Documentaries Quotes

I'm Min's fairy godmother, Charm Boy,' Liza said, frowning down at him. 'And if you don't give her a happily ever after, I'm going to come back and beat you to death with a snow globe.' What happened to "bibbity bobbity boo"?' Cal asked Min. That was Disney, honey,' Min said. 'It wasn't a documentary.

You can’t be serious,” Eve said. “Guys. People get eaten in places like this. At the very least, we get locked in a room and terrible, evil things get done to us and put on the Internet. I’ve seen the movies.” "Eve,” Michael said. “Horror movies are not documentaries.

If you were born with the ability to change someone’s perspective or emotions, never waste that gift. It is one of the most powerful gifts God can give—the ability to influence.

In feature films the director is God; in documentary films God is the director.

So you're Zach." Townsend didn't even try to hide the judgement in his voice as he looked Zach up and down in some sort of silent but dangerous examination. Zach huffed but smiled. "so you're Townsend." The two of them stared for a long time, wordless. It felt like I was watching a documentary on the Nature Channel, something about alpha males in the wild.

It is difficult to produce a television documentary that is both incisive and probing when every twelve minutes one is interrupted by twelve dancing rabbits singing about toilet paper.

It's hard to talk about the importance of an imaginary hero. But heroes ARE important: Heroes tell us something about ourselves. History tells us who we used to be, documentaries tell us who we are now; but heroes tell us who we WANT to be. And a lot of our heroes depress me. But when they made this particular hero, they didn't give him a gun--they gave him a screwdriver to fix things. They didn't give him a tank or a warship or an x-wing fighter--they gave him a box from which you can call for help. And they didn't give him a superpower or pointy ears or a heat-ray--they gave him an extra HEART. They gave him two hearts! And that's an extraordinary thing. There will never come a time when we don't need a hero like the Doctor.

Anyway. I’m not allowed to watch TV, although I am allowed to rent documentaries that are approved for me, and I can read anything I want. My favorite book is A Brief History of Time, even though I haven’t actually finished it, because the math is incredibly hard and Mom isn’t good at helping me. One of my favorite parts is the beginning of the first chapter, where Stephen Hawking tells about a famous scientist who was giving a lecture about how the earth orbits the sun, and the sun orbits the solar system, and whatever. Then a woman in the back of the room raised her hand and said, “What you have told us is rubbish. The world is really a flat plate supported on the back of a giant tortoise.” So the scientist asked her what the tortoise was standing on. And she said, “But it’s turtles all the way down!” I love that story, because it shows how ignorant people can be. And also because I love tortoises.

Truth is stranger than fiction," as the old saying goes. When I watch a documentary, I can't help crying and then I think to myself, "Fiction can't compete with this." But when I mentioned this to a veteran manga artist friend of mine he said that "fiction brings salvation to characters in stories that would otherwise have no salvation at all." His words strengthened the conviction of my manga spirit.

If you want to make a documentary you should automatically go to the fiction, and if you want to nourish your fiction you have to come back to reality.

Law enforcement would rather we remember a dull man as brilliant than take a good hard look at the role they played in this absolute sideshow, and I am sick to death of watching them in their pressed shirts and cowboy boots, in their comfortable leather interview chairs, in hugely successful and critically acclaimed crime documentaries, talking about the intelligence and charm and wiliness of an ordinary misogynist. This story is not that. The story is not that.

Hugh le Despencer the Elder was speaking to his son, Hugh le Despencer the Younger. He said, “Son, given that you are effeminate and lack manly qualities, I think that the way for you for you to improve your lot in life is to become the King’s Chamberlain.

I’ll check on you when I get home. I love you, baby. (Kiefer) I love you too, Daddy. (Kiara) What the hell was that action? (Syn) I think it’s something called ‘paternal concern.’ (Nykyrian) What…? You sure? I thought that crap was a myth. (Syn) No, really. I watched it once in a documentary. It was fascinating. Believe it or not, there are people out there who actually have feelings for their progeny. (Nykyrian) Get the fuck out. No way. You’re screwing with my head again, aren’t you? (Syn) No, I swear. You just saw it with your own eyes. I did not make that shit up. (Nykyrian) Yeah but it’s really messing with my concept of the natural order of the universe. Paternal love? What’s next? Limb regrowth? Genetic splicing reversals? (Syn)

Monty Python: A documentary series on everyday life in Great Britain.

Okay, 'Best Party Ever' -- to me, that's like saying 'Best Gym Ever' or 'Best Nature Documentary Ever,' like how good can it really be?

Make my life my favorite movie. Live my favorite character. Write my own script. Direct my own story. Be my biography. Make my own documentary on me. Non-fiction, live, not recorded. Time to catch that hero I've been chasing. See if the sun will melt the wax that holds my wings or if the heat is just a mirage. Live my legacy now. Quit acting like me. Be me.

