Film Directing Quotes

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to." [MovieMaker Magazine #53 - Winter, January 22, 2004 ]

Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.

The length of a film should be directly related to the endurance of the human bladder.

Personally I am very pessimistic. But when, for instance, one of my staff has a baby you can't help but bless them for a good future. Because I can't tell that child, 'Oh, you shouldn't have come into this life.' And yet I know the world is heading in a bad direction. So with those conflicting thoughts in mind, I think about what kind of films I should be making.

What most of us must be involved in--whether we teach or write, make films, write films, direct films, play music, act, whatever we do--has to not only make people feel good and inspired and at one with other people around them, but also has to educate a new generation to do this very modest thing: change the world.

I look at the world and I see absurdity all around me. People do strange things constantly, to the point that, for the most part, we manage not to see it.

Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create

Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new film, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul.

Or take this girl, for example. At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she'd been to see [The Double Life of] Véronique. She'd gone once, twice, three times and only wanted to say one thing really - that she realized that there is such a thing as a soul. She hadn't known before, but now she knew that the soul does exist. There's something very beautiful in that. It was worth making Véronique for that girl. It was worth working for a year, sacrificing all that money, energy, time, patience, torturing yourself, killing yourself, taking thousands of decisions, so that one young girl in Paris should realize that there is such a thing as a soul. It's worth it.

When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.

Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect

In good films, there is always a directness that entirely frees us from the itch to interpret.

If you think that you can hide what your interests are, what your prurient interests are, what your noble interests are, what your fascinations are, if you think you can hide that in your work as a film director, you're nuts.

Film is a disease. When it infects your bloodstream, it takes over as the number one hormone; it bosses the enzymes; directs the pineal gland; plays Iago to your psyche. As with heroin, the antidote to film is more film.

Titanic I thought was the most dreadful piece of work I've ever seen in my entire life. Another film that I think is equally bad was American Beauty. So badly acted and directed. But people like that.

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

It's something of a parodox that film, the art that most resembles our daydreams, is the one most difficult to bring into existence.

Most of the movies are working like, 'Information, cut, information, cut, information, cut' and for them the information is just the story. For me, a lot of things [are] information - I try to involve, to the movie, the time, the space, and a lot of other things - which is a part of our life but not connecting directly to the story-telling. And I'm working on the same way - 'information, cut, information, cut,' but for me the information is not only the story.

Race scholars use the term white supremacy to describe a sociopolitical economic system of domination based on racial categories that benefits those defined and perceived as white. This system of structural power privileges, centralizes, and elevates white people as a group. If, for example, we look at the racial breakdown of the people who control our institutions, we see telling numbers in 2016–2017: - Ten richest Americans: 100 percent white (seven of whom are among the ten richest in the world) - US Congress: 90 percent white - US governors: 96 percent white - Top military advisers: 100 percent white - President and vice president: 100 percent white - US House Freedom Caucus: 99 percent white - Current US presidential cabinet: 91 percent white - People who decide which TV shows we see: 93 percent white - People who decide which books we read: 90 percent white - People who decide which news is covered: 85 percent white - People who decide which music is produced: 95 percent white - People who directed the one hundred top-grossing films of all time, worldwide: 95 percent white - Teachers: 82 percent white - Full-time college professors: 84 percent white - Owners of men’s professional football teams: 97 percent white These numbers are not describing minor organizations. Nor are these institutions special-interest groups. The groups listed above are the most powerful in the country. These numbers are not a matter of “good people” versus “bad people.” They represent power and control by a racial group that is in the position to disseminate and protect its own self-image, worldview, and interests across the entire society.

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.

Do not despise your inner world. That is the first and most general piece of advice I would offer… Our society is very outward-looking, very taken up with the latest new object, the latest piece of gossip, the latest opportunity for self-assertion and status. But we all begin our lives as helpless babies, dependent on others for comfort, food, and survival itself. And even though we develop a degree of mastery and independence, we always remain alarmingly weak and incomplete, dependent on others and on an uncertain world for whatever we are able to achieve. As we grow, we all develop a wide range of emotions responding to this predicament: fear that bad things will happen and that we will be powerless to ward them off; love for those who help and support us; grief when a loved one is lost; hope for good things in the future; anger when someone else damages something we care about. Our emotional life maps our incompleteness: A creature without any needs would never have reasons for fear, or grief, or hope, or anger. But for that very reason we are often ashamed of our emotions, and of the relations of need and dependency bound up with them. Perhaps males, in our society, are especially likely to be ashamed of being incomplete and dependent, because a dominant image of masculinity tells them that they should be self-sufficient and dominant. So people flee from their inner world of feeling, and from articulate mastery of their own emotional experiences. The current psychological literature on the life of boys in America indicates that a large proportion of boys are quite unable to talk about how they feel and how others feel — because they have learned to be ashamed of feelings and needs, and to push them underground. But that means that they don’t know how to deal with their own emotions, or to communicate them to others. When they are frightened, they don’t know how to say it, or even to become fully aware of it. Often they turn their own fear into aggression. Often, too, this lack of a rich inner life catapults them into depression in later life. We are all going to encounter illness, loss, and aging, and we’re not well prepared for these inevitable events by a culture that directs us to think of externals only, and to measure ourselves in terms of our possessions of externals. What is the remedy of these ills? A kind of self-love that does not shrink from the needy and incomplete parts of the self, but accepts those with interest and curiosity, and tries to develop a language with which to talk about needs and feelings. Storytelling plays a big role in the process of development. As we tell stories about the lives of others, we learn how to imagine what another creature might feel in response to various events. At the same time, we identify with the other creature and learn something about ourselves. As we grow older, we encounter more and more complex stories — in literature, film, visual art, music — that give us a richer and more subtle grasp of human emotions and of our own inner world. So my second piece of advice, closely related to the first, is: Read a lot of stories, listen to a lot of music, and think about what the stories you encounter mean for your own life and lives of those you love. In that way, you will not be alone with an empty self; you will have a newly rich life with yourself, and enhanced possibilities of real communication with others.

My friend Kathy is the only person who'll be halfway honest with me. 'Did you ever see a cowboy film, where someone has been caught by the Indians and tied between two wild stallions, each pulling in opposite directions?' she asked. I nodded mutely. 'That's a bit what giving birth is like.

An actor is just a part of a movie, but director - he is the movie.

The audience can endorse the triviality of modern art, but they can’t like it.

