Crossroads Film Quotes

She came forward, the outlines of her figure blurred in the half-light. She came forward like a film star, or rather like the ideal woman in an adolescent's dream.

The Average Occidental- be he a democrat or a Fascist, a Capitalist or a Bolshevik, a manual worker or an intellectual- knows only one positive "religion", and that is the worship of material progress, the belief that there is no other goal in life than to make that very life continually easier or, as the current expression goes, "independent of nature". The temples of this "religion" are the gigantic factories, cinemas, chemical laboratories, dancing halls, hydro- electric works; and its priests are bankers, engineers,film stars, captains of industry, record-airmen. The unavoidable result of this craving after power and pleasure is the creation of hostile groups armed to the teeth and determined to destroy each other whenever their respective interests come to clash. And on the cultural side the result is the creation of a human type whose morality is confined to the question of practical utility alone, and whose highest criterion of good and evil is material progress.

The autumn leaves were pulverized and the fragrance of leaf-decay was pleasant. The air was empty but good. As the sun went down the landscape was like the still frame of an old movie on sepia film. Sunset. A red wash spreading from remote Pennsylvania, sheep bells clunking, dogs in the brown barnyards. I was trained in Chicago to make something of such a scant setting. In Chicago you became a connoisseur of the near-nothing. With a clear eye I looked at a clear scene, I appreciated the red sumac, the white rocks, the rust of the weeds, the wig of green on the bluff over the crossroads.

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)

And the more clearly I discerned the stamp of materialism on the face of our planet (irrespective of whether I was observing the West or the East), the more I came up against unhappy people, saw the victims of psychoses symptomatic of an inability or unwillingness to see why life had lost all delight and all value, why it had become oppressive, the more committed I felt to this film as the most important thing in my life. It seems to me that the individual stands today at a crossroads, faced with the choice of whether to pursue the existence of a blind consumer, subject to the implacable march of new technology and the endless multiplication of material goods, or whether to seek out a way that will lead to spiritual responsibility, which ultimately might mean not only his personal salvation but also the saving of society at large: in other words, to turn to God.

From kindergarten through senior year of high school, Evan attended Crossroads, an elite, coed private school in Santa Monica known for its progressive attitudes. Tuition at Crossroads runs north of $ 22,000 a year, and seemingly rises annually. Students address teachers by their first names, and classrooms are named after important historical figures, like Albert Einstein and George Mead, rather than numbered. The school devotes as significant a chunk of time to math and history as to Human Development, a curriculum meant to teach students maturity, tolerance, and confidence. Crossroads emphasizes creativity, personal communication, well-being, mental health, and the liberal arts. The school focuses on the arts much more than athletics; some of the school’s varsity games have fewer than a dozen spectators. 2 In 2005, when Evan was a high school freshman, Vanity Fair ran an exhaustive feature about the school titled “School for Cool.” 3 The school, named for Robert Frost’s poem “The Road Not Taken,” unsurprisingly attracts a large contingent of Hollywood types, counting among its alumni Emily and Zooey Deschanel, Gwyneth Paltrow, Jack Black, Kate Hudson, Jonah Hill, Michael Bay, Maya Rudolph, and Spencer Pratt. And that’s just the alumni—the parents of students fill out another page or two of who’s who A-listers. Actor Denzel Washington once served as the assistant eighth grade basketball coach, screenwriter Robert Towne spoke in a film class, and cellist Yo-Yo Ma talked shop with the school’s chamber orchestra.

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