Desperately Film Quotes

you must wear it like she wears disappointment on her face you must hide the surprise of tasting other men on your lips your mother is a woman and women like her cannot be contained. you find the black tube inside her beauty case, where she keeps your fathers old prison letters, you desperately want to look like her film star beauty, you hold your hand against your throat your mother was most beautiful when sprawled out on the floor half naked and bleeding. you go to the bathroom to apply the lipstick, somewhere no one can find you your teeth look brittle against the deep red slickness you smile like an infant, your mouth is a wound you look nothing like your mother you look everything like your mother. you call your ex boyfriend, sit on the toilet seat and listen to the phone ring, when he picks up you say his name slow he says i thought i told you to stop calling me you lick your lips, you taste like years of being alone.

The problem with heartbreak is that nobody can help you when you're heartbroken. Nobody and nothing. Not the films you watch alone desperately searching for a character who feels the way you do, not the glasses or bottles of whisky you keep by your bed and certainly not Instagram.

As for the new world war that's waiting in the womb of time, a healthily developed foetus, who can say what will spark it, how destructive it will be? We've already played at this war in film and fiction, indicating that there's a part of us that desperately wants it. What nonsense writers and filmmakers talk when they say that their terrible visions are meant as a warning. [...] It's sheer wish fulfillment. War... is a culture pattern. It's a legitimate mode of cultural transmission....

I don't believe. Religion? Humans desperate to take out infinity insurance. Death? The great big nada. Love? Dopamine released in the brain, which gets depleted over time, leaving contempt.

I was ambitious and desperate to direct my first film, so I capitulated and blew it. Never again. Never fucking again.

And that's something to recommend love: that is has clear rules like a game, and it has speeches and sayings you'll have heard in films and in songs. There are patterns and there are steps to be taken. If you lose the game that's one thing, and that has to be dealt with, but at least there is a game to be played at all.

Within sixty-minute limits or one-hundred-yard limits or the limits of a game board, we can look for perfect moments or perfect structures. In my fiction I think this search sometimes turns out to be a cruel delusion. No optimism, no pessimism. No homesickness for lost values or for the way fiction used to be written. Everybody seems to know everything. Subjects surface and are totally exhausted in a matter of days or weeks, totally played out by the publishing industry and the broadcast industry. Nothing is too arcane to escape the treatment, the process. Making things difficult for the reader is less an attack on the reader than it is on the age and its facile knowledge-market. The writer is the person who stands outside society, independent of affiliation and independent of influence. The writer is the man or woman who automatically takes a stance against his or her government. There are so many temptations for American writers to become part of the system and part of the structure that now, more than ever, we have to resist. American writers ought to stand and live in the margins, and be more dangerous. Writers in repressive societies are considered dangerous. That’s why so many of them are in jail. Some people prefer to believe in conspiracy because they are made anxious by random acts. Believing in conspiracy is almost comforting because, in a sense, a conspiracy is a story we tell each other to ward off the dread of chaotic and random acts. Conspiracy offers coherence. I see contemporary violence as a kind of sardonic response to the promise of consumer fulfillment in America... I see this desperation against the backdrop of brightly colored packages and products and consumer happiness and every promise that American life makes day by day and minute by minute everywhere we go. Discarded pages mark the physical dimensions of a writer’s labor. Film allows us to examine ourselves in ways earlier societies could not—examine ourselves, imitate ourselves, extend ourselves, reshape our reality. It permeates our lives, this double vision, and also detaches us, turns some of us into actors doing walk-throughs. Every new novel stretches the term of the contract—let me live long enough to do one more book. You become a serious novelist by living long enough.

This book isn’t about Shah Rukh Khan. Rather, I hope to reveal how female fans use his icon to talk about themselves. Their stories will illustrate how his films, songs and interviews are invoked to frame a feminine conversation on inequality within families, workplaces and contemporary romances.

Take the clapper and become the alarm that the world so desperately needs.

Because there it is, in black and white, captured forever on film.... how desperately I want her.

I've done a Russian movie," Claire said. "Thank God they're still stuck in realism, Zola-crazy. Subtitling their films is like captioning a child's picture book.

Big-budget romantic Hindi films rarely accede that a sexual encounter between decent people may simply be for pleasure or play, that sex may never lead to love or marriage.

What Max was talking about was a graphic portrayal of female desire. And my gut instinct was that I loved the idea. I mean, the thought of filming a graphic sex scene with Don was about as arousing to me as a bowl of bran flakes. But I wanted to push the envelope. I wanted to show a woman getting off. I liked the idea of showing a woman having sex because she wanted to be pleased instead of being desperate to please. So in

Its real deity, I saw, was no longer of a spiritual kind: it was Comfort. No doubt that there were still many individuals who felt and thought in religious terms and made the most desperate efforts to reconcile their moral beliefs with the spirit of their civilization, but they were only exceptions. The average European - whether democrat or communist, manual worker or intellectual - seemed to know only one positive faith: the worship of material progress, the belief that there could be no other goal in life than to make that very life continually easier or, as the current expression went, 'independent of nature'. The temples of faith were the gigantic factories, cinemas, chemical laboratories, dance halls, hydroelectric works; and its priests were the bankers, engineers, politician, film starts, statisticians, captains of industry, record airmen, and commissars.

He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.

a movie set, Julia, is a tiny, intimate world, divorced from reality. No, immune to it.” She smiled to herself. “Fantasy, however difficult the work, is its own addiction. Which is why so many of us delude ourselves into believing we’ve fallen desperately in love with another character in that shiny bubble—for the length of time it takes to create a film.

On our way down, we passed a two-story villa, hidden in a thicket of Chinese parasol trees, magnolia, and pines. It looked almost like a random pile of stones against the background of the rocks. It struck me as an unusually lovely place, and I snapped my last shot. Suddenly a man materialized out of nowhere and asked me in a low but commanding voice to hand over my camera. He wore civilian clothes, but I noticed he had a pistol. He opened the camera and exposed my entire roll of film. Then he disappeared, as if into the earth. Some tourists standing next to me whispered that this was one of Mao's summer villas. I felt another pang of revulsion toward Mao, not so much for his privilege, but for the hypocrisy of allowing himself luxury while telling his people that even comfort was bad for them. After we were safely out of earshot of the invisible guard, and I was bemoaning the loss of my thirty-six pictures, Jin-ming gave me a grin: "See where goggling at holy places gets you!" We left Lushan by bus. Like every bus in China, it was packed, and we had to crane our necks desperately trying to breathe. Virtually no new buses had been built since the beginning of the Cultural Revolution, during which time the urban population had increased by several tens of millions. After a few minutes, we suddenly stopped. The front door was forced open, and an authoritative-looking man in plainclothes squeezed in. "Get down! Get down!" he barked. "Some American guests are coming this way. It is harmful to the prestige of our motherland for them to see all these messy heads!" We tried to crouch down, but the bus was too crowded. The man shouted, "It is the duty of everyone to safeguard the honor of our motherland! We must present an orderly and dignified appearance! Get down! Bend your knees!" Suddenly I heard Jin-ming's booming voice: "Doesn'T Chairman Mao instruct us never to bend our knees to American imperialists?" This was asking for trouble. Humor was not appreciated. The man shot a stern glance in our direction, but said nothing. He gave the bus another quick scan, and hurried off. He did not want the "American guests' to witness a scene. Any sign of discord had to be hidden from foreigners. Wherever we went as we traveled down the Yangtze we saw the aftermath of the Cultural Revolution: temples smashed, statues toppled, and old towns wrecked. Litfie evidence remained of China's ancient civilization. But the loss went even deeper than this. Not only had China destroyed most of its beautiful things, it had lost its appreciation of them, and was unable to make new ones. Except for the much-scarred but still stunning landscape, China had become an ugly country.