I didn't feel physically sick. But mentally. My mind was twisting in so many ways. (...) We once saw a documentary on migraines. One of the men interviewed used to fall on his knees and bang his head against the floor, over and over during attacks. This diverted the pain from deep inside his brain, where he couldn't reach it, to a pain outside that he had control over.

Thierry was one.  An award winning documentary film producer based in Paris.  Her curiosity was not driven so much by his fame or talent, with which he was generously endowed on both counts, but by his elusiveness.  He had a reputation for chasing the most complicated and dangerous assignments that others considered too risky.  He had money for all occasions.  He had a reputation among men as a man with a reputation among women.

But if anyone so much as threatened them because of what Kaia had once done, she would turn the Slumber Party Massacre into Blood, Bath and Beyond, a documentary by Kaia Skyhawk.

I could sit and watch nature documentaries with Jenks and the kids the rest of the night if I wanted. And trust me, watching a dozen pixies scream as a crocodile chomped on a zebra was something not to be missed. They invariably cheered for the crocodile, not the zebra.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are camera memories, not information, and the better they do it, the more they prove the victory of the camera over the human being.

The Black Prince is entombed at Canterbury Cathedral. His effigy reads: “Such as thou art, sometimes was I, Such as I am, such thou shalt be, I thought little on hour of death, So long as I enjoyed breath, On earth I had great riches, Land, houses, great treasure, Horses money and gold, But now a wretched captive am I, Deep in the ground, lo I lie, My beauty great, is all quite gone, My flesh is wasted to the bone.

If only their life could continue as it was it would be enough. It had always been enough for her, but never enough to keep him from righting wrongs of far wider consequences.

Silence, please? I'm trying to watch this documentary." Laurel nodded at The Bachelor. "I believe one of the females is about to present to the alpha.

It is true we enjoy self-government, but we live in fear. We find ourselves in the paw of a lion. Convenience may induce him to crush us, and with a faint struggle, we may cease to be.

Idea For A Short Documentary Film Representatives of different food products manufacturers try to open their own packaging.

Great," Shane said. "Look i'd rather not be on janitorial duty. I have allergies to cleaners." "And to cleaning," Michael said. "Look who's talking, Didn't the do one of those Animal Planet documentaries about the roaches in your room?

Day by day and almost minute by minute the past was brought up to date. In this way every prediction made by the Party could be shown by documentary evidence to have been correct; nor was any item of news, or any expression of opinion, which conflicted with the needs of the moment, ever allowed to remain on record. All history was a palimpsest, scraped clean and reinscribed exactly as often as was necessary.

Everyone is looking for the answer. They do not want to find the answer, trust me. Unfortunately, the answer will find them. Life—it’s like one of those unpleasant nature documentaries. To be the cameraman instead of the subjects, eh?

...it is a very risky thing for anyone to go about proclaiming the truth simply because he finds himself in possession of concrete documentary proofs or on the evidence of his own eyes, which is always overestimated.

What is a quote? A quote (cognate with quota) is a cut, a section, a slice of someone else’s orange. You suck the slice, toss the rind, skate away. Part of what you enjoy in a documentary technique is the sense of banditry. To loot someone else’s life or sentences and make off with a point of view, which is called “objective” because you can make anything into an object by treating it this way, is exciting and dangerous.

As incisively pointed out in the documentary 'Food Inc.', an overwhelmingly large percentage of 'new,' 'healthy,' and 'organic' alternative food products are actually owned by the same parent companies that scared us into the organic aisle in the first place. "They got you comin' and goin'" has never been truer.

The truth is not delicate and it does not suffer from denial—the truth only dies when true stories are untold.

We know fun. Like two weekends ago we stayed up all night watching a documentary marathon on the brain.” She rolled her eyes toward Erin. “We’re positively wild.

seen Blue Water, White Death, the 1971 feature film that, for me, remains the finest documentary ever made about sharks.

Now i'm home again and none of my usuals methods of escape are doing the trick. I tend to watch a lot of movies. Ideally, documentaries about loners, outcats, pioneers. Give me a cult leader, obscure historical figures, dead musicians. I want to see a misunderstood person who someone is finally taking the time to understand.

Ever since the robot was first invented, there have been people who swear up and down that this marks the first step towards the fall of man … To be fair, their arguments are backed with scientific fact taken from documentary films such as The Terminator, The Matrix, and RoboCop.

It’s an essential part of becoming more creative. Expand your interests in life. Seek out new, interesting experiences, no matter how mundane or inconsequential they might seem to others. Read books, watch documentaries, and discuss your ideas with others. No subject, no matter how specialized or esoteric, is off limits. You never know where your imagination will find pieces for its puzzles.