Virtually every politician portrayed in film or on television over the last decade has been venal, corrupt, opportunistic, cynical, if not worse. Whether these dramatized images are accurate or exagerated matters little. The corporatist system wins either way: directly through corruption and indirectly through the damage done to the citizen's respect for the representative system. (III - From Corporatism to Democracy)

Exactly, I repeated myself. I believe we do it all the time. We always take up certain elements again. How can it be avoided? An actor’s voice always has the same timbre and, consequently, he repeats himself. It is the same for a singer, a painter…There are always certain things that come back, for they are part of one’s personality, of one’s style. If these things didn’t come into play, a personality would be so complex that it would become impossible to identify it. It is not my intention to repeat myself, but in my work there should certainly be references to what I have done in the past. Say what you will, but The Trial is the best film I ever made…I have never been so happy as when I made this film. (talking about directing, The Trial (1962) - from Orson Welles: Interviews (book))

Sarah took a deep breath and set off along the passageway again. A clump of lichen on the gatepost opened its eyes and watched her go. The eyes, on tendrils, had an anxious look, and when she had gone some distance away the clump, swiveling its eyes toward each other, commenced to gossip among itself. Most of it disapproved of the direction she had taken. You could tell that from the way the eyes looked meaningfully into each other. Lichen knows about directions.

But DNA isn’t really like that. It’s more like a script. Think of Romeo and Juliet, for example. In 1936 George Cukor directed Leslie Howard and Norma Shearer in a film version. Sixty years later Baz Luhrmann directed Leonardo DiCaprio and Claire Danes in another movie version of this play. Both productions used Shakespeare’s script, yet the two movies are entirely different. Identical starting points, different outcomes.

Monster stories are powerful. They explore prejudice, rejection, anger and every imaginable negative aspect of living in society. However, only half of society is reflected in the ranks of the people who create these monsters. Almost every single iconic monster in film is male and was designed by a man: the Wolfman, Frankenstein, Dracula, King Kong. The emotions and problems that all of them represent are also experienced by women, but women are more likely to see themselves as merely the victims of these monsters. Women rarely get to explore on-screen what it's like to be a giant pissed-off creature. Those emotions are written off. If a woman is angry or upset, she'll be considered hysterical and too emotional. One of the hardest things about misogyny in the film industry isn't facing it directly, it's having to tamp down your anger about it so that when you speak about the problem, you'll be taken seriously. Women don't get to stomp around like Godzilla. Someone will just ask if you're on your period.

Solutions-focused therapists believe that there are exceptions to every problem and that those exceptions, once identified, can be carefully analyzed, like the game film of a sporting event. Let’s replay that scene, where things were working for you. What was happening? How did you behave? Were you smiling? Did you make eye contact? And that analysis can point directly toward a solution that is, by definition, workable. After all, it worked before.

All art, be it writing, painting, film, dance, whatever, is a manipulation of time and space. It’s an interpretation and a recreation of the facts, using various artifacts that point us in the direction of our personal truths.

Mifune had a kind of talent I had never encountered before in the Japanese film world. It was, above all, the speed with which he expressed himself that was astounding. The ordinary Japanese actor might need ten feet of film to get across an impression; Mifune needed only three feet. The speed of his movements was such that he said in a single action what took ordinary actors three separate movements to express. He put forth everything directly and boldly, and his sense of timing was the keenest I had ever seen in a Japanese actor. And yet with all his quickness he also had surprisingly fine sensibilities.

A film of the novel, called simply Guide, was released in 1965, produced by and starring Dev Anand, directed by Vijay Anand, and with Waheeda Rehman as Rosie

The fourteen-man snake moved in spasms. . . Their eyes flickered rapidly back and forth as they tried to look in all directions at once. They carried Kool-Aid packages, Tang — anything to kill the chemical taste of the water in their plastic canteens. Soon the smears of purple and orange Kool-Aid on their lips combined with the fear in their eyes to make them look like children returning from a birthday party at which the hostess had shown horror films.

As children we see happiness as a thing. A toy train sticking out of a basket or the plastic film around a slice of cake. or a photograph of a scene in which we are at the centre, all eyes on us. As adults it gets more complicated. Happiness is success, work, a man or a woman. All vague, laborious things. Whether it's a word we use to describe our lives or not, it is mostly just that, a word. Childhood taught us something different about happiness, Yui thought, that all you needed to do was reach out your hand in the right direction and you could grasp it.

An early and important source of inspiration for Dietland was Fight Club, Chuck Palahniuk’s novel and the film adaptation directed by David Fincher. I would like to think that Dietland would exist even if Fight Club hadn’t provided that initial spark of an idea, but I’ll never know.

Wrong body. Invasion of the Body Snatchers, directed by Don Siegel, 1956." I did not like being compared to a black-and-white horror film, but I'd just been told not to argue with the harpy.

But sometimes, very occasionally, songs and books and films and pictures express who you are perfectly. And they don’t do this in words or images, necessarily; the connection is a lot less direct and more complicated than that. When I was first beginning to write seriously, I read Anne Tyler’s Dinner at the Homesick Restaurant, and suddenly knew what I was, and what I wanted to be, for better or worse. It’s a process something like falling in love. You don’t necessarily choose the best person, or the wisest, or the most beautiful; there’s something else going on. There was a part of me that would rather have fallen for Updike or Kerouac, or DeLillo – for someone masculine, or at least, maybe somebody a little more opaque, and certainly someone who uses more swearwords- and, though I have admired those writers, at various stages in my life, admiration is a very different thing from the kind of transference I’m talking about. I’m talking about understanding – or at least feeling like I understand- every artistic decision, every impulse, the soul of both the work and its creator. “This is me,” I wanted to say when I read Tyler’s rich, sad, lovely novel. “I’m not a character, I’m nothing like the author, I haven’t had the experiences she writes about. But even so, this is what I feel like, inside. This is what I would sound like, if I ever I were to find a voice.” And I did find a voice, eventually, and it was mine, not hers; but nevertheless, so powerful was the process of identification that I still don’t feel as though I’ve expressed myself as well, as completely, as Tyler did on my behalf.

Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic.

Regardless of the subject of my films … I am looking for a way of evoking in audiences feelings similar to my own: the physically painful impotence and sorrow that assail me when I see a man weeping at the bus stop, when I observe people struggling vainly to get close to others, when I see someone eating up the left-overs in a cheap restaurant, when I see the first blotches on a woman's hand and know that she too is bitterly aware of them, when I see the kind of appalling and irreparable injustice that so visibly scars the human face. I want this pain to come across to my audience, to see this physical agony, which I think I am beginning to fathom, to seep into my work.