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism. The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them. In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void. Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.

say. “Okay, but what does that prove? Nothing, really. There are plenty of reasons they could be using old footage. Probably it looks more impressive. And it’s a lot simpler, isn’t it? To just press a few buttons in the editing room than to fly all the way out there and film it?” he says. “The idea that Thirteen has somehow rebounded and the Capitol is ignoring it? That sounds like the kind of rumor desperate people cling to.” “I know. I was just hoping,” I say.

Findings such as these can change the way we handle chronic stress. When we are mired in stress, what we desperately need to do is minimize the novelty in our lives. We need familiarity. But quite often we seek out the exact opposite, responding to chronic stress at work, for example, by taking a vacation in some exotic place, thinking that the change of scenery will do us good. And under normal circumstances it does. But not when we are highly stressed, because then the novelty we encounter abroad can just add to our physiological load. Instead of traveling, we may be better off remaining on home turf, surrounding ourselves with family and friends, listening to familiar music, watching old films. Exercise, of course, can help, in fact there are few things better at preparing our physiology for stress. But when someone is this far into chronic stress its effects, suggests Stephen Porges, are mostly analgesic, possibly because exercise treats us to a shot of natural opioids. Again, what we really need is familiarity.

They are the fallen gods. The new gods are producers, creators, doers. The new gods are the chinless techno-children who would rather eat white sugar and watch science-fiction films than worry about what shoes they wear. And these poor souls desperately push papers around hoping that a mystical message will appear to save them from the new, awkward, brilliant gods and their silicon-chip reality. Some of them will survive, of course, but most will fall. Uncreative thinking is done better by machines. Poor souls, you can almost hear them sweating.

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

Barry, if I were to say to you that I haven’t seen Reservoir Dogs yet, what would that mean?” Barry looks at me. “Just…come on, what would it mean to you? That sentence? ‘I haven’t seen Reservoir Dogs yet?’” “To me, it would mean that you’re a liar. Either that or you’ve gone potty. You saw it twice. Once with Laura, once with me and Dick. We had that conversation about who killed Mr. Pink or whatever fucking color he was.” “Yeah, yeah, I know. But say I hadn’t seen it and I said to you, ‘I haven’t seen Reservoir Dogs yet,’ what would you think?” “I’d think, you’re a sick man. And I’d feel sorry for you.” “No, but would you think, from that one sentence, that I was going to see it?” “I’d hope you were, yeah, otherwise I would have to say that you’re not a friend of mine.” “No, but—” “I’m sorry, Rob, but I’m struggling here. I don’t understand any part of this conversation. You’re asking me what I’d think if you told me that you hadn’t seen a film that you’ve seen. What am I supposed to say?” “Just listen to me. If I said to you—” —“‘I haven’t seen Reservoir Dogs yet,’ yeah, yeah, I hear you—” “Would you …would you get the impression that I wanted to see it?” “Well…you couldn’t have been desperate, otherwise you’d have already gone.” “Exactly. We went first night, didn’t we?” “But the word yet… yeah, I’d get the impression that you wanted to see it. Otherwise you’d say you didn’t fancy it much.” “But in your opinion, would I definitely go?” “How am I supposed to know that? You might get run over by a bus, or go blind, or anything. You might go off the idea. You might be broke. You might just get sick of people telling you you’ve really got to go.” I don’t like the sound of that. “Why would they care?” “Because it’s a brilliant film. It’s funny, and violent, and it’s got Harvey Keitel and Tim Roth in it, and everything. And a cracking sound track.

Sitting on the poop deck with my infinitely beloved wife who has acquired an even greater weight of love. I keep on mentally looking around to make sure she's there. For why this new and massive re-affirmation of adoration and worship and a promise to myself that I shall never be nasty to her ever again? I will tell you for why. For because for about three minutes this afternoon I thought that I was about to be killed instantaneously and at once, without time to re-tell her how much I love her, to apologize for breaking my contract to look after her forever, for letting her down with a bang (hysterical pun intended) and for having no time to tell her the million things yet to be told and for not realizing and demonstrating my full potential as a husband, provider, lover, and all. (He goes on to describe how he was in a helicopter with others going to a film location in some mountainous area in Sarajevo in the fog and the came right up to some mountains and barely swerved just in time, this went of for a full three minutes of desperate danger) He goes on to say, "There was one blazing mental image that seemed to last right through the enormity. it was E lying in bed on the yacht with a book open at the page where she'd stopped reading with the title front cover and publisher's blurb on the other face up on the bed near her right hand which was out of the covers. She was wearing one of my favorite nightgowns, a blue thing and shorty which she may have been wearing this morning when I said goodbye to her. (I just asked her and she was) She had one leg bent and the other straight. On another level I was telling her over and over again that I loved her, I loved her...The mind is a remarkable instrument. If I wrote down everything I could remember from those interminable seconds it would be a million words....A shorter catastrophe of this kind happened to me before when I was perhaps 19-20 years old but I hadn't learned to love then and to love obsessively.

Ryan was complex—he was big-hearted and caring but also resolute and direct. He once e-mailed me an audio clip of a television news interview he gave after a group of Navy SEALs rescued the captain of the Maersk Alabama tanker ship. Pirates had taken the ship and the captain hostage off the coast of Somalia, Africa. The story was later made into the film Captain Phillips, starring Tom Hanks. A team of Navy SEAL snipers shot and killed all but one of the hostage takers, who had placed themselves and their hostage in a desperate situation. Ryan told the TV reporter, “Despite what your momma told you, violence does solve problems.”1 I understood exactly what Ryan meant—there was no diplomatic or political solution to the crisis, and allowing pirates to take American vessels and crews hostage would set a bad precedent in other parts of the globe. Weeks before, in fact, the pirates had killed other hostages. Ryan’s statement was in no way meant to be bravado; he was merely conveying the fact that many times violence brings about a successful conclusion to a hostage crisis. The SEALs spoke the only language that the Somali pirates understood: violence. Apparently, the SEALs’ response acted as a deterrent, since the Somali pirates have consequently stayed clear of US flagged vessels. Chris Kyle later turned Ryan’s statement into a patch he wore on his hat.

Years later I saw a film - poignantly sad, and for me unbearably so - about a scientist who had invented a kind of total sense recorder, not just video but audio and smellio and touchio and the rest, which he set to play every afternoon in a given place a given time, for as long as the mechanism lasted. The scene he projected was that of a dozen or so young couples dancing on a terrace in the same holiday house, on the same island, where the recorder itself was kept. Then this young man comes across it while it is playing and at first is convinced he is watching a real occurrence: he sees this beautiful girl, in her slinky 1930s outfit, dancing and laughing and chattering with her friends, and he falls in love with her on the spot. Second day, same time around, he comes to the island at a slightly different time so he sees a slightly different excerpt, and still doesn't twig and falls deeper in love. And so on and so forth for various days until he happens on a duplicate bit and realises something is wrong. But by then, of course, he is irretrievably hooked. So what does he do? He digs out the machine, fiddles with its insides until he has grasped its workings, and then sets it up in recording mode and records himself into the scene in a desperate last-ditch attempt to join the dancers. Which works, and there he stays: trapped there amongst them in a virtual dimension, forever young, forever re-enacting the same little loop of life, over and over.