It can be challenge enough to have to eat with myself.

Ten years ago I saw a documentary on the siege of that Moscow theater. After just forty-eight hours of the terrorists confining the hostages to their seats with no sleep, the lights blazing and being forced to pee their pants-although if the had to shit, they could do so in the orchestra pit-well,more than a few hostages just stood up and walked to the exit knowing they'd get shot in the back. Because they were DONE.

I came to Australia as a damaged grown up adult, and it took me years to heal, so my perspective of the national Australian pride is not full. It [assimilation] penetrates, it’s accepted, it’s tolerated, and I think the third generation it is absorbed. I don’t know about the second generation, - Holocaust survivor, Kitia Altman

[Taken from a BBC documentary] Tariq was born in Lahore, now in Pakistan, then part of British-ruled India, in 1943. A Catholic school education did nothing to shake his life-long atheism, which he shared with his communist parents.

Ad aver dato fastidio alle organizzazioni criminali è il mio lettore, non sono io. Il mio lettore è ciò che loro non vogliono, il fatto che in questo momento ne stiamo parlando, che ne hanno parlato tutti i giornali, che continuano ad uscire libri, che continuano a nascere documentari, è tutto questo che loro non vogliono, è l'attenzione su di loro, sui loro nomi, soprattutto sui loro affari.

Contrary to popular opinion, 'Leave it to Beaver' was not a documentary.

I don’t like myself very much, so i try not to observe myself too often. I made a documentary once entitled Talking Heads. I asked people two questions: “Who are you” and “What do you want?” Afterwards, I asked myself those questions. I realized that I didn’t have any answers. I don’t know who I am, and I don’t know what I want. If anything, I’d like some peace and quiet, but I’ve never achieved it, and I probably never will. So I will never have what I really want.

I'd like to leave you with a bit of wisdom I picked up from a documentary I saw this weekend: Mad Max: Fury Road. All you young people really need to succeed in the future is a reliable source of fuel and a fanatical cadre of psychopathic motorcycle killers.

The agony of the dead is with us, and we hear their screams and walk among their ghosts. We cannot avert our eyes or plug up our ears. We must bear witness and speak for those who cannot speak. We have only one chance to get it right.

Every moment, as we walk on this earth, we are watched and judged by the eyes of the universe.

I think maybe I'd still nod and smile and have lunch with him. I think maybe I'd still go to the Noam Chomsky documentary later that evening. And maybe I'd even marry him a couple of weeks later. Is it ever really a waste of time to love someone, truly and deeply, with everything you have?

You think that drinking with a serial killer takes you into the midnight currents of the culture? I say bullshit. There's been twelve TV documentaries, three movies and eight books about me. I'm more popular than any of these designed-by-pedophile pop moppets littering the music television and the gossip columns. I've killed more people than Paris Hilton has desemenated, I was famous before she was here and I'll be famous after she's gone. I am the mainstream. I am, in fact, the only true rock star of the modern age. Every newspaper in America never fails to report on my comeback tours, and I get excellent reviews.

What is a novel if not a conviction of our fellow-men's existence strong enough to take upon itself a form of imagined life clearer than reality and whose accumulated verisimilitude of selected episodes puts to shame the pride of documentary history.

The dismal fact is that self-respect has nothing to do with the approval of others — who are, after all, deceived easily enough; has nothing to do with reputation, which, as Rhett Butler told Scarlett O’Hara, is something people with courage can do without. To do without self-respect, on the other hand, is to be an unwilling audience of one to an interminable documentary that deals with one’s failings, both real and imagined, with fresh footage spliced in for every screening. There’s the glass you broke in anger, there’s the hurt on X’s face; watch now, this next scene, the night Y came back from Houston, see how you muff this one. To live without self-respect is to lie awake some night, beyond the reach of warm milk, the Phenobarbital, and the sleeping hand on the coverlet, counting up the sins of commissions and omission, the trusts betrayed, the promises subtly broken, the gifts irrevocably wasted through sloth or cowardice, or carelessness. However long we postpone it, we eventually lie down alone in that notoriously uncomfortable bed, the one we make ourselves. Whether or not we sleep in it depends, of course, on whether or not we respect ourselves.

... You can't be with God and be neutral. / True contemplation is resistance. And poetry, / gazing at clouds is resistance I found out in jail.

The problem is we are not eating food anymore, we are eating food like products. (Hungry For Change Film)

He keeps a close eye on his weight, hardly ever takes a drink, swims, walks the dog, and watches documentaries in the evening. Anything involving real-life crime interests him, which always surprises me, considering what happened. And he talks to no one. Least of all to me.