A 1945 film called Japan: Know Your Enemy, directed by Frank Capra (who directed several popular motion pictures during the 1930s and ’40s, including Mr. Deeds Goes to Town, Mr. Smith Goes to Washington, and It’s a Wonderful Life)

best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

The Ancient Egyptians postulated seven souls.” Top soul (Vicarious), and the first to leave at the moment of death, is Ren the Secret name. This corresponds to my Director. He directs the film of your life from conception to death. The Secret Name is the title of your film. When you die, that's where Ren came in. Second soul (Jambi), and second one off the sinking ship, is Sekem: Energy, Power. LIGHT. The Director gives the orders, Sekem presses the right buttons. Number three (Wings/Days) is Khu, the Guardian Angel. He, she or it is third man out...depicted as flying away across a full moon, a bird with luminous wings and head of light. The sort of thing you might see on a screen in an Indian restaurant in Panama. The Khu is responsible for the subject and can be injured in his defense - but not permanently, since the first three souls are eternal. They go back to Heaven for another vessel. The four remaining souls must take their chances with the subject in the land of the dead. Number four (The Pot) is Ba, the Heart, often treacherous. This is a hawk's body with your face on it, shrunk down to the size of a fist. Many a hero has been brought down, like Samson, by a perfidious Ba. Number five (L.C., Lost Keys, Rosetta Stoned) is Ka, the double, most closely associated with the subject. The Ka, which usually reaches adolescence at the time of bodily death, is the only reliable guide through the Land of the Dead to the Western Lands. Number six (Instension) is Khaibit, the Shadow, Memory, your whole past conditioning from this and other lives. Number seven (Right in Two) is Sekhu, the Remains

All that work and then, finally, something levitates. When the minute stresses of practice fade, the specialness emerges. There is a quotation from "On Directing Film" by David Mamet that I underlined in 1993 and have never forgotten: "Stanislavsky wrote that the difficult will become easy and the easy habitual, so that the habitual may become beautiful.

I talk very often in my films that Paradise is not yet lost, there are little bits of Paradise preserved. I am very interested to keep and protect what has really come to us from the past, and to protect what is essential to human beings. I have one song on that subject, and that song you know I was singing three weeks ago with the Big Band group. I was singing, "We are not going to betray you/those who were before us/I am with you here and now/we are not going to betray you/you who did everything to make sure that humanity would go to some other more subtle direction..." So, in that sense I am very conservative. I want to conserve the best that has been done before us by others before us, in that sense.

Double Indemnity, Gaslight, Saboteur, The Big Clock . . . We lived in monochrome those nights. For me, it was a chance to revisit old friends; for Ed, it was an opportunity to make new ones. And we’d make lists. The Thin Man franchise, ranked from best (the original) to worst (Song of the Thin Man). Top movies from the bumper crop of 1944. Joseph Cotten’s finest moments. I can do lists on my own, of course. For instance: best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

I adopted a posture of arrogant superiority. I behaved as if nothing could touch or shake or confuse me. I got involved in nothing, and I remember a teacher who saw through this and spoke to me about it; I was arrogantly dismissive... I also remember that the smallest gesture of affection would bring a lump to my throat, whether it was directed at me or at someone else. Somehow all it took was a scene in a film. This juxtaposition of callousness and extreme sensitivity seemed suspicious even to me.

Do not mistake self-confidence for pride. Pride is an excessive view of one's self without regard for others while self-confidence is the belief one has in themselves. - On the characters in Pride and Prejudice which Kailin Gow has adapted and is directing as a film.

In general, no matter your field, you must think of yourself as a builder, using actual materials and ideas. You are producing something tangible in your work, something that affects people in some direct, concrete way. To build anything well—a house, a political organization, a business, or a film—you must understand the building process and possess the necessary skills. You are a craftsman learning to adhere to the highest standards. For all of this, you must go through a careful apprenticeship. You cannot make anything worthwhile in this world unless you have first developed and transformed yourself.

Many producers state without blinking that the audience wants a happy ending. They say this because up-ending films tend to make more money than down-ending films. The reason for this is that a small percentage of the audience won't go to any film that might give it an unpleasant experience. Generally their excuse is that they have enough tragedy in their lives. But if we were to look closely, we'd discover that they not only avoid negative emotions in movies, they avoid them in life. Such people think that happiness means never suffering, so they never feel anything deeply. The depth of our joy is in direct proportion to what we've suffered. Holocaust survivors, for example, don't avoid dark films. They go because such stories resonate with their past and are deeply cathartic.

Steal from anywhere that resonates with inspiration or fuels your imagination. Devour films, music, books, paintings, poems, photographs, conversations, dreams, trees, architecture, street signs, clouds, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work will be authentic.

We all know perfectly well that the man who lives out his life as a consumer,” he writes in “The Coming Crisis in Psychiatry,” “a sexual partner, an ‘other-directed’ executive; who avoids boredom and anxiety by consuming tons of newsprint, miles of film, years of TV time; that such a man has somehow betrayed his destiny as a human being.

My girl got sick. She was constantly nervous because of problems at work, personal life, her failures and children. She lost 30 pounds and weighted about 90 pounds. She got very skinny and was constantly crying. She was not a happy woman. She had suffered from continuing headaches, heart pain and jammed nerves in her back and ribs. She did not sleep well, falling asleep only in the mornings and got tired very quickly during the day. Our relationship was on the verge of a break up. Her beauty was leaving her somewhere, she had bags under her eyes, she was poking her head, and stopped taking care of herself. She refused to shoot the films and rejected any role. I lost hope and thought that we’ll get separated soon… But then I decided to act. After all I’ve got the MOST Beautiful Woman on earth. She is the idol of more than half of men and women on earth, and I was the one allowed to fall asleep next to her and to hug her. I began to shower her with flowers, kisses and compliments. I surprised and pleased her every minute. I gave her a lot of gifts and lived just for her. I spoke in public only about her. I incorporated all themes in her direction. I praised her in front of her own and our mutual friends. You won’t believe it, but she blossomed. She became better. She gained weight, was no longer nervous and loved me even more than ever. I had no clue that she CAN love that much. And then I realized one thing: the woman is the reflection of her man. If you love her to the point of madness, she will become it.

The narratives open to us are the ones based on our identities as it is these stories that are market and social media approved. They have a numbing familiarity to them. We second generation immigrants have the privilege of self-actualisation. We make sculptures, direct films, write plays, novels, memoirs and poems about not having a home, of trying to find a home, of being between two types of home, what is home, of how we all feel ugly, of the mixed relationships we enter into with white people, losing our language from a culture we had a tenuous hold of in the first place, we tell the story of being acted upon, we speak from the position of the victim. For an algorithm not

This book is about what might be the world’s most improbable Hollywood success story. At its center is an enigmatic filmmaker who claims, among many other things, to be a vampire. This man speaks with a thick European accent, the derivation of which he won’t identify. He also refuses to reveal his age or the origins of his seemingly vast fortune. His name is Tommy Wiseau; and the film he wrote, directed, produced, starred in, and poured $6 million into is a disastrous specimen of cinematic hubris called The Room.