Having judged, condemned, abandoned his cultural forms, his language, his food habits, his sexual behavior, his way of sitting down, of resting, of laughing, of enjoying himself, the oppressed flings himself upon the imposed culture with the desperation of a drowning man. Developing his technical knowledge in contact with more and more perfected machines, entering into the dynamic circuit of industrial production, meeting men from remote regions in the framework of the concentration of capital, that is to say, on the job, discovering the assembly line, the team, production �time,� in other words yield per hour, the oppressed is shocked to find that he continues to be the object of racism and contempt. It is at this level that racism is treated as a question of persons. �There are a few hopeless racists, but you must admit that on the whole the population likes….� �With time all this will disappear.� �This is the country where there is the least amount of race prejudice.� �At the United Nations there is a commission to fight race prejudice.� Films on race prejudice, poems on race prejudice, messages on race prejudice. Spectacular and futile condemnations of race prejudice. In reality, a colonial country is a racist country. If in England, in Belgium, or in France, despite the democratic principles affirmed by these respective nations, there are still racists, it is these racists who, in their opposition to the country as a whole, are logically consistent. It is not possible to enslave men without logically making them inferior through and through. And racism is only the emotional, affective, sometimes intellectual explanation of this inferiorization. The racist in a culture with racism is therefore normal. He has achieved a perfect harmony of economic relations and ideology. The idea that one forms of man, to be sure, is never totally dependent on economic relations, in other words—and this must not be forgotten—on relations existing historically and geographically among men and groups. An ever greater number of members belonging to racist societies are taking a position. They are dedicating themselves to a world in which racism would be impossible. But everyone is not up to this kind of objectivity, this abstraction, this solemn commitment. One cannot with impunity require of a man that he be against �the prejudices of his group.� And, we repeat, every colonialist group is racist. �Acculturized� and deculturized at one and the same time, the oppressed continues to come up against racism. He finds this sequel illogical, what be has left behind him inexplicable, without motive, incorrect. His knowledge, the appropriation of precise and complicated techniques, sometimes his intellectual superiority as compared to a great number of racists, lead him to qualify the racist world as passion-charged. He perceives that the racist atmosphere impregnates all the elements of the social life. The sense of an overwhelming injustice is correspondingly very strong. Forgetting racism as a consequence, one concentrates on racism as cause. Campaigns of deintoxication are launched. Appeal is made to the sense of humanity, to love, to respect for the supreme values.

The Biggest Property Rental In Amsterdam Amsterdam has been ranked as the 13th best town to live in the globe according to Mercer contacting annual Good quality of Living Review, a place it's occupied given that 2006. Which means that the city involving Amsterdam is among the most livable spots you can be centered. Amsterdam apartments are equally quite highly sought after and it can regularly be advisable to enable a housing agency use their internet connections with the amsterdam parkinghousing network to help you look for a suitable apartment for rent Amsterdam. Amsterdam features rated larger in the past, yet continuing plan of disruptive and wide spread construction projects - like the problematic North-South town you live line- has intended a small scores decline. Amsterdam after rated inside the top 10 Carolien Gehrels (Tradition) told Dutch news company ANP that the metropolis is happy together with the thirteenth place. "Of course you want is actually the first place position, however shows that Amsterdam is a fairly place to live. Well-known places to rent in Amsterdam Your Jordaan. An old employees quarter popularised amang other things with the sentimental tunes of a quantity of local vocalists. These music painted an attractive image of the location. Local cafes continue to attribute live vocalists like Arthur Jordaan and Tante Leeni. The Jordaan is a network of alleyways and narrow canals. The section was proven in the Seventeenth century, while Amsterdam desperately needed to expand. The region was created along the design of the routes and ditches which already existed. The Jordaan is known for the weekly biological Nordermaarkt on Saturdays. Amsterdam is famous for that open air market segments. In Oud-zuid there is a ranging Jordan Cuypmarkt open year long. This part of town is a very popular spot for expats to find Expat Amsterdam flats due in part to vicinity of the Vondelpark. Among the largest community areas A hundred and twenty acres) inside Amsterdam, Netherlands. It can be located in the stadsdeel Amsterdam Oud-Zuid, western side from the Leidseplein as well as the Museumplein. The playground was exposed in 1865 as well as originally named the "Nieuwe Park", but later re-named to "Vondelpark", after the 17th one hundred year author Joost lorrie den Vondel. Every year, the recreation area has around 10 million guests. In the park can be a film art gallery, an open air flow theatre, any playground, and different cafe's and restaurants.

It’s more an affliction than the expression of any high-minded ideals. I watch Mark Bittman enjoy a perfectly and authentically prepared Spanish paella on TV, after which he demonstrates how his viewers can do it at home—in an aluminum saucepot—and I want to shove my head through the glass of my TV screen and take a giant bite out of his skull, scoop the soft, slurry-like material inside into my paw, and then throw it right back into his smug, fireplug face. The notion that anyone would believe Catherine Zeta-Jones as an obsessively perfectionist chef (particularly given the ridiculously clumsy, 1980s-looking food) in the wretched film No Reservations made me want to vomit blood, hunt down the producers, and kick them slowly to death. (Worse was the fact that the damn thing was a remake of the unusually excellent German chef flick Mostly Martha.) On Hell’s Kitchen, when Gordon Ramsay pretends that the criminally inept, desperately unhealthy gland case in front of him could ever stand a chance in hell of surviving even three minutes as “executive chef of the new Gordon Ramsay restaurant” (the putative grand prize for the finalist), I’m inexplicably actually angry on Gordon’s behalf. And he’s the one making a quarter-million dollars an episode—very contentedly, too, from all reports. The eye-searing “Kwanzaa Cake” clip on YouTube, of Sandra Lee doing things with store-bought angel food cake, canned frosting, and corn nuts, instead of being simply the unintentionally hilarious viral video it should be, makes me mad for all humanity. I. Just. Can’t. Help it. I wish, really, that I was so far up my own ass that I could somehow believe myself to be some kind of standard-bearer for good eating—or ombudsman, or even the deliverer of thoughtful critique. But that wouldn’t be true, would it? I’m just a cranky old fuck with what, I guess, could charitably be called “issues.” And I’m still angry. But eat the fucking fish on Monday already. Okay? I wrote those immortal words about not going for the Monday fish, the ones that’ll haunt me long after I’m crumbs in a can, knowing nothing other than New York City. And times, to be fair, have changed. Okay, I still would advise against the fish special at T.G.I. McSweenigan’s, “A Place for Beer,” on a Monday. Fresh fish, I’d guess, is probably not the main thrust of their business. But things are different now for chefs and cooks. The odds are better than ever that the guy slinging fish and chips back there in the kitchen actually gives a shit about what he’s doing. And even if he doesn’t, these days he has to figure that you might actually know the difference. Back when I wrote the book that changed my life, I was angriest—like a lot of chefs and cooks of my middling abilities—at my customers. They’ve changed. I’ve changed. About them, I’m not angry anymore.