We don’t like being out of the loop.” “You’re always out of the loop. The loop’s miles away. Nearest you’ll get to being in the loop is when they make a documentary about it and show it on the History Channel. I thought you were aware of that.

Creative work bridges time because the energy of art is not time-bound. If it were we should have no interest in the art of the past, except as history or documentary. But our interest in art is our interest in ourselves both now and always. Here and forever. There is a sense of the human spirit as always existing. This makes our death bearable. Life + art is a boisterous communion/communication with the dead. It is a boxing match with time.

When we came and rented the North Perth home, my father had a little ice chest, and on top of the ice chest was a radio. And we were sitting at our lunch time on Sunday eating dinner after church, and my Mum says, ‘Look where we’ve ended up. We’ve got a table cloth on our table, we’ve got food on our plate, and we’re listening to music.’ That was a big thing for my mother. - Mrs Helen Doropoulos, Greece

One night, Tim stumbled across a documentary called Manufacturing Consent. After viewing it, he found some writing online by its subject, Noam Chomsky, and as a result began to feel that there wasn't really a point to anything, that free will was an illusion, and that the things most people invested time and energy in were systems of control designed by those who sought to manipulate the general populace

The best part of being married is that now when we walk down the street, people won't just see two guys and a kid, they'll have to see a FAMILY.

It’s wonderful how much you can learn by just being quiet and listening. Sometimes you even learn the truth—or what seems to be the truth.

Dear Hunger Games : Screw you for helping cowards pretend you have to be great with a bow to fight evil. You don't need to be drafted into a monkey-infested jungle to fight evil. You don't need your father's light sabre, or to be bitten by a radioactive spider. You don't need to be stalked by a creepy ancient vampire who is basically a pedophile if you're younger than a redwood. Screw you mainstream media for making it look like moral courage requires hair gel, thousands of sit ups and millions of dollars of fake ass CGI. Moral courage is the gritty, scary and mostly anonymous process of challenging friends, co-workers and family on issues like spanking, taxation, debt, circumcision and war. Moral courage is standing up to bullies when the audience is not cheering, but jeering. It is helping broken people out of abusive relationships, and promoting the inner peace of self knowledge in a shallow and empty pseudo-culture. Moral courage does not ask for - or receive - permission or the praise of the masses. If the masses praise you, it is because you are helping distract them from their own moral cowardice and conformity. Those who provoke discomfort create change - no one else. So forget your politics and vampires and magic wands and photon torpedoes. Forget passively waiting for the world to provoke and corner you into being virtuous. It never will. Stop watching fictional courage and go live some; it is harder and better than anything you will ever see on a screen. Let's make the world change the classification of courage from 'fantasy' to 'documentary.' You know there are people in your life who are doing wrong. Go talk to them, and encourage them to pursue philosophy, self-knowledge and virtue. Be your own hero; you are the One that your world has been waiting for.

Everybody keeps saying be satisfied with Jesus's love, and he will give us our daily bread. I keep waiting, but we never get any bread, so I have to go out and do things for myself.

She'd seen a documentary once, on cult leaders, and the traits that made them so effective. One of the most important features was a commanding presence. Too many people thought that meant being loud, but in truth, it meant someone who didn't need to be loud. Someone who could command an audience without ever raising their voice.

It is hard to talk about the importance of an imaginary hero. But heroes are important. Heroes tell us something about ourselves. History books tell us who we used to be, documentaries tell us who we are now... but heroes, tell us who we want to be. A lot of our heroes depress me. But when they made this particular hero, they didn't give him a gun, they gave him a screwdriver to fix things. They didn't give him a tank or a warship or a X-Wing Fighter, they gave him a phone box from which you can call for help. And they didn't give him a superpower, or pointy ears, or Heat Ray, they gave him an extra heart. They gave him two hearts and that is an extraordinary thing. There will never come a time when we don't need a hero like the Doctor. - The Day of the Doctor Q&A

In the months after the relationship ends, a person can seem to grow at a lightning rate, like in a nature documentary where weeks of footage is run at high speed to show a plant unfurling in seconds, but in reality the person has been growing all along, under the surface, and it is only in their new freedom, in their hair-raising aloneness, that the person can allow for these underground things to break through and unfurl themselves in the light.