One woman sent me on a letter written to her by her daughter, and the young girl's words are a remarkable statement about artistic creation as an infinitely versatile and subtle form of communication: '...How many words does a person know?' she asks her mother. 'How many does he use in his everyday vocabulary? One hundred, two, three? We wrap our feelings up in words, try to express in words sorrow and joy and any sort of emotion, the very things that can't in fact be expressed. Romeo uttered beautiful words to Juliet, vivid, expressive words, but they surely didn't say even half of what made his heart feel as if it was ready to jump out of his chest, and stopped him breathing, and made Juliet forget everything except her love? There's another kind of language, another form of communication: by means of feeling, and images. That is the contact that stops people being separated from each other, that brings down barriers. Will, feeling, emotion—these remove obstacles from between people who otherwise stand on opposite sides of a mirror, on opposite sides of a door.. The frames of the screen move out, and the world which used to be partitioned off comes into us, becomes something real... And this doesn't happen through little Audrey, it's Tarkovsky himself addressing the audience directly, as they sit on the other side of the screen. There's no death, there is immortality. Time is one and undivided, as it says in one of the poems. "At the table are great-grandfathers and grandchildren.." Actually Mum, I've taken the film entirely from an emotional angle, but I'm sure there could be a different way of looking at it. What about you? Do write and tell me please..

It seems to me that if you place music (and books, probably, and films, and plays, and anything that makes you feel) at the center of your being, then you can’t afford to sort out your love life, start to think of it as the finished product. You’ve got to pick at it, keep it alive and in turmoil, you’ve got to pick at it and unravel it until it all comes apart and you’re compelled to start all over again. Maybe we all live life at too high a pitch, those of us who absorb emotional things all day, and as a consequence we can never feel merely content: we have to be unhappy, or ecstatically, head-over-heels happy, and those states are difficult to achieve within a stable, solid relationship. Maybe Al Green is directly responsible for more than I ever realized.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

Get Out’s runaway success led to an almost-immediate boom in what became known as “social horror,” a weirdly banal descriptor for horror movies and books that engage directly with racism, sexism, homophobia, and other forms of oppression and bigotry. It’s sort of a misleading term, implying that this is a recent cultural development—if you take one thing away from this book, let it be that horror has always engaged with social issues.

I’ve known Max since high school. He and Rel met at a UCLA summer film workshop: Rel was walking down the hall, singing “The Confrontation” from Les Misérables—“Valjean, at last, we see each other plain”—when, directly behind him, he heard some guy singing the next line of the song—“Monsieur, le Mayor, you wear a different chain.” It was Max. The rest was history. Max became my friend by default; I spent my high school years tagging along after him and my brother.

Before the campaign was scarcely under way Hitler solved the problem of his citizenship. On February 25 it was announced that the Nazi Minister of the Interior of the state of Brunswick had named Herr Hitler an attaché of the legation of Brunswick in Berlin. Through this comic-opera maneuver the Nazi leader became automatically a citizen of Brunswick and hence of Germany and was therefore eligible to run for President of the German Reich. Having leaped over this little hurdle with ease, Hitler threw himself into the campaign with furious energy, crisscrossing the country, addressing large crowds at scores of mass meetings and whipping them up into a state of frenzy. Goebbels and Strasser, the other two spellbinders of the party, followed a similar schedule. But this was not all. They directed a propaganda campaign such as Germany had never seen. They plastered the walls of the cities and towns with a million screeching colored posters, distributed eight million pamphlets and twelve million extra copies of their party newspapers, staged three thousand meetings a day and, for the first time in a German election, made good use of films and gramophone records, the latter spouting forth from loudspeakers on trucks.

When we say that a narrative is, or is not, someone’s ‘story to tell’, what we unwittingly suggest is that when the story is yours, as in it happened within time as you directly experience it, you are given some power over it. Is this the biggest betrayal of pop psychology via talk therapy? That in language a person can find sufficient tools to erect a life undisturbed by demons? Or the thought, even, that a person can comprehend what it is they have lived through. - Survivors of all things, always trying to reconstruct the moment they survived through. - Strange, though, that even as you narrate it, you get to the horror point, and you think, this time, it’ll go differently. But the film reel keeps playing through, all the way, and, whoosh: powerless.

O. J. Simpson was wonderfully stiff in both Capricorn One and The Towering Inferno. David: I directed him in the Naked Gun movies. Although he actually improved with each film, his acting remained a lot like his murdering—he got away with it, but no one really believed him.

LAUREL CANYON PERCHED DIRECTLY ABOVE LOS ANGELES, one of the most expensive collections of winding hills and valleys in the country. Luckily, there were roads that twisted up and down the tortured ridges, or the only things that would have been there were hippies, backpackers, prairie dogs, and the occasional mountain lion dining on the aforementioned hippies, backpackers, and prairie dogs. Unfortunately, because of those roads and the billion-dollar real estate, the most common life-forms were douche bags, plastic surgeons, fading film producers, and labradoodles.

The face that Moses had begged to see – was forbidden to see – was slapped bloody (Exodus 33:19-20) The thorns that God had sent to curse the earth’s rebellion now twisted around his brow… “On your back with you!” One raises a mallet to sink the spike. But the soldier’s heart must continue pumping as he readies the prisoner’s wrist. Someone must sustain the soldier’s life minute by minute, for no man has this power on his own. Who supplies breath to his lungs? Who gives energy to his cells? Who holds his molecules together? Only by the Son do “all things hold together” (Colossians 1:17). The victim wills that the soldier live on – he grants the warrior’s continued existence. The man swings. As the man swings, the Son recalls how he and the Father first designed the medial nerve of the human forearm – the sensations it would be capable of. The design proves flawless – the nerves perform exquisitely. “Up you go!” They lift the cross. God is on display in his underwear and can scarcely breathe. But these pains are a mere warm-up to his other and growing dread. He begins to feel a foreign sensation. Somewhere during this day an unearthly foul odor began to waft, not around his nose, but his heart. He feels dirty. Human wickedness starts to crawl upon his spotless being – the living excrement from our souls. The apple of his Father’s eye turns brown with rot. His Father! He must face his Father like this! From heaven the Father now rouses himself like a lion disturbed, shakes His mane, and roars against the shriveling remnant of a man hanging on a cross.Never has the Son seen the Father look at him so, never felt even the least of his hot breath. But the roar shakes the unseen world and darkens the visible sky. The Son does not recognize these eyes. “Son of Man! Why have you behaved so? You have cheated, lusted, stolen, gossiped – murdered, envied, hated, lied. You have cursed, robbed, over-spent, overeaten – fornicated, disobeyed, embezzled, and blasphemed. Oh the duties you have shirked, the children you have abandoned! Who has ever so ignored the poor, so played the coward, so belittled my name? Have you ever held a razor tongue? What a self-righteous, pitiful drunk – you, who moles young boys, peddle killer drugs, travel in cliques, and mock your parents. Who gave you the boldness to rig elections, foment revolutions, torture animals, and worship demons? Does the list never end! Splitting families, raping virgins, acting smugly, playing the pimp – buying politicians, practicing exhortation, filming pornography, accepting bribes. You have burned down buildings, perfected terrorist tactics, founded false religions, traded in slaves – relishing each morsel and bragging about it all. I hate, loathe these things in you! Disgust for everything about you consumes me! Can you not feel my wrath? Of course the Son is innocent He is blamelessness itself. The Father knows this. But the divine pair have an agreement, and the unthinkable must now take place. Jesus will be treated as if personally responsible for every sin ever committed. The Father watches as his heart’s treasure, the mirror image of himself, sinks drowning into raw, liquid sin. Jehovah’s stored rage against humankind from every century explodes in a single direction. “Father! Father! Why have you forsaken me?!” But heaven stops its ears. The Son stares up at the One who cannot, who will not, reach down or reply. The Trinity had planned it. The Son had endured it. The Spirit enabled Him. The Father rejected the Son whom He loved. Jesus, the God-man from Nazareth, perished. The Father accepted His sacrifice for sin and was satisfied. The Rescue was accomplished.