With the false claim that the Germans murdered six million Jews, mostly in gas chambers at Auschwitz-Birkenau in Poland during WWII, since the end of WWII, the world has been saturated with films, documentaries and books on the Holocaust. Anyone worldwide who dares to investigate the Jewish Holocaust claims, is branded an Anti-Semite and Holocaust Denier. In our democratic world, a person who is accused of a crime is deemed innocent until irrefutable evidence proves them guilty. What has happened to democracy in Germany, Poland, France and Switzerland where people accused of Holocaust Denial are not allowed to provide any evidence that would prove that they are not guilty? In the Middle Ages, people accused of being witches, were also allowed no defence and were burned at the stake. As burning at the stake and crucifiction is not allowed in today's world, the best that the Jewish leaders and holocaust promoters can achieve is incarceration where no one can hear claims backed by years of very thorough research. The Jewish success in blocking my book "The Answer Justice", their failed attempts to stop the book "Chutzpah" written by Norman Finkelstein whose mother and father were held in German concentration camps, the incarceration of revisionists Ernst Zundel and Germar Rudolf in Germany and David Irving in Austria: these are all desperate attempts to end what they call Holocaust Denial. The English historian David Irving was refused entry to Australia in 2003 at the behest of the Jewish community (representing only 0.4% of the Australian population) thus denying the right of the other 99.6% to hear what David Irving has to say. Proof of Jewish power was the blocking of the public viewing of David Irving's film. The Jewish owners of the building locked the film presentation out which resulted in the headline in the "Australian" newspaper of: " Outrage at Jewish bid to stop the film by David Irving called "The Search For Truth in History" . Sir Zelman Cowan who was Governor General of Australia and a man much reverred in the Jewish community, has stated in the Jewish Chronicle (London) that "The way to deal with people who claim the holocaust never happened, is to produce irrefutable evidence that it did happen". I agree 100% with Sir Zelman Cowan. I am quite certain that he and other Zionist Jewish (Ashkenazim) world leaders are aware that a United Nations or International forensic examination of the alleged gas chamber at No. 2 Crematorium at Auschwitz-Birkenau in Poland, would irrefutably prove the truth to the world that xyclon B cyanide has never been used as alleged by world Jewry to kill Jews. In 1979 Professor W.D. Rubenstein stated: "If the Holocaust can be shown to be a Zionist myth, the strongest of all weapons in Israels's propaganda armory collapses. The Falsification of history by Zionist Jews in claiming the murder of six million Jews by Germany, constitutes the GREATEST ORGANISED CRIME that the world has known.

When we are sold perfume, we are accustomed to also being sold the idea of a life we will never have. Coty's Chypre enabled Guerlain to create Mitsouko; Coty's Emeraude of 1921 was the bedrock on which Shalimar was built and Coty's L'Origan become the godmother of L'heure bleue, also by Guerlain. Some people dedicate themselves to making life beautiful. With instinctual good taste, magpie tendencies and a flair for color, they weave painfully exquisite tableaux, defining the look of an era. Paul Poiret was one such person. After his success, he went bust in 1929 and had to sell his leftover clothing stock as rags. Swept out of the picture by a new generation of designers, his style too ornate and Aladdinesque, Poiret ended his days as a street painter and died in poverty. It was Poiret who saw that symbolic nomenclature could turn us into frenzied followers, transforming our desire to own a perfume into desperation. The beauty industry has always been brilliant at turning insecurities into commercial opportunities. Readers could buy the cologne to relax during times of anxiety or revive themselves from strain. Particularly in the 1930s, releases came thick and fast, intended to give the impression of bounty, the provision of beauty to all women in the nation. Giving perfumes as a gift even came under the Soviet definition of kulturnost or "cultured behavior", including to aunts and teachers on International Women's Day. Mitsouko is a heartening scent to war when alone or rather, when not wanting to feel lonely. Using fragrance as part of a considered daily ritual, the territorial marking of our possessions and because it offers us a retrospective sense of naughtiness. You can never tell who is going to be a Nr. 5 wearer. No. 5 has the precision of well-cut clothes and that special appeal which comes from a clean, bare room free of the knick-knacks that would otherwise give away its age. Its versatility may well be connected to its abstraction. Gardenia perfumes are not usually the more esoteric or intellectual on the shelves but exist for those times when we demand simply to smell gorgeous. You can depend on the perfume industry to make light of the world's woes. No matter how bad things get, few obstacles can block the shimmer and glitz of a new fragrance. Perfume became so fashionable as a means of reinvention and recovery that the neurology department at Columbia University experimented with the administration of jasmine and tuberose perfumes, in conjunction with symphony music, to treat anxiety, hysteria and nightmares. Scent enthusiasts cared less for the nuances of a composition and more for the impact a scent would have in society. In Ancient Rome, the Stoics were concerned about the use of fragrance by women as a mask for seducing men or as a vehicle of deception. The Roman satirist Juvenal talked of women buying scent with adultery in mind and such fears were still around in the 1940s and they are here with us today. Similarly, in crime fiction, fragrance is often the thing that gives the perpetrator away. Specifically in film noir, scent gets associated with misdemeanors. With Opium, the drugs tag was simply the bait. What YSL was really marketing, with some genius, was perfume as me time: a daily opportunity to get languid and to care sod-all about anything or anyone else.

his desperate sale of The Rite of Spring to Walt Disney, to be used in an animated film called Fantasia.

Film has offered adventure, hope, fantasy, and escape for those of us encased in poverty, limitation, and quiet desperation.

These televised scenes grew dark and violent. Roaring and exploding as private cops and militias fired into crowds of young families; some still tiny and in diapers. “All too often,” came the narrator’s voice again, “Adults try to silence those who have seen what their leaders have been trying to hide. “Children learn very early that it is not socially acceptable to speak the truth. “Just play the game, they are told, just try to get along with how things have to be. “Life is just that way.” On the screen, children, many of them dressed in rags, had gathered in small, desperate knots behind The Walls. Begging for food, or for the simple right to speak, as PolitiChurch bullies fired into their small and loose clusters. Children fell. Bleeding. Moaning, blinded, crippled, or dead. Many of them weeping from the teargas. “Life is just that way,” came the voice again.......... Even there though, not every cop felt quite clear in his conscience. While some took aim even at cameras and film crews threatening to expose their militarized thuggery, others held their fire. Or maybe shot into the sky. The world was breaking apart into factions. No one could just turn his back on something like this. The repercussions from this kind of violence followed troubled souls even into their sleep. They would have to take a stand. Somebody had to do something.' From 'The Soul Hides in Shadows

