t forget that the city’s location on the coast means that it also has beautiful beaches. Lapad Beach is two miles outside of town, and has a chilled atmosphere. Banje Beach is closer to the old town. It has an entrance fee and is livelier. One of the reasons Dubrovnok appeals to solo travellers is because it has a low crime rate. In addition, its cobbled streets and artistic shops all make browsing easy.

I was 18 wen I started driving I was 18 the first time I was pulled over. It was 2 AM on a Saturday The officer spilled his lights all over my rearview mirror, he splashed out of the car with his hand already on his weapon, and looked at me the way a tsunami looks at a beach house. Immediately, I could tell he was the kind of man who brings a gun to a food fight. He called me son and I thought to myself, that's an interesting way of pronouncing "boy," He asks for my license and registration, wants to know what I'm doing in this nieghborhood, if the car is stolen, if I have any drugs and most days, I know how to grab my voice by the handle and swing it like a hammer. But instead, I picked it up like a shard of glass. Scared of what might happen if I didn't hold it carefully because I know that this much melanin and that uniform is a plotline to a film that can easily end with a chalk outline baptism, me trying to make a body bag look stylish for the camera and becoming the newest coat in a closet full of RIP hashtags. Once, a friend of a friend asked me why there aren't more black people in the X Games and I said, "You don't get it." Being black is one of the most extreme sports in America. We don't need to invent new ways of risking our lives because the old ones have been working for decades. Jim Crow may have left the nest, but our streets are still covered with its feathers. Being black in America is knowing there's a thin line between a traffic stop and the cemetery, it's the way my body tenses up when I hear a police siren in a song, it's the quiver in my stomach when a cop car is behind me, it's the sigh of relief when I turn right and he doesn't. I don't need to go volcano surfing. Hell, I have an adrenaline rush every time an officer drives right past without pulling me over and I realize I'm going to make it home safe. This time.

For Dylan, this electric assault threatened to suck the air out of everything else, only there was too much radio oxygen to suck. “Like a Rolling Stone” was the giant, all-consuming anthem of the new “generation gap” disguised as a dandy’s riddle, a dealer’s come-on. As a two-sided single, it dwarfed all comers, disarmed and rejuvenated listeners at each hearing, and created vast new imaginative spaces for groups to explore both sonically and conceptually. It came out just after Dylan’s final acoustic tour of Britain, where his lyrical profusion made him a bard, whose tabloid accolade took the form of political epithet: “anarchist.” As caught on film by D. A. Pennebaker’s documentary Don’t Look Back, the young folkie had already graduated to rock star in everything but instrumentation. “Satisfaction” held Dylan back at number two during its four-week July hold on Billboard’s summit, giving way to Herman’s Hermits’ “I’m Henry the Eighth, I Am” and Sonny and Cher’s “I Got You Babe” come August, novelty capstones to Dylan’s unending riddle. (In Britain, Dylan stalled at number four.) The ratio of classics to typical pop schlock, like Freddie and the Dreamers’ “I’m Telling You Now” or Tom Jones’s “It’s Not Unusual,” suddenly got inverted. For cosmic perspective, yesterday’s fireball, Elvis Presley, sang “Do the Clam.” Most critics have noted the Dylan influence on Lennon’s narratives. Less space gets devoted to Lennon’s effect on Dylan, which was overt: think of how Dylan rewires Chuck Berry (“Subterranean Homesick Blues”) or revels in inanity (“Rainy Day Women #12 & 35”). Even more telling, Lennon’s keening vocal harmonies in “Nowhere Man,” “And Your Bird Can Sing,” and “Dr. Robert” owed as much to the Byrds and the Beach Boys, high-production turf Dylan simply abjured. Lennon also had more stylistic stretch, both in his Beatle context and within his own sensibility, as in the pagan balalaikas in “Girl” or the deliberate amplifier feedback tripping “I Feel Fine.” Where Dylan skewed R&B to suit his psychological bent, Lennon pursued radical feats of integration wearing a hipster’s arty façade, the moptop teaching the quiet con. Building up toward Rubber Soul throughout 1965, Beatle gravity exerted subtle yet inexorable force in all directions.