Women have always been the most important part of monster movies. As I walked home one night, I realized why. Making my way down dark city streets to my apartment in Brooklyn, I was alert and on edge. I was looking for suspicious figures, men that could be rapists, muggers or killers. I felt like Laurie Strode in Halloween. Horror is a pressure valve for society's fears and worries: monsters seeking to control our bodies, villains trying to assail us in the darkness, disease and terror resulting from the consequences of active sexuality, death. These themes are the staple of horror films. There are people who witness these problems only in scary movies. But for much of the population, what is on the screen is merely an exaggerated version of their everyday lives. These are forces women grapple with daily. Watching Nancy Thompson escape Freddy Krueger's perverted attacks reminds me of how I daily fend off creeps asking me to smile for them on the subway. Women are the most important part of horror because, by and large, women are the ones the horror happens to. Women have to endure it, fight it, survive it — in the movies and in real life. They are at risk of attack from real-life monsters. In America, a woman is assaulted every nine seconds. Horror films help explore these fears and imagine what it would be like to conquer them. Women need to see themselves fighting monsters. That’s part of how we figure out our stories. But we also need to see ourselves behind-the-scenes, creating and writing and directing. We need to tell our stories, too.

The underlying principle: Always try to do the most with the least—with the emphasis on try. You may not always succeed, but attempt to produce the greatest effect in the viewer’s mind by the least number of things on screen. Why? Because you want to do only what is necessary to engage the imagination of the audience—suggestion is always more effective than exposition. Past a certain point, the more effort you put into wealth of detail, the more you encourage the audience to become spectators rather than participants. The same principle applies to all the various crafts of filmmaking: acting, art direction, photography, music, costume, etc.

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.

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.

I cobbled together that film-school experience for myself. I didn't ever sit in a classroom: I would watch DVD commentaries of directors. I was like, "...So, this person is just going to walk me through every single thing they did to make this movie? And it's on every movie ever made?!" All that's to say: There are different ways to learn.

To ensure compliance, the film department of the propaganda ministry now directly oversaw the planning and production of all new German films. Goebbels himself—a failed novelist and playwright earlier in life—had taken to reviewing the scripts of nearly all films personally, using a green pencil to strike out or rewrite offending lines or scenes.

continued. “The solution to almost every problem imaginable can be found in the outcome of a fairy tale. Fairy tales are life lessons disguised with colorful characters and situations. “‘The Boy Who Cried Wolf ’ teaches us the value of a good reputation and the power of honesty. ‘Cinderella’ shows us the rewards of having a good heart. ‘The Ugly Duckling’ teaches us the meaning of inner beauty.” Alex’s eyes were wide, and she nodded in agreement. She was a pretty girl with bright blue eyes and short strawberry-blonde hair that was always kept neatly out of her face with a headband. The way the other students stared at their teacher, as if the lesson being taught were in another language, was something Mrs. Peters had never grown accustomed to. So, Mrs. Peters would often direct entire lessons to the front row, where Alex sat. Mrs. Peters was a tall, thin woman who always wore dresses that resembled old, patterned sofas. Her hair was dark and curly and sat perfectly on the top of her head like a hat (and her students often thought it was). Through a pair of thick glasses, her eyes were permanently squinted from all the judgmental looks she had given her classes over the years. “Sadly, these timeless tales are no longer relevant in our society,” Mrs. Peters said. “We have traded their brilliant teachings for small-minded entertainment like television and video games. Parents now let obnoxious cartoons and violent movies influence their children. “The only exposure to the tales some children acquire are versions bastardized by film companies. Fairy

The body directly before him, however, was that of a child. The blue of the eyes was now covered in a milky film, giving it its only depth, since all that was behind that veil was flat, like iron shields or silver coins, sealed and deprived of all promise. They were, he told himself yet again, eyes that no longer worked, and the loss of that was beyond comprehension. He would paint this child’s face. He would paint it a thousand times. Ten thousand. He would offer the paintings as gifts to every man and every woman of the realm. And each time any one man or woman stirred awake the hearth gods of anger and hate, feeding the gaping mouth of violence and uttering pathetic lies about making things better, or right, or pure, or safe, he would give them yet another copy of this child’s face.

Perhaps vaguely aware that his movie so completely lacks gravitas, Moore concludes with a sonorous reading of some words from George Orwell. The words are taken from 1984 and consist of a third-person analysis of a hypothetical, endless and contrived war between three superpowers. The clear intention, as clumsily excerpted like this (...), is to suggest that there is no moral distinction between the United States, the Taliban and the Ba'ath Party, and that the war against jihad is about nothing. If Moore had studied a bit more, or at all, he could have read Orwell really saying, and in his own voice, the following: The majority of pacifists either belong to obscure religious sects or are simply humanitarians who object to taking life and prefer not to follow their thoughts beyond that point. But there is a minority of intellectual pacifists, whose real though unacknowledged motive appears to be hatred of western democracy and admiration for totalitarianism. Pacifist propaganda usually boils down to saying that one side is as bad as the other, but if one looks closely at the writing of the younger intellectual pacifists, one finds that they do not by any means express impartial disapproval but are directed almost entirely against Britain and the United States… And that's just from Orwell's Notes on Nationalism in May 1945. A short word of advice: In general, it's highly unwise to quote Orwell if you are already way out of your depth on the question of moral equivalence. It's also incautious to remind people of Orwell if you are engaged in a sophomoric celluloid rewriting of recent history.