All of our savings were consumed in the effort to bring my dog over. Steve loved Sui so much that he understood completely why it was worth it to me. The process took forever, and I spent my days tangled in red tape. I despaired. I loved my life and I loved the zoo, but there were times during that desperate first winter when it seemed we were fighting a losing battle. Then our documentaries started to air on Australian television. The first one, on the Cattle Creek croc rescue, caused a minor stir. There was more interest in the zoo, and more excitement about Steve as a personality. We hurried to do more films with John Stainton. As those hit the airwaves, it felt like a slow-motion thunderclap. Croc Hunter fever began to take hold. The shows did well in Sydney, even better in Melbourne, and absolutely fabulous in Brisbane, where they beat out a long-running number one show, the first program to do so. I believe we struck a chord among Australians because Steve wasn’t a manufactured TV personality. He actually did head out into the bush to catch crocodiles. He ran a zoo. He wore khakis. Among all the people of the world, Australians have a fine sense of the genuine. Steve was the real deal. Although the first documentary was popular and we were continuing to film more, it would be years before we would see any financial gain from our film work. But Steve sat down with me one evening to talk about what we would do if all our grand plans ever came to fruition. “When we start to make a quid out of Crocodile Hunter,” he said, “we need to have a plan.” That evening, we made an agreement that would form the foundation of our marriage in regard to our working life together. Any money we made out of Crocodile Hunter--whether it was through documentaries, toys, or T-shirts (we barely dared to imagine that our future would hold spin-offs such as books and movies)--would go right back into conservation. We would earn a wage from working at the zoo like everybody else. But everything we earned outside of it would go toward helping wildlife, 100 percent. That was our deal. As a result of the documentaries, our zoo business turned from a trickle to a steady stream. Only months earlier, a big day to us might have been $650 in total receipts. When we did $3,500 worth of business one Sunday, and then the next Sunday upped that record to bring in $4,500, we knew our little business was taking off. Things were going so well that it was a total shock when I received a stern notice from the Australian immigration authorities. Suddenly it appeared that not only was it going to be a challenge to bring Shasta and Malina to my new home of Australia, I was encountering problems with my own immigration too. Just when Steve and I had made our first tentative steps to build a wonderful life together, it looked as though it could all come tumbling down.

When we got close to the airport, the reality of the public reaction to Steve’s death began to sink in. Members of the media were everywhere. We drove straight through the gates to pull up right next to the charter plane. The last thing I felt like doing at that moment was to talk to anyone about what had happened. I just wanted to get to Steve. As I walked toward the plane, I turned back to thank the police who had helped us. The tears in their eyes shocked me out of my own personal cocoon of grief. This wasn’t just a job for them. They genuinely felt for us, and suffered Steve’s loss. So many other people loved him too, I thought. All during the endless, three-hour plane ride to Maroochydore, I kept flashing back to our fourteen years of adventures together. My mind kept focusing on another plane ride, so similar to this one, when Bindi and I had to fly from the United States back to Australia after Steve’s mum had died. Part of me wished we could have flown forever, never landing, never facing what we were about to. I concentrated on Bindi and Robert, getting them fed and making sure they were comfortable. But the thought of that last sad flight stayed there in the back of my mind. The plane landed at Maroochydore in the dark. We taxied in between hangars, out of public view. I think it was raining, but perhaps it wasn’t, maybe I was just sad. As I came down the steps of the plane, Frank, Joy, and Wes stood there. We all hugged one another. Wes sobbed. We managed to help one another to the hangar, where we all piled into two vehicles for the half-hour drive back to the zoo. I turned on the DVD in the backseat for the kids. I desperately needed a moment without having to explain what was going on. I wanted to talk to Wes, Joy, and Frank. At some point during the ride, Wes reached back and closed the DVD player. The light from the player was giving the press the opportunity to film and photograph us in the car. This was a time to be private and on our own. How clever of Wes to consider that, I thought, right in the middle of everything. “Wes,” I said, “what are we going to do now?

In commenting on how films sell fantasy in India, scholars often draw links between the income poverty of the country and the on-screen displays of hyper-consumption and excessive wealth. These are meant to project the neoliberal aspirations of a growing middle class and its desire to at once uphold community traditions and encourage individualism. Simultaneously, the images are intended to enchant and distract the masses from their everyday drudgery.

What if all your favourite stories — the fairy tales, the myths and legends, the superhero films — were indicators of your heart: the heart that once longed to live a heroic, passionate life of freedom and expression? And what if your heart still longs to live that life, even while it is buried and imprisoned, thrashing around like a fish that has been caught but tries desperately to go back to the water from where it has been taken?

Nothing could compare to your first real love and first real loss. It’s a tender chapter in character development that I so desperately needed. I think you needed it, too. Everyone is somebody’s fool, and I don’t think I’ll ever grow out of being yours. Here’s to another letter I’ll never send.

The progressives pose as the champions not only of fairness and social justice but also of compassion. They are the ones who insist on our obligation to those from whom we have allegedly stolen. Let’s leave aside for the moment whether they are right about the theft. What we do know for sure is that progressives assert there has been a theft. They further acknowledge that they are among the beneficiaries of it. Based on this, they would seem to have a clear obligation to return the stolen goods that they are currently enjoying. We might expect, from this analysis, to discover that progressives are the most generous people in America. We can anticipate that they contribute the highest portion of their incomes and time to help their wronged and less fortunate fellow men and women. The truth, however, is that progressives are the least generous people in America. I saw this personally with Obama, who unceasingly declares that “we are our brother’s keeper” even as he refuses to help his own half brother, George, who lives in a hut in the Huruma slum of Nairobi. I met George in early 2012 when I interviewed him for my film 2016: Obama’s America. A few months after that, when I was back in America, George called me from Kenya to ask me to give him $1,000 because his baby son was sick. Surprised, I asked him, “Why are you calling me? Isn’t there someone else you can call?” He said, “No.” So I sent him the money. I guess on that occasion it was I, not Obama, who proved to be his brother’s keeper. And besides George, the president has other relatives in dire need—his aunt Hawa Auma, for example, sells charcoal on the roadside in rural Kenya, and desperately needs money to get her rotting teeth fixed. Although Obama is aware of their plight, he refuses to help them.

Islamism demanded no less of a root-and-branch overhaul of society. But because it was cloaked in religious garb, no one quite knew what to do with it, and people were desperate not to offend. There was confusion over whether to define our activism as a cultural identity, an ideology or a faith. To top it off, Islamism went through a decade of being embraced by both the left and right wings. The default left-leaning liberal position was to embrace the movement as part of multicultural sensitivity: to tell people to stop practising their faith was imperialism in nineties clothing, a colonial hangover bordering on racism. Instead, we were embraced as a new generation of anti-colonial politicised youth. Curiously, the default position on the right was to embrace us too, because it had been the Afghan Mujahideen, backed by the CIA, who fought the Soviet Union. Lest we forget, this was when Hollywood films such as Stallone’s Rambo 3 portrayed the Afghan Mujahideen as heroes.

Curiously we did it all over again when we made the Live At Pompeii film, this time using another dog, called Mademoiselle Nobs. On the positive side, even when hard pressed, at least we resisted the temptation to construct an entire album of barking dogs, and to audition a clutch of session dogs desperate to make it in the music business.