University, where she is an adjunct professor of education and serves on the Veterans Committee, among about a thousand other things. That’s heroism. I have taken the kernel of her story and do what I do, which is dramatize, romanticize, exaggerate, and open fire. Hence, Game of Snipers. Now, on to apologies, excuses, and evasions. Let me offer the first to Tel Aviv; Dearborn, Michigan; Greenville, Ohio; Wichita, Kansas; Rock Springs, Wyoming; and Anacostia, D.C. I generally go to places I write about to check the lay of streets, the fall of shadows, the color of police cars, and the taste of local beer. At seventy-three, such ordeals-by-airport are no longer fun, not even the beer part; I only go where there’s beaches. For this book, I worked from maps and Google, and any geographical mistakes emerge out of that practice. Is the cathedral three hundred yards from the courthouse in Wichita? Hmm, seems about right, and that’s good enough for me on this. On the other hand, I finally got Bob’s wife’s name correct. It’s Julie, right? I’ve called her Jen more than once, but I’m pretty sure Jen was Bud Pewtie’s wife in Dirty White Boys. For some reason, this mistake seemed to trigger certain Amazon reviewers into psychotic episodes. Folks, calm down, have a drink, hug someone soft. It’ll be all right. As for the shooting, my account of the difficulties of hitting at over a mile is more or less accurate (snipers have done it at least eight times). I have simplified, because it is so arcane it would put all but the most dedicated in a coma. I have also been quite accurate about the ballistics app FirstShot, because I made it up and can make it do anything I want. The other shot, the three hundred, benefits from the wisdom of Craig Boddington, the great hunter and writer, who looked it over and sent me a detailed email, from which I have borrowed much. Naturally, any errors are mine, not Craig’s. I met Craig when shooting something (on film!) for another boon companion, Michael Bane, and his Outdoor Channel Gun Stories crew. For some reason, he finds it amusing when I start jabbering away and likes to turn the camera on. Don’t ask me why. On the same trip, I also met the great firearms historian and all-around movie guy (he knows more than I do) Garry James, who has become

Karachi was not always synonymous with charred buses and mutilated bodies wrapped in gunny bags. The ‘Guide to Karachi’ distributed to American soldiers posted in the city during the Second World War described it as the ‘Paris of the East’ and the ‘cleanest city in the whole of India’, while praising its ‘sea beach and bathing places’.2 Many Karachiites who grew up in the 1950s and 1960s also remember the city as pleasant and secure—a safe haven where children would spend most of their time playing outside, where doors would be left unlocked and where women could go to see films and relish the latest Indian hits without chaperones.

Two German kayakers arrive from the north at nightfall. They set up camp on the cape beach, about a third of a mile from the cabin, and come up to recharge their equipment on my solar batteries. We have to look at their photos, their films, exchange e-mail addresses. When you meet someone nowadays, right after the handshake and a quick glance you write down the website and blog information. Conversation has given way to a session in front of the screen. Afterwards, you won’t remember faces or tones of voice, but you’ll have cards with scribbled numbers. Human society’s dream has come true: we rub our antennae together like ants. One day we’ll just take a sniff.