Authentic diverse storytelling in films, books, television is when a story is cast with the intended ethnicity of the characters and is written by the intended ethnicity. When you cast Black or Asian actors into a role written for another, and the book is written by another, then that isn't authentic. That's re-imagining. Vice versa. Authentic storytelling is when you cast Korean American actors in a film written by Korean Americans or Chinese Americans in a film/book written by Chinese Americans so the entire story from concept to release is authentic. Not when you take a book written by a Caucasian, directed by a Caucasian but cast by African American or Asian American actors into originally-written Caucasian character roles just because that is trending. THAT is not authentic but white-washing.

When we recall the great influence which Spenser's poetry has exerted on English poets who have lived and written since his day, we can clearly see how the two kinds of Platonism - a direct Platonism, and a Platonism long ago transmuted and worked right down into the emotions of common people by the passionate Christianity of the Dark and Middle Ages - combined to beget the infinite suggestiveness which is now contained in such words as 'love' and 'beauty'. Let us remember, then, that every time we abuse these terms, or use them too lightly, we are draining them of their power; every time a society journalist or a film producer exploits this vast suggestiveness to tickle a vanity or dignify a lust, he is squandering a great pile of spiritual capital which has been laid up by centuries of weary effort.

People who decide which books we read: 90 percent white • People who decide which news is covered: 85 percent white • People who decide which music is produced: 95 percent white • People who directed the one hundred top-grossing films of all time, worldwide: 95 percent white • Teachers: 82 percent white • Full-time college professors: 84 percent white • Owners of men’s professional football teams: 97 percent white

In the scene when Belle begs La Bête for permission to visit her father, La Bête, moved by her plea, decides to let her go, but requires her, at the cost of his own life, to return in a week. He explains to her that his magic exists by the force of five power objects—the rose, the key, the mirror, the glove, and the horse. These five are the root of La Bête’s creativity and magic. The point is, if a young artist were to ask Cocteau directly what he would need to pursue the life and work of an artist, these five elements would be the answer. The rose represents beauty. The key represents technique—literally, the means by which the “door” to creativity is opened. The horse represents strength and stamina. The mirror represents the path itself, without which the dream of the artist cannot be accomplished. The meaning of the glove eluded me for a long time, but finally, and unexpectedly, I understood that the glove represents nobility. By this symbol Cocteau asserts that the true nobility of mankind are the artist-magician creators. This scene, which leads directly to the resolution of the fairy tale, is framed as the most significant moment of the film and is the message we are meant to take away with us: Cocteau is teaching about creativity in terms of the power of the artist, which we now understand to be the power of transformation.

The Scorsese Principle Hold attention with visual images that illustrate a story. I think most who have seen Martin Scorsese’s film Goodfellas remember the scene of Paul Sorvino thinly slicing a garlic clove with a razor blade in prison. That visual illustrated the gourmet lifestyle his wiseguys were living even behind bars. Through your words, craft stories that are so engaging that the listener is hanging on every detail. Direct the film that plays in your listener’s mind.

Live your life in real time -- live and suffer directly on-screen. Think in real time -- your thought is immediately encoded by the computer. Make your revolution in real time -- not in the street, but in the recording studio. Live out your amorous passions in real time -- the whole thing on video from start to finish. Penetrate your body in real time -- endovideoscopy: your own bloodstream, your own viscera as if you were inside them. Nothing escapes this. There is always a hidden camera somewhere. You can be filmed without knowing it. You can be called to act it all out again for any of the TV channels. You think you exist in the original-language version, without realizing that this is now merely a special case of dubbing, an exceptional version for the `happy few'. Any of your acts can be instantly broadcast on any station. There was a time when we would have considered this a form of police surveillance. Today, we regard it as advertising.

The decision to create a book trailer is entirely up to you. I can remember when "video killed the radio star" on MTV and how excited I was with some music videos (the ones that lived up to or exceeded my imagined vision of the song) and the ones I disliked so much, I even stopped listening to the song (the imagery just ruined it for me!) Some people argue that in a visual landscape, a book trailer is a must, while others stand firm that books should be read and not seen; unless of course it gets made into a screenplay and then a film. The most practical advice is to trust your instinct. You know what you want to say with your book and if it aligns congruently with your brand, then for a non-fiction book it may be a strategic move. On the other hand, it may come off as too "salesy" and go in the opposite direction. As you can see, I still have a love / hate relationship with matching someone else's images to my own imagination. No matter what you decide, remember to keep it aligned with your brand.

But Catch’s tone of outraged bewilderment in the face of carnage and a deranged military mentality set the tone for the satires against the arms race and Vietnam. Dr. Strangelove appeared in 1964. Robert Altman’s 1970 film M*A*S*H, with its Osterizer blend of black humor and stark horror, is a direct descendant of Catch-22. Ironically, that movie appeared the same year as Mike Nichols’s film version of Catch. M*A*S*H is the better movie by far, but in a nice bit of irony, it propelled the novel—finally!—onto American bestseller

Once, a few years earlier, Jules had gone to see a play at Ash’s theater, and afterward, during the “talkback,” when the audience asked questions of the playwright and of Ash, who’d directed the production, a woman stood up and said, “This one is for Ms. Wolf. My daughter wants to be a director too. She’s applying to graduate school in directing, but I know very well that there are no jobs, and that she’s probably only going to have her dreams dashed. Shouldn’t I encourage her to do something else, to find some other field she can get into before too much time goes by?” And Ash had said to that mother, “Well, if she’s thinking about going into directing, she has to really, really want it. That’s the first thing. Because if she doesn’t, then there’s no point in putting herself through all of this, because it’s incredibly hard and dispiriting. But if she does really, really want it, and if she seems to have a talent for it, then I think you should tell her, ‘That’s wonderful.’ Because the truth is, the world will probably whittle your daughter down. But a mother never should.

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

Some actors wear their roles like clothing," he said. "No matter what part they're playing, you can always easily see who it is beneath the costume." "It's how drag queens do women, darling," volunteered the elegant Miss X. [...] "The really amazing actors strip themselves down to nothing-they make themselves a blank slate, and you can never guess what they're going to look like or act like in their next film because they completely transform themselves." "It's how transsexuals do women, darling," opined Doris Fish with an arched eyebrow in my direction.