Rakesh Roshan Rakesh Roshan is a producer, director, and actor in Bollywood films. A member of the successful Roshan film family, Mr. Roshan opened his own production company in 1982 and has been producing Hindi movies ever since. His film Kaho Naa…Pyaar Hai won nine Filmfare awards, including those for best movie and best director. When I remember Diana and her activities in the last years of her life, I strongly feel that God sends some special people into this world to perform some special duties. Diana was one of these special people. Advancing on this godly path of love and goodness, Diana was blossoming like a flower, and with her captivating fragrance she started infusing new life in our dangerously sick garden--which was apparently at the brink of a precipice. The irony is that the cruel winds of autumn ruthlessly blew away this rare flower and deprived the world of its soothing fragrance. Diana, Princess of Wales, is no longer present in this world, but Diana, the queen of millions of hearts, is immortal and will live forever. My heart breaks when I think of her last journey, her funeral, which was brilliantly covered all over the world. One could see the whole of England in tears, and the eyes of all the television viewers were also flooded. Thousands of men, women, and children had lined up along the entire route from the palace to the church where the services were held. All the fresh flowers available in the United Kingdom were there on the passage. All eyes were tearful, and one could clearly hear the sobs of people. There were heartrending scenes of people paying tribute to their departed darling. Last, I would like to write here a translation in English of a poem written in Urdu. We hope you will come back…dear friend But why this pervading sadness…dear friend The familiar flavor in the atmosphere is singing… You are somewhere around…dear friend Please come back, Diana; this sinking world desperately needs a savior.

There were some people with a gift for conviction - a talent for cutting a line through the jumbled phenomena of world affairs and saying, 'I'm in: this is my position.' Audrey had it. All of the Litvinoffs had it, to some extent. It was a genetic thing, perhaps. Jean had seen a film once, about a troop of French soldiers in World I who were charged with getting a cannon to their fellow soldiers, trapped under enemy fire. For weeks, they carted the cannon around the countryside as their number slowly dwindled. Some were killed. Some deserted. Some collapsed from exhausted. But no matter how desperate the situation became - even when it emerged that the cannon itself was probably defective - the captain of the group kept going forward, refusing to give up. Audrey's attachment to her dogma was a bit like that, Jean thought. For decades now, she had been dragging about the same unwieldy burden of a priori convictions, believing herself honor-bound to protect them against destruction at all costs. No new intelligence, no rational argument, could cause her to falter in her mission.

The Queen’s Highland castle retreat, set in 40,000 acres of heather and grouse moor, is effectively the Windsors’ family seat. Ever since Queen Victoria bought the estate in 1848 it has had a special place in the affections of the royal family. However the very quirks and obscure family traditions which have accrued over the years can intimidate newcomers. “Don’t sit there” they chorus at an unfortunate guest foolish enough to try and sit in a chair in the drawing-room which was last used by Queen Victoria. Those who successfully navigate this social minefield, popularly known as “the Balmoral test,” are accepted by the royal family. The ones who fail vanish from royal favour as quickly as the Highland mists come and go. So the prospect of her stay at Balmoral loomed large in Diana’s mind. She was “terrified” and desperately wanted to behave in the appropriate manner. Fortunately rather than staying in the main house, she was able to stay with her sister Jane and husband Robert who, as he was a member of the royal Household, enjoyed a grace and favour cottage on the estate. Prince Charles rang her every day, suggesting she join him for a walk or a barbecue. It was a “wonderful” few days until the glint of a pair of binoculars across the river Dee spoilt their idyll. They were carried by royal journalist James Whitaker who had spotted Prince Charles fishing by the banks of the river Dee. The hunters had become the hunted. Diana immediately told Charles that she would make herself scarce so while he continued fishing she hid behind a tree for half an hour hoping vainly that the journalists would go away. Cleverly she used the mirror from her powder compact to watch the unholy trinity of James Whitaker and rival photographers Ken Lennox and Arthur Edwards as they tried to capture her on film. She foiled their efforts by calmly walking straight up through the pine trees, her head muffled with a headscarf and flat cap, leaving Fleet Street’s finest clueless as to her identity.

Meanwhile back in the cinema, a staggering number of films still fail to meet the incredibly low standards of the Bechdel Test, which merely requires them to include two named female characters who talk to each other about any subject other than a man. According to the Bechdel website, recent failures to meet their ludicrously simple criteria include mainstream Hollywood blockbusters like The Internship, The Lone Ranger, The Avengers, Jack Reacher, Killer Joe, Men in Black III and Star Trek: Into Darkness (which should get a bonus point for an underwear scene so blatantly gratuitous even the writer subsequently saw fit to make a public apology for it). There is a feverish desperation to portray any young woman as a sexual object among a large swathe of the media that is so powerful as to transcend both relevance and respect. In the past year alone this rabid tunnel vision led to the portrayal of Amanda Thatcher (in mourning and speaking at her grandmother’s funeral), Amanda Knox (on trial for murder) and Reeta Steenkamp (a victim of domestic violence and murder) as sexual objects for mass consumption. All – regardless of their very different reasons for being in the spotlight – were paraded in countless photographs for the delectation of the tabloid readers.

The biggest takeaway from my long-distance relationship with Floyd Byars was that I optioned an original screenplay he had co-written with his writing partner, Laurie. Another takeaway was a case of crabs picked up on our only vacation together in Zihuatanejo, Mexico. I noticed a crab in my eyelashes when I was in the airplane bathroom on my way back to JFK. I feared these little critters might be other places as well, so I spent the next four hours squirming in my seat, itchy and miserable. On the taxi ride home, I made the driver stop at an all-night pharmacy so I could buy a bottle of Kwell. But despite the footsies and the crabs, I liked the premise of his (their) Making Mr. Right script.

I will never, ever, get out of survival mode. I will always be desperate. Desperation and dread keep it real. It's why I walk my old streets as often as I can. I keep coming back around, keep wading into the place I came from. Never forget. Never take anything for granted. And never EVER think any of this is going to last longer than a tour, a film shoot, a week or a month at best. It's like climbing a mountain with no hope of reaching the summit. It's not like there isn't a summit. It's not a matter of never becoming enlightened because you're always on the way to becoming enlightened. There's a summit- I just lack what it takes to get there. I will die en route. That's how I see it. If I am not at odds with at least some of it all of the time, then I will surely fail without honor.

Don’t over-share. We don’t need to see or hear it all, just the highlights.    The selfie is to be avoided. I know it may seem like a good idea and that everyone else is doing it, but stay strong. Something about it reeks of desperation. The likes will not set you free.    Keep the bragging to a minimum. Sharing your latest work or even the well-intended subtle flex is okay. Outright boasting will leave your audience wanting less.    Hashtags are a no-no. Hashtags serve a purpose for brands, but they should be left off any posts from your personal accounts. They look amateurish.    Avoid clogging the feed. Got a lot of exciting content? Stay measured and time-release it. Posting five images in a row will annoy even your biggest fans.    Tag someone only when it’s flattering. If you are posting a photo from your trip to Lisbon, make sure all parties look good in the chosen image. If someone has clearly overindulged, think twice before sharing. You would want the same courtesy.    Never under any circumstance should you confront someone about unfollowing you. That sort of behavior will make you the talk of the group chat, and not in a good way.    No spoilers. Your uncle in Los Angeles works in the industry and sent you a screener of the latest Oscar-worthy film. Watch it and enjoy it. Do not share any information about said film on social media. Your followers will be mad and so will your uncle.    Be yourself. With so many available platforms to share on, you might slip into a caricature of yourself. Make sure you always keep it real. Don’t be someone you aren’t—even if you are rewarded with likes and comments. Because self-awareness reigns supreme, online and off.    Never take it too seriously. Although social media has become ubiquitous in our modern era, it’s still not exactly real life. Hell, maybe put the phone down and take a stroll.