We lost not a single animal that night. Every last duck, koala, and roo turned up fine, healthy, and accounted for. After three months, as Wes’s wounds healed up completely, Steve went to him with a proposition. “What do you reckon, Wes,” he said, “are you up for a board meeting?” They grabbed their surfboards, and we all headed to the Fiji Islands. Tavarua was an exclusive atoll, beautiful, with great surf. Steve and Wes also surfed Namotu and caught some unbelievable waves. One day the face of the waves coming in had to have been sixteen feet plus. Just paddling out to the break was epic. I didn’t realize how much effort it took until we had a guest with us, a young lady from Europe who was a mad keen surfer. Steve paddled out to catch some waves, and she paddled out after him. After several minutes, it became apparent that she was having trouble. We idled the boat closer and pulled her in. She collapsed in complete exhaustion. The current had been so strong that, even paddling as hard as she could, she was able only to hold her own in the water. I tried to photograph Steve from the boat. Peter, the captain, very obligingly ran up the side of the wave exactly at the break. I had a great side angle of Steve as he caught each wave. But the whole process scared me. The boat rose up, up, up on the massive swell. As the green water of the crest started to lip over the boat, we crashed over the top, smashed into the back of the wave, and slid down the other side. “It’s okay,” I yelled to Captain Peter. “What?” he shouted, unable to hear as the boat pounded through the swell. “What’s okay?” I gestured back toward the shore. “I don’t need such…incredibly…good…shots,” I stuttered. I just wasn’t confident enough to take photographs while surfing in a boat. I decided to be more of a beach bunny, filming beach breaks or shooting the surfing action from the safety and stability of the shoreline.

I knew the Tam were already a success by the greeting I got. The women in their canoes in the middle of the lake called out loud hellos that I heard over my engine, and a few men and children came down to the beach and gave me big floppy Tam waves. A noticeable shift from the chary welcome we’d received six weeks earlier. I cut the engine and several men came and pulled the boat to shore, and without my having to say a word two swaybacked young lads with something that looked like red berries woven in their curled hair led me up a path and down a road, past a spirit house with an enormous carved face over the entryway—a lean and angry fellow with three thick bones through his nose and a wide open mouth with many sharp teeth and a snake’s head for a tongue. It was much more skilled than the Kiona’s rudimentary depictions, the lines cleaner, the colors—red, black, green, and white—far more vivid and glossy, as if the paint were still wet. We passed several of these ceremonial houses and from the doorways men called down to my guides and they called back. They took me in one direction then, as if I wouldn’t notice, turned me around and doubled back down the same road past the same houses, the lake once again in full view. Just when I thought their only plan was to parade me round town all day, they turned a corner and stopped before a large house, freshly built, with a sort of portico in front and blue-and-white cloth curtains hanging in the windows and doorway. I laughed out loud at this English tea shop encircled by pampas grass in the middle of the Territories. A few pigs were digging around the base of the ladder. From below I heard footsteps creaking the new floor. The cloth at the windows and doors puffed in and out from the movement within. ‘Hallo the house!’ I’d heard this in an American frontier film once. I waited for someone to emerge but no one did, so I climbed up and stood on the narrow porch and knocked on one of the posts. The sound was absorbed by the voices inside, quiet, nearly whispery, but insistent, like the drone of a circling aeroplane. I stepped closer and pulled the curtain aside a few inches. I was struck first by the heat, then the smell. There were at least thirty Tam in the front room, on the floor or perched oddly on chairs, in little groups or even alone, everyone with a project in front of them. Many were children and adolescents, but

Know what’s nice about you, Lily?” he said, laughter still threading his voice. “I can’t imagine,” she snapped. “You never change.” “Neither do you. You’re as obnoxious as ever.” “That’s me. Ran on the obnoxious ticket,” he agreed complacently. “Landslide victory.” She was driving like a maniac, switching lanes as though she were in a chase scene in a cops and robbers film. Throughout, Sean remained aggravatingly relaxed. His fingers threaded behind his neck, he merely observed in a bored drawl, “By the way, we have speed limits in Coral Beach.” “Tough. I can’t get to May Ellen’s fast enough, if it means I get to be rid of you.” He sighed. “There you go, breaking my heart. I was hoping we’d have time to reminisce. No?