Sometimes I think my ability to concentrate is being nibbled away by the internet; other times I think it's being gulped down in huge, Jaws-shaped chunks. In those quaint days before the internet, once you made it to your desk there wasn't much to distract you. You could sit there working or you could just sit there. Now you sit down and there's a universe of possibilities – many of them obscurely relevant to the work you should be getting on with – to tempt you. To think that I can be sitting here, trying to write something about Ingmar Bergman and, a moment later, on the merest whim, can be watching a clip from a Swedish documentary about Don Cherry – that is a miracle (albeit one with a very potent side-effect, namely that it's unlikely I'll ever have the patience to sit through an entire Bergman film again). Then there's the outsourcing of memory. From the age of 16, I got into the habit of memorising passages of poetry and compiling detailed indexes in the backs of books of prose. So if there was a passage I couldn't remember, I would spend hours going through my books, seeking it out. Now, in what TS Eliot, with great prescience, called "this twittering world", I just google the key phrase of the half-remembered quote. Which is great, but it's drained some of the purpose from my life. Exactly the same thing has happened now that it's possible to get hold of out-of-print books instantly on the web. That's great too. But one of the side incentives to travel was the hope that, in a bookstore in Oregon, I might finally track down a book I'd been wanting for years. All of this searching and tracking down was immensely time-consuming – but only in the way that being alive is time-consuming.

The image of evolution as a process that reliably produces benign effects is difficult to reconcile with the enormous suffering that we see in both the human and the natural world. Those who cherish evolution’s achievements may do so more from an aesthetic than an ethical perspective. Yet the pertinent question is not what kind of future it would be fascinating to read about in a science fiction novel or to see depicted in a nature documentary, but what kind of future it would be good to live in: two very different matters.

There are no monsters. The monster is us.

You see the profound effect literature can have on life? Who says it's all a waste of time? If only I could produce one book that left someone with that kind of ferocious grievance. If you have read one of my books, you probably feel cheated out of however much money it might have cost you, and you'll certainly begrudge the time you wasted on it. But even at my most bullish and self-aggrandizing, I can't quite make myself believe that I've actually wrecked someone's life. Any documentary evidence to the contrary will be gratefully received.

I flopped on the overstuffed kitchen couch and watched him go. I wondered what would happen to all his films and photographs in the upstairs closet - the documentaries on homelessness and drug addiction, the funny short subjects, the half-finished romantic comedy, the boxes of slice-of-life photographs that spoke volumes about the human condition. I wondered how you stop caring about what you've ached over, sweated over. (Thwonk)

So why’d you flake out on the party?” “I wasn’t in the mood. I kept picturing you crying here alone and pity won out.” “I’m not crying, jackass.” I point to the boring-ass milk documentary that’s flashing on the TV screen. “I’m learning about pasteurization.” She stares at me. “You guys pay money to subscribe to a gazillion channels and this is what you choose to watch?” “Well, I flipped by it and saw a bunch of cow udders, and, well, you know, it turned me on, so—” “EW!” I burst out laughing. “Kidding, babe. If you must know, the batteries in the remote died and I was too lazy to get up and change the channel. I was watching this wicked-awesome miniseries about the Civil War before cow udders came on.

film crew up there, enraptured by the charming rodents. The crew had come to shoot a documentary about the massacre; they had expected teen angst and American social Darwinism. They were seduced by the tranquillity—less than a hundred yards from the school. They shot hours of footage of the twelve-inch prairie dogs. The Japanese crew saw this place somewhat differently than Americans did. Their depiction was by turns tumultuous, brutal, explosive, and serene.

Edward had a personal horror of violence and never endorsed or excused it, though in a documentary he made about the conflict he said that actions like the bombing of pilgrims at Tel Aviv airport 'did more harm than good,' which I remember thinking was (a) euphemistic and (b) a slipshod expression unworthy of a professor of English.

Educating ourselves and others is an essential step in the process of change. Few of us have been taught to think critically about issues of social injustice. We have been taught not to notice or to accept our present situation as a given, “the way it is.” But we can learn the history we were not taught, we can watch the documentaries we never saw in school, and we can read about the lives of change agents, past and present. We can discover another way. We are surrounded by a “cloud of witnesses” who will give us courage if we let them.

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

LIFE IS SUBVERSIVE

I believe in God, and I love my brother. But I don't want any religion that will demand I lose my individuality.

The fact that we can never have complete, perfect knowledge does not absolve us of the moral duty to judge and to take a stand against evil.

The silence of the victims of the past imposes a duty on the present to recover their voices, and we are most free when we willingly take up that duty.

What are you watching? Is it comforting? I don’t have the bandwidth to give a fuck about anything not comforting to me most of the time. I know that’s “uncultured,” but also I don’t care because who are you, person challenging me? I want to watch Veep before bed because it makes me laugh, and I want to watch true crime documentaries, and I want to watch British actors in terrific costumes battling through emotions they weren’t even aware they had. That’s all. I’m tired. Find your comforting shit. Build your mental fort and hang out there.