At one point he said "Some may not believe it, but I spent hours perfecting whatever I did." He worked not only on sculpting the body but at shaping his mind, educating himself, evolving his practices, developing his potential. He also worked at the little things, like having beautiful handwriting, writing and speaking grammatically well, developing a colloquial understanding of English through joke-telling, learning how to direct a film - the list goes on and on. And as a result, he created a legacy that continues to be relevant forty-seven years after his death.

The ultimate irony in this vast struggle (available to audience members who want to think about it but easily ignored by those who accept the semi-happy ending ) is the irony in many time loop (or ontological paradox) stories: John Connor has created himself (though he has not gone as far as the character in Robert Heinlein’s “All You Zombies” who is both his own father and mother). Far worse, by saving his mother’s life and ensuring the destruction of the Terminator, John Connor has created Skynet just as surely as Skynet has created John Connor by trying to kill him. Both Connor and Skynet exist in a time loop without outside causality. The Terminator’s surviving arm makes Skynet possible, but it is never invented, only found and back-engineered. Kyle Reese comes across time for Sarah Connor because of a picture and because John Connor asks him to, but neither the picture nor John Connor would exist if Reese had not already gone back in time. The simplest way to save the world is to let the Terminator kill Sarah Connor. Then (in all probability), no one would find a piece of the advanced technology, and Skynet could not be built. But, Cameron’s plot suggests, the “perils to come that would result from our hubris and blind faith in technology” may be inescapable, a time loop, a feedback loop, leading directly if not necessarily inevitably to destruction."Fighting the History Wars on the Big Screen: From the Terminator to Avatar" from The Films of James Cameron

But despite the Secret Service–like behavior, and the regal nomenclature, there’s nothing hierarchical about the way an ant colony does its thinking. “Although queen is a term that reminds us of human political systems,” Gordon explains, “the queen is not an authority figure. She lays eggs and is fed and cared for by the workers. She does not decide which worker does what. In a harvester ant colony, many feet of intricate tunnels and chambers and thousands of ants separate the queen, surrounded by interior workers, from the ants working outside the nest and using only the chambers near the surface. It would be physically impossible for the queen to direct every worker’s decision about which task to perform and when.” The harvester ants that carry the queen off to her escape hatch do so not because they’ve been ordered to by their leader; they do it because the queen ant is responsible for giving birth to all the members of the colony, and so it’s in the colony’s best interest—and the colony’s gene pool—to keep the queen safe. Their genes instruct them to protect their mother, the same way their genes instruct them to forage for food. In other words, the matriarch doesn’t train her servants to protect her, evolution does. Popular culture trades in Stalinist ant stereotypes—witness the authoritarian colony regime in the animated film Antz—but in fact, colonies are the exact opposite of command economies. While they are capable of remarkably coordinated feats of task allocation, there are no Five-Year Plans in the ant kingdom. The colonies that Gordon studies display some of nature’s most mesmerizing decentralized behavior: intelligence and personality and learning that emerges from the bottom up.

It's obvious that at such times reading represented for me something like the center of reality; the rest seemed to me freaks of nature . . . hallucinations perhaps would be more appropriate. Since that other world was one in which I was unhappy, I didn't pay it much heed. It was this kind of thinking that was responsible for my idealistic bent. It stems from my conviction that reality can be learned from words, and I remained convinced for at least thirty years that a book offered you a kind of truth, a truth difficult to seize, even a metaphysical truth, and that it revealed secrets about various things. I remember that when I was seventeen or so I read Dostoevsky, and I had the distinct impression that he was offering me a secret. I wasn't quite sure what it was, but a secret nonetheless that transcended not only ordinary knowledge but also scientific knowledge, something slightly mysterious. And that kind of thinking remained with me for a long time, until finally I realized that literature was only one more human activity among many others, and as such it did not reveal any secret: what it does is no more or no less than record the full scope of how a particular period in history views the world and its people. But it took me a long time to see that. And at the time I'm referring to—when I was fifteen or so, and then later on during my last year before the baccalaureate—I was in the process of contracting what I was later to call my neurosis, that is, the notion that since reality had been given to me through books, I would make contact with reality, and offer a more profound truth about the world, if I wrote books myself. The idea was the discovery, the thing one reveals, and it certainly derived from all the elements I have just mentioned.

I had drawn you as Paris in dainty armour, and as Adonis with huntsman's cloak and polished boar-spear. Crowned with heavy lotus-blossoms you had sat on the prow of Adrian's barge, gazing across the green turbid Nile. You had leaned over the still pool of some Greek woodland and seen in the water's silent silver the marvel of your own face. And it had all been what art should be—unconscious, ideal, and remote. One day, a fatal day I sometimes think, I determined to paint a wonderful portrait of you as you actually are, not in the costume of dead ages, but in your own dress and in your own time. Whether it was the realism of the method, or the mere wonder of your own personality, thus directly presented to me without mist or veil, I cannot tell. But I know that as I worked at it, every flake and film and colour seemed to me to reveal my secret. I grew afraid that others would know of my idolatry.

Our life together was filled with contrasts. One week we were croc hunting with Dateline in Cape York. Only a short time after that, Steve and I found ourselves out of our element entirely, at the CableACE Award banquet in Los Angeles. Steve was up for an award as host of the documentary Ten Deadliest Snakes in the World. He lost out to the legendary Walter Cronkite. Any time you lose to Walter Cronkite, you can’t complain too much. After the awards ceremony, we got roped into an after-party that was not our cup of tea. Everyone wore tuxedos. Steve wore khaki. Everyone drank, smoked, and made small talk, none of which Steve did at all. We got separated, and I saw him across the room looking quite claustrophobic. I sidled over. “Why don’t we just go back up to our room?” I whispered into his ear. This proved to be a terrific idea. It fit in nicely with our plans for starting a family, and it was quite possibly the best seven minutes of my life! After our stay in Los Angeles, Steve flew directly back to the zoo, while I went home by way of one my favorite places in the world, Fiji. We were very interested in working there with crested iguanas, a species under threat. I did some filming for the local TV station and checked out a population of the brilliantly patterned lizards on the Fijian island of Yadua Taba. When I got back to Queensland, I discovered that I was, in fact, expecting. Steve and I were over the moon. I couldn’t believe how thrilled he was. Then, mid-celebration, he suddenly pulled up short. He eyed me sideways. “Wait a minute,” he said. “You were just in Fiji for two weeks.” “Remember the CableACE Awards? Where you got bored in that room full of tuxedos?” He gave me a sly grin. “Ah, yes,” he said, satisfied with his paternity (as if there was ever any doubt!). We had ourselves an L.A. baby.