Almost as soon as we got our baby home, we packed her up to leave. Bindi was six days old when she embarked on her first film shoot (actually, her second, if you count filming her birth). Steve, Bindi, and I headed off for the United States, with a stop first at Australia’s Double Island to film turtles. We drove through the Double Island sand dunes, spending a day filming on the area’s spectacular beaches. Bindi did marvelously. Some of the four-wheel driving was a bit rough, so I would lean over her capsule in the back of the four-wheel drive, helping to hold her head, so that the bouncing of the truck wouldn’t jostle her around too much. Once we arrived on location, she was absolutely content. Fraser, one of the assistants on the shoot, stayed with Bindi while Steve and I filmed. Then we’d walk around behind the camera to hug and kiss her, and I could feed her. She didn’t squeak or squawk. I swear she seemed to keep quiet when John called out “Rolling!

We left the beach to track Tasmanian snakes inland. Steve was feeling particularly protective of me. “Whatever you do, don’t grab any of these snakes,” he said. “They are all venomous here in Tasmania. You are pregnant and you’ve got to be careful.” “No problem,” I said. But it did turn out to be difficult just to watch. Over and over again, Steve got to wrangle a gorgeous venomous snake as the crew filmed. I wanted some of the action! After a few days of this, we tramped through the bush and encountered a great big tiger snake. It glistened in the sun at the edge of a stream. Steve turned around and motioned to the cameraman to start rolling. We made minimal movements and whispered, even though snakes have no ears and can’t hear (instead they sense vibrations). We approached the tiger snake as it drank in the stream. It raised its head slightly. It knew we were there. My heart started pounding, but I had made a decision. I knew we had one take with this snake. Once we disturbed it, it would never go back to drinking, and the shot would be lost. I moved forward, waddling my pregnant body in behind the snake, and tailed him. He was a huge snake, but slow and gentle, just as I had anticipated. I told the camera all about tigers, how they could give birth to thirty young at once, and how the Tasmanian tiger snakes are special, tolerating some of the coldest weather in the country. As I let the snake go, I looked sheepishly back at Steve. His eyes had grown large, and he didn’t say a word. I’m not entirely sure if he was angry with me. I think he realized that I was still the same old Terri, even though I was pregnant.

We drove in Helen’s cruiser down a long two-lane road through flooded gum and willow and cypress trees, the sunlight spangling through the canopy on water that was black in the shade or filmed with a skim of algae that resembled green lace. The road dead-ended on a cusp of oil-streaked beach and a shallow saltwater bay that bled into the Gulf of Mexico. The St. Mary Parish sheriff, two deputies, a crime scene investigator, the coroner, and two paramedics were already at the scene. They were standing in a circle with the blank expressions of people who had just discovered that their vocational training and experience were perhaps of no value.

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I should perhaps warn you that I am about to faint from anxiety and general depression, though. The film I saw last night was especially grueling, a teenage beach musical. I almost collapsed during the singing sequence on surfboard. In addition, I suffered through two nightmares last night, one involving a Scenicruiser bus. The other involved a girl of my acquaintance. It was rather brutal and obscene. If I described it to you, you would no doubt become frightened.

Apple may not do customer research to decide what products to make, but it absolutely pays attention to how customers use its products. So the marketing team working on the iMovie HD release scheduled for Macworld, on January 11, 2005, decided to shoot a wedding. The ceremony it filmed was gorgeous: a sophisticated, candlelit affair at the Officers’ Club of San Francisco’s Presidio. The bride was an Apple employee, and the wedding was real. There was one problem with the footage, however. Steve Jobs didn’t like it. He watched it the week before Christmas, recalled Alessandra Ghini, the marketing executive managing the launch of iLife. Jobs declared that the San Francisco wedding didn’t capture the right atmosphere to demonstrate what amateurs could do with iMovie. “He told us he wanted a wedding on the beach, in Hawaii, or some tropical location,” said Ghini. “We had a few weeks to find a wedding on a beach and to get it shot, edited, and approved by Steve. The tight time frame allowed for no margin for error.” With time short and money effectively no object, the team went into action. It contacted Los Angeles talent agencies as well as hotels in Hawaii to learn if they knew of any weddings planned—preferably featuring an attractive bride and groom—over the New Year’s holiday. They hit pay dirt in Hollywood: A gorgeous agency client and her attractive fiancé were in fact planning to wed on Maui during the holiday. Apple offered to pay for the bride’s flowers, to film the wedding, and to provide the couple with a video. In return, Apple wanted rights for up to a minute’s worth of footage of its choosing.