War crimes, you say? No matter how many policies you put on paper, in reality, there are no rights and wrongs in war. War itself is a crime. War cannot be justified. I believe, the only people, in this world, whose opinions matter, are the ones who go the extra mile to help other people expecting nothing in return. Soldiers who fight fiercely for their country, the doctors in Sri Lanka's public hospitals attending to hundreds of patients at a time for no extra pay , the nuns who voluntarily teach English and math to children of refugee camps in the north, the monks who collect food to feed entire villages during crises, they are the people worth listening to, their opinion matters. So find me one of them who will say: they wish the war didn't end in 2009, that they wish Sri Lanka was divided into two parts. Find me one of them who agrees with the international war crime allegations against Sri Lanka, and I will listen. But I will not listen to the opinions of those who are paid to find faults in a war they were never a part of, a war they never experienced themselves. I will not listen to the opinions of those who watched the war on tv or read about it on the internet or were moved by a documentary on Al Jazeera. The war is over. The damage is done. Let Sri Lanka move on. So our children will never have to see what we've seen.

All profound changes in consciousness, by their very nature, bring with them characteristic amnesias. Out of such oblivions, in specific historical circumstances, spring narratives… The photograph… is only the most peremptory of a huge modern accumulation of documentary evidence… which simultaneously records a certain apparent continuity and emphasizes its loss from memory. Out of this estrangement comes a conception of personhood, identity… which, because it cannot be “remembered”, must be narrated.

What would people in their old lives be saying about these girls? Would they be called missing? Would some documentary program on the ABC that nobody watched, or one of those thin newspapers nobody read, somehow connect their cases, find the thread to make them a story? The Lost Girls, they could be called. Would it be said, they 'disappeared', 'were lost'? Would it be said that they were abandoned or taken, the way people said a girl was attacked, a woman was raped, this femaleness always at the centre, as if womanhood itself were the cause of these things? As if the girls somehow, through the natural way of things, did it to themselves. They lured abduction and abandonment to themselves, they marshalled themselves into this prison where they had made their beds, and now, once more, were lying in them.

From time to time you'll see documentaries about low-ranked wolves who somehow rise to the top of the pack - an omega that earns a position as an alpha. Frankly, I don't buy it. I think that, in actuality, those documentary makers have misidentified the wolf in the first place. For example, an alpha personality, to the man on the street, is usually considered bold and take-charge and forceful. In the wolf world, though that describes the beta rank. Likewise, an omega wolf - a bottom-ranking, timid, nervous animal - can often be confused with a wolf who hangs behind the others, wary, protecting himself, trying to figure out the Big Picture. Or in other words: There are no fairy tales in the wild, no Cinderella stories. The lowly wolf that seems to rise to the top of the pack was really an alpha all along.

When the alchemist speaks of Mercurius, on the face of it he means quicksilver (mercury), but inwardly he means the world-creating spirit concealed or imprisoned in matter. The dragon is probably the oldest pictoral symbol in alchemy of which we have documentary evidence. It appears as the Ouroboros, the tail-eater, in the Codex Marcianus, which dates from the tenth or eleventh century, together with the legend ‘the One, the All’. Time and again the alchemists reiterate that the opus proceeds from the one and leads back to the one, that it is a sort of circle like a dragon biting its own tail. For this reason the opus was often called circulare (circular) or else rota (the wheel). Mercurius stands at the beginning and end of the work: he is the prima materia, the caput corvi, the nigredo; as dragon he devours himself and as dragon he dies, to rise again in the lapis. He is the play of colours in the cauda pavonis and the division into the four elements. He is the hermaphrodite that was in the beginning, that splits into the classical brother-sister duality and is reunited in the coniunctio, to appear once again at the end in the radiant form of the lumen novum, the stone. He is metallic yet liquid, matter yet spirit, cold yet fiery, poison and yet healing draught - a symbol uniting all the opposites.

There is a saying among the peoples of the Northwest Coast: “The world is as sharp as the edge of a knife,” and Robert Davidson, the man responsible for carving Masset’s first post-missionary pole, imagines this edge as a circle. “If you live on the edge of the circle,” he explained in a documentary film, “that is the present moment. What’s inside is knowledge, experience: the past. What’s outside has yet to be experienced. The knife’s edge is so fine that you can live either in the past or in the future. The real trick,” says Davidson, “is to live on the edge.

The whiteness celebrated in Paris is Burning is not just any old brand of whiteness but rather that brutal imperial ruling-class capitalist patriarchal whiteness that presents itself -its way of life- as the only meaningful life there is. What could be more reassuring to a white public fearful that marginalized disenfranchised black folks might rise any day now make revolutionary black liberation struggle a reality than a documentary affirming that colonized, victimized, exploited black folks, are all too willing to be complicit in perpetuating the fantasy that ruling-class white culture is the quintessential site of unrestricted joy, freedom, power and pleasure.