Clay desperately resisted the urge to grab up cameras and start blasting film or digital video. It felt like he had to pee, really badly, from his eyes.

By bringing Nikkie to power, Yeroen had carved out an influential role for himself. With Luit’s death, however, his leverage evaporated. All of a sudden, Nikkie didn’t need the old male anymore. Finally he could be boss on his own, or so he must have thought. Soon after I had left for America, however, Yeroen began to cultivate a tie with Dandy, a younger male. This took several years, but eventually led to Dandy challenging Nikkie as leader. The ensuing tensions drove Nikkie to a desperate escape attempt. He actually drowned trying to make it across the moat around the island. The local newspaper dubbed it a suicide, but to me it seemed more likely a panic attack with a fatal outcome. Since this was the second death on Yeroen’s hands, I must admit that I’ve always had trouble looking at this scheming male without seeing a murderer. A year after this tragic incident, my successor decided to show the chimps a movie. The Family of Chimps was a documentary filmed at the zoo when Nikkie was still alive. With the apes ensconced in their winter hall, the movie was projected onto a white wall. Would they recognize their deceased leader? As soon as a life-sized Nikkie appeared on the wall, Dandy ran screaming to Yeroen, literally jumping into the old male’s lap! Yeroen had a nervous grin on his face. Nikkie’s miraculous “resurrection” had temporarily restored their old pact.

WW2 films on the history channel show the desperate courage of the men and women who fought the battles. What a painful contrast with the cheap cowardice of the politicians who got them into such a mess in the first place.

While timing was only part of the issue with Doris Day, it would be a key reason why, from the mid-1950s onward, good people were unable to appear in good musicals. An original like Never Steal Anything Small was unsuccessful on every level—and heinous in its waste of Jimmy Cagney’s talent—while skillful adaptations like Silk Stockings and Bells Are Ringing flopped resoundingly. As fewer opportunities arose, they were sometimes attended by the questionable notion that dubbing solves all problems. This is why Rossano Brazzi and Sidney Poitier could look great, in South Pacific and Porgy and Bess, and sound ostensibly like the opera singers who were doing the actual vocalizing. While dubbing had been present from the very beginning, it achieved some kind of pinnacle from the mid-fifties to the late sixties. Hiring nonsinging names like Deborah Kerr and Rosalind Russell and Natalie Wood and Audrey Hepburn, even nonsinging non-names like Richard Beymer, was viewed as a form of insurance, conviction be damned.8 Casting for name recognition instead of experience has long been part of the film equation, and it cuts both ways. It may, for example, have seemed more astute than desperate to put Lee Marvin and Clint Eastwood into Paint Your Wagon, despite the equivocal results. Nicole Kidman in Moulin Rouge! was far less a musical player than a photogenic, aurally enhanced artifact, and many people left Mamma Mia! wondering if Pierce Brosnan’s execrable singing was intended as a deliberate joke. In contrast with these are the film people who take the plunge with surprising ease.

Do you remember how cruel it was when you were the recipient of the silent treatment? Return the favor. Show them they are unworthy of explanation. Don’t give them the opportunity to converse with you or creatively excuse their transgressions. Stay strong. They initially did it to you because they know the silent treatment hurts. It hurts them even more, because they are so desperately craving constant attention and control. If they cannot communicate with you, they cannot influence you. By not giving them a speaking part in the film that is your life, you take away their power. They feel helpless. This is how you succeed.

the power of memory is shaped by the individual and, when a death happens, those memories only become hazier or clearer in the desperate hope of believing someone saw it coming.

In the spring of 1935, an editor at the New York publishing house Macmillan, while on a scouting trip through the South, was introduced to Mitchell and signed her to a deal for her untitled book. Upon its release in the summer of 1936, the New York Times Book Review declared it “one of the most remarkable first novels produced by an American writer.” Priced at $3, Gone with the Wind was a blockbuster. By the end of the summer, Macmillan had sold over 500,000 copies. A few days prior to the gushing review in the Times, an almost desperate telegram originated from New York reading, “I beg, urge, coax, and plead with you to read this at once. I know that after you read the book you will drop everything and buy it.” The sender, Kay Brown, in this missive to her boss, the movie producer David Selznick, asked to purchase the book’s movie rights before its release. But Selznick waited. On July 15, seeing its reception, Selznick bought the film rights to Gone with the Wind for $50,000. Within a year, sales of the book had exceeded one million copies. Almost immediately Selznick looked to assemble the pieces needed to turn the book into a movie. At the time, he was one of a handful of major independent producers (including Frank Capra, Alfred Hitchcock, and Walt Disney) who had access to the resources to make films. Few others could break into a system controlled by the major studios. After producing films as an employee of major studios, including Paramount and MGM, the thirty-seven-year-old Selznick had branched out to helm his own productions. He had been a highly paid salaried employee throughout the thirties. His career included producer credits on dozens of films, but nothing as big as what he had now taken on. As the producer, Selznick needed to figure out how to take a lengthy book and translate it onto the screen. To do this, Selznick International Pictures needed to hire writers and a director, cast the characters, get the sets and the costumes designed, set a budget, put together the financing by giving investors profit-participation interests, arrange the distribution plan for theaters, and oversee the marketing to bring audiences to see the film. Selznick’s bigger problem was the projected cost.

By calling attention to Sullivan’s voyeuristic perspective, the film’s images of the poor and the desperate reach the viewer with greater effect. Sullivan himself is haunted by the failure of his efforts to become poor. After the second “rescue” by his handlers, he complains, “It’s funny the way everything keeps shoving me back to Hollywood … as if some force were saying ‘Get back where you belong…. You don’t belong to real life, you phony you.

Please don’t get angry. I know this must sound very peculiar.” “Peculiar? Sounds like something out of a horror film. You want me to suck your blood? What do you think I am?” “You’re disabled,” Othman answered simply. “And desperate. You want vitality. You want strength and agility. Youth. You want Barbara Eager.

Foula was chosen in 1936 as the scene for Michael Powell's film The Edge of the World, which depicts the tragedy of such islands with their dwindling populations. Much amusement was caused when mainland newspapers showed banner headlines describing the 'desperate plight' of the cast, cut off by storm for three weeks on the island. To the inhabitants this was a very normal occurance.

These poor souls. These poor pathetic souls.” The Emperor gestured toward the passersby. “I don’t understand,” Tommy said. “Their time has passed and they don’t know what to do. They were told what they wanted and they believed it. They can only keep their dream alive by being with others like themselves who will mirror their illusions.” “They have really nice shoes,” Tommy said. “They have to look right or their peers will turn on them like starving dogs. They are the fallen gods. The new gods are producers, creators, doers. The new gods are the chinless techno-children who would rather eat white sugar and watch science-fiction films than worry about what shoes they wear. And these poor souls desperately push papers around hoping that a mystical message will appear to save them from the new, awkward, brilliant gods and their silicon-chip reality. Some of them will survive, of course, but most will fall. Uncreative thinking is done better by machines. Poor souls, you can almost hear them sweating.