Baseball Dennis & the French tells the true story of Paul Croshaw, longtime liberal activist, and connoisseur of French films, who amazed his family, friends, and himself by becoming a churchgoing, conservative Christian after years of listening to nationally syndicated radio host Dennis Prager.

You will cry euphoric tears at the Beach Boys, you will stare down at a baby’s face as she lies asleep in your lap, you will make great friends, you will eat delicious foods you haven’t tried yet, you will be able to look at a view from a high place and not assess the likelihood of dying from falling. There are books you haven’t read yet that will enrich you, films you will watch while eating extra-large buckets of popcorn, and you will dance and laugh and have sex and go for runs by the river and have late-night conversations and laugh until it hurts. Life is waiting for you. You might be stuck here for a while, but the world isn’t going anywhere. Hang on in there if you can. Life is always worth it.

You will one day experience joy that matches this pain. You will cry euphoric tears at the Beach Boys, you will stare down at a baby's face as she lies asleep in your lap, you will make great friends, you will eat delicious food you haven't tried yet, you will be able to look at a view from a high place and not assess the likelihood of dying from falling. There are books you haven't read that will enrich you, films you will watch while eating extra-large buckets of popcorn, and you will dance and laugh and have sex and go for runs by the river and have late-night conversations and laugh until it hurts. Life is waiting for you. You might be stuck here for a while, but the world isn't going anywhere. Hang on in there if you can. Life is always worth it. (Reason No.10).

The world was complicated too, not a beautifully hazy French film, but a disastrous, horrible mess, speckled with brilliance and love and meaning.

Fifty Best Rock Documentaries Chicago Blues (1972) B. B. King: The Life of Riley (2014) Devil at the Crossroads (2019) BBC: Dancing in the Street: Whole Lotta Shakin’ (1996) BBC: Story of American Folk Music (2014) The Weavers: Wasn’t That a Time! (1982) PBS: The March on Washington (2013) BBC: Beach Boys: Wouldn’t It Be Nice (2005) The Wrecking Crew (2008) What’s Happening! The Beatles in the U.S.A. (1964) BBC: Blues Britannia (2009) Rolling Stones: Charlie Is My Darling—Ireland 1965 (2012) Bob Dylan: Dont Look Back (1967) BBC: The Motown Invasion (2011) Rolling Stones: Sympathy for the Devil (1968) BBC: Summer of Love: How Hippies Changed the World (2017) Gimme Shelter (1970) Rumble: The Indians Who Rocked the World (2017) Cocksucker Blues (1972) John Lennon & the Plastic Ono Band: Sweet Toronto (1971) John and Yoko: Above Us Only Sky (2018) Gimme Some Truth: The Making of John Lennon’s “Imagine” Album (2000) Echo in the Canyon (2018) BBC: Prog Rock Britannia (2009) BBC: Hotel California: LA from the Byrds to the Eagles (2007) The Allman Brothers Band: After the Crash (2016) BBC: Sweet Home Alabama: The Southern Rock Saga (2012) Ain’t in It for My Health: A Film About Levon Helm (2010) BBC: Kings of Glam (2006) Super Duper Alice Cooper (2014) New York Dolls: All Dolled Up (2005) End of the Century: The Story of the Ramones (2004) Fillmore: The Last Days (1972) Gimme Danger: The Stooges (2016) George Clinton: The Mothership Connection (1998) Fleetwood Mac: Rumours (1997) The Who: The Kids Are Alright (1979) The Clash: New Year’s Day ’77 (2015) The Decline of Western Civilization (1981) U2: Rattle and Hum (1988) Neil Young: Year of the Horse (1997) Ginger Baker: Beware of Mr. Baker (2012) AC/DC: Dirty Deeds (2012) Grateful Dead: Long, Strange Trip (2017) No Direction Home: Bob Dylan (2005) Hip-Hop Evolution (2016) Joan Jett: Bad Reputation (2018) David Crosby: Remember My Name (2019) Zappa (2020) Summer of Soul (2021)