Gift cards?” Hi’s complaining brought me back to the present. “Why not just hand me a note that says: I don’t care enough to make an effort.” April 7. Hiram Stolowitski’s sixteenth birthday. “When exactly were we supposed to shop?” Shelton was scrolling Rex Gable emails on his laptop. “It’s been a hectic week, bro.” “I bought you Assassin’s Creed six weeks before your birthday,” Hi shot back. “Waited in line all afternoon. The guy behind me smelled like fish tacos, but I stuck it out.” Ben clapped Hi’s shoulder. “If it helps, I didn’t remember to get you any gift. Tory and Shelton picked that up. I signed the card though. See? Ben. Right there.” “These are the memories that scar,” Hi huffed. “I’m gonna be so complicated when I grow up. I’ll probably film documentaries.

What the hell was that action?"Syn asked him. "I think it´s something called ´paternal concern.´" Syn scowled at his bland explanation. "What...? You sure? I thought that crap was a myth." Nykyrian shrugged. "No, really. I watched it once in a documentary. It was fascinating. Belive it or not, there are people out there who actually have feelings for their progeny." "Get the f*ck out. No way. You´re screwing with my head again, aren´t you?" "No, I swear. You just saw it with your own eyes. I did not make this shit up." Syn shivered. "Yeah but it´s really messing with my concept of natural order of the universe. Paternal love? What´s next? Limp regrowth? Genetic splicing reversals?

I love you," he repeated, quieter this time, as if he only wanted me to hear. "I love your smutty books, and your weird documentaries, and your obsession with orange, processed snacks." I choked on something between a laugh and a sob. "I love the way you dress, and the way you light up when you talk about the universe, and the way you saw through every wall I tried to put between me and the rest of the world and knew who I was even when I didn't." He shook his head, licking his lips before he continued. "I love how you believe in me, and how you burn to prove everyone wrong when they size you up too quickly. I love that you challenge me." I leaned into his palm, bottom lip quivering before I bit down to hold it still. "I love everything about you- big and small, silly and serious. And I'm sorry I was an idiot and tried to end our story before it even had the chance to begin.

One of the common themes you will read in interview after interview is the call to keep fighting for your vision. This is a message to women directors, producers, writers—anyone who wants to work in the business. Your voice counts. Your vision matters.

T. S. Eliot and Jean-Paul Sartre, dissimilar enough as thinkers, both tend to undervalue prose and to deny it any imaginative function. Poetry is the creation of linguistic quasi-things; prose is for explanation and exposition, it is essentially didactic, documentary, informative. Prose is ideally transparent; it is only faute de mieux written in words. The influential modern stylist is Hemingway. It would be almost inconceivable now to write like Landor. Most modern English novels indeed are not written. One feels they could slip into some other medium without much loss. It takes a foreigner like Nabokov or an Irishman like Beckett to animate prose language into an imaginative stuff in its own right.

His wife, Emilie, still lived, without any financial help from him, in her little house in San Vicente, south of Buenos Aires. She lives there at the time of the writing of this book. As she was in Brinnlitz, she is a figure of quiet dignity. In a documentary made by German television in 1973, she spoke—without any of the abandoned wife’s bitterness or sense of grievance—about Oskar and Brinnlitz, about her own behavior in Brinnlitz. Perceptively, she remarked that Oskar had done nothing astounding before the war and had been unexceptional since. He was fortunate, therefore, that in that short fierce era between 1939 and 1945 he had met people who summoned forth his deeper talents.

The Gap Instinct The gap instinct is very strong. The first time I lectured to the staff of the World Bank was in 1999. I told them the labels “developing” and “developed” were no longer valid and I swallowed my sword. It took the World Bank 17 years and 14 more of my lectures before it finally announced publicly that it was dropping the terms “developing” and “developed” and would from now on divide the world into four income groups. The UN and most other global organizations have still not made this change. So why is the misconception of a gap between the rich and the poor so hard to change? I think this is because human beings have a strong dramatic instinct toward binary thinking, a basic urge to divide things into two distinct groups, with nothing but an empty gap in between. We love to dichotomize. Good versus bad. Heroes versus villains. My country versus the rest. Dividing the world into two distinct sides is simple and intuitive, and also dramatic because it implies conflict, and we do it without thinking, all the time. Journalists know this. They set up their narratives as conflicts between two opposing people, views, or groups. They prefer stories of extreme poverty and billionaires to stories about the vast majority of people slowly dragging themselves toward better lives. Journalists are storytellers. So are people who produce documentaries and movies.

[Memory]... is a system of near-infinite complexity, a system that seems designed for revision as much as for replication, and revision unquestionably occurs. Details from separate experiences weave together, so that the rememberer thinks of them as having happened together. The actual year or season or time of day shifts to a different one. Many details are lost, usually in ways that serve the self in its present situation, not the self of ten or twenty or forty years ago when the remembered event took place. And even the fresh memory, the 'original,' is not reliable in a documentary sense....Memory, in short, is not a record of the past but an evolving myth of understanding the psyche spins from its engagement with the world.