Humans haven't abandoned this habit of going into denial and calling something by a different name. No wonder most marriages lack love. It's incredibly rare to find people who can love one another; they're as few in numbers as billionaires or men of power or film stars. Despite that, everyone continues to delude themselves and look the other way because, in fact, no one can live without love. No one can live when they're not loved. They desperately want to love and be loved, even when they're desperately chasing profit. That's the big dilemma.

The Pole Vaulter (author’s note) Al Pittman, poet, and my older brother, said to me one day some years back, “Ken,I’ve got this great idea for a film.” And he shared with me the premise of his story about a boy’s passionate determination to rise above the adult world entanglements and contradictions swirling around him. Al died in 2001, before he got past the story idea. Some time later, I wrote a screenplay,entitled “The Pole Vaulter”, and sketched some storyboard panels for the planned film. That’s how it began. I know a bit about filmmaking and about drawing and pointing. But I know just about nothing about graphic novels. But I wrote a story with images and words. So I guess it’s a graphic novel. Whatever it’s called, what I'm trying to create with “The Pole Vaulter” is an engaging fictional story about people desperately seeking something better and higher. And I hope it’s true. — Ken P.

Silence replaces conversation. Turning away replaces turning towards. Dismissiveness replaces receptivity. And contempt replaces respect. Emotional withholding is, I believe, the toughest tactic to deal with when trying to create and maintain a healthy relationship, because it plays on our deepest fears—rejection, unworthiness, shame and guilt, the worry that we’ve done something wrong or failed or worse, that there’s something wrong with us. ♦◊♦ But Sara’s description is more accurate and compelling than mine. Her line, “quietly sucks out your integrity and self-respect” is still stuck in my head three days later. It makes me think of those films where an alien creature hooks up a human to some ghastly, contorted machine and drains him of his life force drop by drop, or those horrible “can’t watch” scenes where witches swoop down and inhale the breath of children to activate their evil spells of world domination. In the movies, the person in peril always gets saved. The thieves are vanquished. The deadly transfusion halted. And the heroic victim recovers. But in real life, in real dysfunctional relationships, there’s often no savior and definitely no guarantee of a happy ending. Your integrity and self-respect can indeed be hoovered out, turning you into an emotional zombie, leaving you like one of the husks in the video game Mass Effect, unable to feel pain or joy, a mindless, quivering animal, a soulless puppet readily bent to the Reapers’ will. Emotional withholding is so painful because it is the absence of love, the absence of caring, compassion, communication, and connection. You’re locked in the meat freezer with the upside-down carcasses of cows and pigs, shivering, as your partner casually walks away from the giant steel door. You’re desperately lonely, even though the person who could comfort you by sharing even one kind word is right there, across from you at the dinner table, seated next to you at the movie, or in the same bed with you, back turned, deaf to your words, blind to your agony, and if you dare to reach out, scornful of your touch. When you speak, you might as well be talking to the wall, because you’re not going to get an answer, except maybe, if you’re lucky, a dismissive shrug.

The initial guiding principle was simple: “Buy the rights to a fine play, hire the biggest names available, and hope the public will listen.” But competition for big names was fierce in New York. When film stars came east—usually on a train between movies, en route to Europe—they were mobbed by agents seeking their appearances on the big variety shows. An appearance on The Rudy Vallee Hour or Shell Chateau paid more and was less demanding—a bit of fluff between musical selections, which an actor could learn in a single rehearsal. The demand for top stars was so desperate that Lux scouts created devious ways of snaring them. One “bright young fellow,” as described by Radio Guide, simply grabbed up Leslie Howard’s suitcases and led him through a gauntlet of competing agents to a waiting cab. Only when they were settled in the car did it occur to Howard to ask who he was. “I’m from The Lux Radio Theater, and you’re going to act for us tomorrow night,” said the brash young fellow. He had caught (and subsequently booked) a hot young star by knowing that “a man will always follow his suitcases.

Part of man’s frustration is that he has become accustomed to expect language and thought to offer explanations which they cannot give. To want life to be “intelligible” in this sense is to want it to be something other than life. It is to prefer a motion-picture film to a real, running man. To feel that life is meaningless unless “I” can be permanent is like having fallen desperately in love with an inch.

ON DECEMBER 8, 1941, cinemas and theaters in Japan were made to temporarily suspend their evening performances and broadcast a speech recorded by Prime Minister Tojo Hideki earlier that day. U.S. films—films such as Mr. Smith Goes to Washington, which the Japanese relished in easier times—were now officially banned. That night, audiences were confronted with the voice of a leader who hardly resembled Jimmy Stewart. Tojo was a bald and bespectacled man of middle age with no remarkable features other than his mustache. His exaggerated buckteeth existed only in Western caricatures, but he did not look like a senior statesman who had just taken his country to war against a most formidable enemy, and his voice was memorable only for its dullness. He recited the speech, “On Accepting the Great Imperial Command,” with the affected diction of a second-rate stage actor. Our elite Imperial Army and Navy are now fighting a desperate battle. Despite the empire’s every possible effort to salvage it, the peace of the whole of East Asia has collapsed. In the past, the government employed every possible means to normalize U.S.-Japan diplomatic relations. But the United States would not yield an inch on its demands. Quite the opposite. The United States has strengthened its ties with Britain, the Netherlands, and China, demanding unilateral concessions from our Empire, including the complete and unconditional withdrawal of the imperial forces from China, the rejection of the [Japanese puppet] Nanjing government, and the annulment of the Tripartite Pact with Germany and Italy. Even in the face of such demands, the Empire persistently strove for a peaceful settlement. But the United States to this day refused to reconsider its position. Should the Empire give in to all its demands, not only would Japan lose its prestige and fail to see the China Incident to its completion, but its very existence would be in peril. Tojo, in his selective explanation of the events leading to Pearl Harbor, insisted that the war Japan had just initiated was a “defensive” war. He faithfully echoed Japan’s deep-seated feelings of persecution, wounded national pride, and yearning for greater recognition, which together might be called, for the want of a better phrase, anti-Westernism. It was a sentimental speech, and it was notable for what was left unsaid.

But film sometimes flinches at the expertise of actresses, and the sympathetic viewer may come to realize that there was a mute honesty in Novak: she did not conceal the fact that she had been drawn into a world capable of exploiting her. Filming seemed an ordeal for her; it was as if the camera hurt her. But while many hostile to the movies rose in defense of the devastation of Marilyn Monroe—whether or not she was a sentient victim—Novak was stoical, obdurate, or sullen. She allowed very few barriers between that raw self and the audience and now looks dignified, reflective, and responsive to feeling where Monroe appears haphazard and oblivious. Novak is the epitome of every small-town waitress or beauty contest winner who thought of being in the movies. Despite a thorough attempt by Columbia to glamorize her, she never lost the desperate attentiveness of someone out of her depth but refusing to give in. Her performances improve with time so that ordinary films come to center on her; even Vertigo, Hitchcock’s masterpiece, owes some of its power to Novak’s harrowing suspension between tranquility and anxiety.

What can I do about the people who adore all that is new, even when it goes against their deepest convictions, or about the insincere, corrupt press, and the inane herd that saw beauty or poetry in something which was basically no more than a desperate, impassioned call for murder?