So don’t cry over others, they have enough to do saving their skin or getting through the few hours left before they’re murdered. They don’t need tears Made in Austria. Besides, the tears come later, in the middle of peace, as you once called this time, in a comfortable armchair, when no shots are being fired and nothing is burning. People go hungry at other times too, on the street, among the well-fed passerby. And fear is first felt during some stupid horror film. People don’t freeze in winter, but at the beach on a summer’s day. Where was it? When did you feel the most cold? It was a beautiful, unseasonably warm October day by the sea. So you can either stay calm for the others or be constantly agitated. You won’t change a thing.

I could watch you count every grain of sand on the beach and it would be exciting.” I wasn’t a patient man, nor was I one who dealt well with restlessness. That was why I enjoyed puzzles so much. They fed me the stimulation I required to stay sane, because God knew I couldn’t rely on other people to keep me interested. Stella was the only exception. Her mere presence fascinated me more than any rambling monologue on film, travel, or whatever the fuck people liked to talk about.

I make another trip to Rick's bakehouse to show people how he makes his pain au chocolat, that magical, flaky pastry filled with heavenly bites of chocolate. I shoot video of Rick laminating croissant dough, rolling and flattening and folding the butter-filled slab of pastry until the dough is as long as a beach towel and stratified with butter like canyon rock. He cuts it into rectangles and stuffs each one with two fat chunks of bittersweet chocolate inside. He bakes off five sheets in his convection oven, and when the croissants emerge, their golden tops glistening, I have to restrain myself from reaching out from behind the camera to stuff three or five into my face. As soon as the newsletter goes out the next week, Rick's customer base goes crazy. People line up and down the market thoroughfare, undeterred by the stifling July heat, clamoring for flaky pain au chocolat and crusty sourdough loaves. Day after day, he sells out everything at least thirty minutes before closing, and the chocolate croissants sell out in the first hour.

When they weren't on the beach or sailing, Alicia and Jack were indoors, usually in the basement watching movies. Alicia missed so many important films during those frightening years.

Rarely does a film express the sentient that one finds in Pawel Pawlikowski’s Ida (2013), wherein an aspiring nun is sent outside the abbey to meet an aunt, her only living relative. After a series of dramatic events, she meets a traveling musician with whom she has a brief affair. He invites her to join him as he prepares to travel to his next city. She asks him what they will do there, and he responds that they might walk together along the beach. “And what then?” she asks. “We get married,” he offers. “And what then?” “We get a house and a dog.” “And then?” “We have children.” “And then?” “We live our lives.” When he falls asleep, she rises and puts on her nun’s habit, returning to the monastery, having observed the trajectory of the romance and perceived it as fiction. No such romance would thrive: for when the obstacles to it are removed, it would be deprived of the “love” that gives it life. In choosing to die to the world, Ida chooses true love. The love offered by the musician is a diversion without vision. It is the amor [romantic love] for which the world dies.

The Ultra-Super-Gala-Mega-Mall 97-Screen Cinema was showing Beach Blanket Prophecy in which, according to reviews: "A bump on the head as a result of a surfing accident gives Frankie’s girlfriend the ability to see into the future, making it the only film in the beach party series to turn Annette prophet. ...