She liked solitude and the thoughts of her own interesting and creative mind. She liked to be comfortable. She liked hotel rooms, thick towels, cashmere sweaters, silk dresses, oxfords, brunch, fine stationery, overpriced conditioner, bouquets of gerbera, hats, postage stamps, art monographs, maranta plants, PBS documentaries, challah, soy candles, and yoga. She liked receiving a canvas tote bag when she gave to a charitable cause. She was an avid reader (of fiction and nonfiction), but she never read the newspaper, other than the arts sections, and she felt guilty about this. Dov often said she was bourgeois. He meant it as an insult, but she knew that she probably was. Her parents were bourgeois, and she adored them, so, of course, she had turned out bourgeois, too. She wished she could get a dog, but Dov’s building didn’t allow them.

I was holding on to hurricane nights and lit candles and my acoustic guitar resting in your hands. I was holding on to the sound of your voice saying my name and the peace I felt with your arms around me. I was holding on to documentaries in bed and your beautiful eyes closed as you sang Rocket Man and all the songs we never finished. I was holding on to our first text and last phone call and the plane ticket you offered but never sent. I was holding on to our first Christmas together and the last few Christmas Eves apart and I've been thinking we should be together. we should be kissing even if there isn't any mistletoe because if I have you there' no reason to celebrate and fuck, your lips were mine. They were always supposed to be mine. I was holding on to hope and banana pancakes on Sundays. I was holding on to Main Street and sunsets in Jersey. I was holding on to two streets that separated us and blizzards that couldn't keep us apart. I was holding on to you. I was holding on to us. And it was killing me.

The universe was once conceived as the passive stage upon which the dramatic conflict of human wills was enacted and resolved. Today man has discovered that that which seemed simple and stable is, instead, complex and volatile; his own inventions have put into motion new forces, toward which he has yet to invent a new relationship. Unlike Ulysses, he can no longer travel over a universe stable in space and time to find adventures; nor can he solve intimate antagonisms with an adversary sportingly suitable in stature. Rather, each individual is the center of a personal vortex; and the aggressive variety and enormity of the adventures which swirl about and confront him are unified only by his personal identity.... The integrity of the individual identity is counterpointed to the volatile character of a relativistic universe.

The Oscar-nominated documentary The Act of Killing tells the story of the gangster leaders who carried out anti-communist purges in Indonesia in 1965 to usher in the regime of Suharto. The film’s hook, which makes it compelling and accessible, is that the filmmakers get Anwar —one of the death-squad leaders, who murdered around a thousand communists using a wire rope—and his acolytes to reenact the killings and events around them on film in a variety of genres of their choosing. In the film’s most memorable sequence, Anwar—who is old now and actually really likable, a bit like Nelson Mandela, all soft and wrinkly with nice, fuzzy gray hair—for the purposes of a scene plays the role of a victim in one of the murders that he in real life carried out. A little way into it, he gets a bit tearful and distressed and, when discussing it with the filmmaker on camera in the next scene, reveals that he found the scene upsetting. The offcamera director asks the poignant question, “What do you think your victims must’ve felt like?” and Anwar initially almost fails to see the connection. Eventually, when the bloody obvious correlation hits him, he thinks it unlikely that his victims were as upset as he was, because he was “really” upset. The director, pressing the film’s point home, says, “Yeah but it must’ve been worse for them, because we were just pretending; for them it was real.” Evidently at this point the reality of the cruelty he has inflicted hits Anwar, because when they return to the concrete garden where the executions had taken place years before, he, on camera, begins to violently gag. This makes incredible viewing, as this literally visceral ejection of his self and sickness at his previous actions is a vivid catharsis. He gagged at what he’d done. After watching the film, I thought—as did probably everyone who saw it—how can people carry out violent murders by the thousand without it ever occurring to them that it is causing suffering? Surely someone with piano wire round their neck, being asphyxiated, must give off some recognizable signs? Like going “ouch” or “stop” or having blood come out of their throats while twitching and spluttering into perpetual slumber? What it must be is that in order to carry out that kind of brutal murder, you have to disengage with the empathetic aspect of your nature and cultivate an idea of the victim as different, inferior, and subhuman. The only way to understand how such inhumane behavior could be unthinkingly conducted is to look for comparable examples from our own lives. Our attitude to homelessness is apposite here. It isn’t difficult to envisage a species like us, only slightly more evolved, being universally appalled by our acceptance of homelessness. “What? You had sufficient housing, it cost less money to house them, and you just ignored the problem?” They’d be as astonished by our indifference as we are by the disconnected cruelty of Anwar.