Gentile’s office in downtown Las Vegas, I got on the elevator and turned around and there was a TV camera. It was just the two of us in the little box, me and the man with the big machine on his shoulder. He was filming me as I stood there silent. “Turn the camera off,” I said. He didn’t. I tried to move away from him in the elevator, and somehow in the maneuvering he bumped my chin with the black plastic end of his machine and I snapped. I slugged him, or actually I slugged the camera. He turned it off. The maids case was like a county fair compared with the Silverman disappearance, which had happened in the media capital of the world. It had happened within blocks of the studios of the three major networks and the New York Times. The tabloids reveled in the rich narrative of the case, and Mom and Kenny became notorious throughout the Western Hemisphere. Most crimes are pedestrian and tawdry. Though each perpetrator has his own rap sheet and motivation and banged-up psyche, the crime blotter is very repetitive. A wife beater kills his wife. A crack addict uses a gun to get money for his habit. Liquor-store holdups, domestic abuse, drug dealer shoot-outs, DWIs, and so on. This one had a story line you could reduce to a movie pitch. Mother/Son Grifters Held in Millionaire’s Disappearance! My mother’s over-the-top persona, Kenny’s shady polish, and the ridiculous rumors of mother-son incest gave the media a narrative it couldn’t resist. Mom and Kenny were the smart, interesting, evil criminals with the elaborate, diabolical plan who exist in fiction and rarely in real life. The media landed on my life with elephant feet. I was under siege as soon as I returned to my office after my family’s excursion to Newport Beach. The deluge started at 10 A.M. on July 8, 1998. I kept a list in a drawer of the media outlets that called or dropped by our little one-story L-shaped office building on Decatur. It was a tabloid clusterfuck. Every network, newspaper, local news station, and wire service sent troops. Dateline and 20/20 competed to see who could get a Kimes segment on-air first. Dateline did two shows about Mom and Kenny. I developed a strategy for dealing with reporters. My unusual training in the media arts as the son of Sante, and as a de facto paralegal in the maids case, meant that I had a better idea of how to deal with reporters than my staff did. They might find it exciting that someone wanted to talk to them, and forget to stop at “No comment.” I knew better. So I hid from the camera crews in a back room, so there’d be no pictures, and I handled the calls myself. I told my secretary not to bother asking who was on the line and to transfer all comers back to me. I would get the name and affiliation of the reporter, write down the info on my roster, and

I am not super-attached to my career,' Audrey Tautou says in that sultry, Gallic voice of hers, a glint of recklessness in her big brown eyes. 'I have several plan Bs: I want to become a sailor; I like to draw; I would love to learn many things, but I don’t have time…' She trails off, leaving an uncertain silence hanging over the Kensington hotel room where we’ve met to discuss her latest film, a delightful comic confection called Beautiful Lies. 'That is the problem, you know,' she continues, more carefully. 'That is the reason why I will quit acting very soon.' She lets out a strange little laugh, a creaky exhalation, as if her own admission has taken her by surprise... 'I didn’t want to have this power,' she says, with a shrug. 'I would rather have freedom; and to find that you have to stop being in big, exposed movies. I don’t surf on the big waves. When I see them coming, I take my board and go straight back to the beach.'... 'I am always surprised to be chosen by a director for a role because I never understand why they like me,' she says. Surely, I suggest, that is false modesty, coming from one of Europe’s most bankable stars. 'Oh no, really, I am serious,' she says, leaning forward and planting her feet back on the carpet. 'I am always surprised to be cast.' Does her track record – in Jeunet’s hits; or in Stephen Frears’s acclaimed Dirty Pretty Things, or as a compellingly self-possessed Coco Chanel in Anne Fontaine’s 2009 biopic – not give her at least a little confidence? 'No,' she says with a scowl, 'pas du tout.' 'A few months ago, I watched one of my old movies and I thought to myself, 'Oh, Jesus!’ Thank God that at the point I made that film I didn’t realise the extent to which I was terrible. Oh, mon dieu! Mon dieu!' But surely, I say, she can take from that the reassurance that she has only improved as an actress. 'Or,' she says, jabbing a finger in the air, 'I say to myself, does it simply mean that if in another 10 years I rewatch the films I am making today I will say, 'Oh mon dieu, how terrible I was then.’ She laughs that odd, breathy laugh again and then looks me dead in the eye. 'You have to be very careful in this life.