What led you to write a graduate thesis on the subject of the imagination? SARTRE: I suppose that at that period of my life I had some ideas about the image I refer to the time when I was at L'Ecole normale—and later I had the feeling that that was the first thing I ought to do. The idea that sensation was not identical to the image, that the image was not sensation renewed. That was something I felt in myself. It is bound up with the freedom of consciousness since, when the conscious mind imagines, it disengages itself from what is real in order to look for something that isn't there or that doesn't exist. And it was this passage into the imaginary that helped me understand what freedom is. For instance, if one person asks another: "Where is your friend Pierre?" and it turns out that he's in Berlin, for example, that person will picture where his friend Pierre is. There is a disconnection of thought that cannot be explained by determinism. Determinism cannot move to the plane of the imaginary. If it's a fact, it will create a fact.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

Cannabis, the sensation that had reignited in America and helped bring hemp’s recreational usage back to prominence in a quiet, steady British counter-culture, had helped dispel much of the prejudice, entitlement and arrogance that had eluded the careful eye of Simon’s mother, undermining her care during the once-restlessly energetic yet gentle soul’s dedicated mothering of the studious boy. It took root in his thoughts and expectations. Bravado and projection replaced genuine yet understated confidence; much of that which had been endearing in him ceased to be seen, to his mother’s despondency. A bachelor of the arts, the blissfully apathetic raconteur left university, having renounced his faith and openly claiming to feel no connection, either socially or intellectually with the student life and further study. Personal failures and parental despair combined to sober the-21yr old frustrated essayist and tentative poet. Cannabis, ironically sought following the conclusion of his stimulant-fuelled student years, had finally levelled him out, and provided the introspection needed to dispel the lesser demons of his nature. Reefer Madness, such insanity – freely distributed for the mass-consumer audience of the west! Curiosity pushed the wealthy young man’s interest in the plant to an isolated purchase, and thence to regular use. Wracked by introspection, the young man struggled through several months of instability and self-doubt before readjusting his focus to chase goals. Once humorous, Reefer Madness no longer amused him, and he dedicated an entire afternoon to writing an ultimately unpublished critique of the film, that descended into an impassioned defence of the plant. He began to watch with keen interest, as the critically-panned debacle of sheer slapstick silliness successfully struck terror into the hearts of a large section of non-marijuana smoking people in the west. The dichotomy of his own understanding and perception only increased the profound sense of gratitude Simon felt for the directional change in which his life was heading. It helped him escape from earlier attachments to the advantage of his upbringing, and destroyed the arrogance that, he realised with shock, had served to cloud years of his judgement. Thus, positive energy led to forward momentum; the mental readjustment silenced doubts, which in turn brought peace, and hope.

Everybody’s Free (To Wear Sunscreen)” Ladies and Gentlemen of the class of '99: Wear sunscreen. If I could offer you only one tip for the future, sunscreen would be it. The long term benefits of sunscreen have been proved by scientists, whereas the rest of my advice has no basis more reliable than my own meandering experience. I will dispense this advice now. Enjoy the power and beauty of your youth; oh never mind; you will not understand the power and beauty of your youth until they've faded. But trust me, in 20 years you’ll look back at photos of yourself and recall in a way you can’t grasp now how much possibility lay before you and how fabulous you really looked. You are not as fat as you imagine. Don’t worry about the future; or worry, but know that worrying is as effective as trying to solve an algebra equation by chewing bubblegum. The real troubles in your life are apt to be things that never crossed your worried mind; the kind that blindside you at 4:00 pm on some idle Tuesday. Do one thing everyday that scares you. Sing. Don’t be reckless with other people’s hearts; don’t put up with people who are reckless with yours. Floss. Don’t waste your time on jealousy; sometimes you’re ahead; sometimes you’re behind; the race is long, and in the end it’s only with yourself. Remember compliments you receive; forget the insults. If you succeed in doing this, tell me how. Keep your old love letters; throw away your old bank statements. Stretch. Don’t feel guilty if you don’t know what you wanna do with your life; the most interesting people I know didn’t know at 22 what they wanted to do with their lives; some of the most interesting 40 year olds I know still don’t. Get plenty of calcium. Be kind to your knees; you’ll miss them when they’re gone. Maybe you’ll marry -- maybe you won’t. Maybe you’ll have children -- maybe you won’t. Maybe you’ll divorce at 40 -- maybe you’ll dance the funky chicken on your 75th wedding anniversary. Whatever you do, don’t congratulate yourself too much or berate yourself either -- your choices are half chance; so are everybody else’s. Enjoy your body; use it every way you can. Don’t be afraid of it, or what other people think of it. It’s the greatest instrument you’ll ever own. Dance. even if you have nowhere to do it but in your own living room. Read the directions, even if you don’t follow them. Do not read beauty magazines; they will only make you feel ugly. Get to know your parents; you never know when they’ll be gone for good. Be nice to your siblings; they're your best link to your past and the people most likely to stick with you in the future. Understand that friends come and go, but for the precious few you should hold on. Work hard to bridge the gaps in geography, in lifestyle, because the older you get the more you need the people you knew when you were young. Live in New York City once, but leave before it makes you hard. Live in Northern California once, but leave before it makes you soft. Travel. Accept certain inalienable truths: prices will rise; politicians will philander; you too will get old, and when you do you’ll fantasize that when you were young prices were reasonable, politicians were noble, and children respected their elders. Respect your elders. Don’t expect anyone else to support you. Maybe you have a trust fund; maybe you'll have a wealthy spouse; but you never know when either one might run out. Don’t mess too much with your hair, or by the time you're 40, it will look 85. Be careful whose advice you buy, but be patient with those who supply it. Advice is a form of nostalgia: dispensing it is a way of fishing the past from the disposal, wiping it off, painting over the ugly parts, and recycling it for more than it’s worth. But trust me on the sunscreen. Baz Luhrmannk, William Shakespeare's Romeo & Juliet (1996)

Lynum had plenty of information to share. The FBI's files on Mario Savio, the brilliant philosophy student who was the spokesman for the Free Speech Movement, were especially detailed. Savio had a debilitating stutter when speaking to people in small groups, but when standing before a crowd and condemning his administration's latest injustice he spoke with divine fire. His words had inspired students to stage what was the largest campus protest in American history. Newspapers and magazines depicted him as the archetypal "angry young man," and it was true that he embodied a student movement fueled by anger at injustice, impatience for change, and a burning desire for personal freedom. Hoover ordered his agents to gather intelligence they could use to ruin his reputation or otherwise "neutralize" him, impatiently ordering them to expedite their efforts. Hoover's agents had also compiled a bulging dossier on the man Savio saw as his enemy: Clark Kerr. As campus dissent mounted, Hoover came to blame the university president more than anyone else for not putting an end to it. Kerr had led UC to new academic heights, and he had played a key role in establishing the system that guaranteed all Californians access to higher education, a model adopted nationally and internationally. But in Hoover's eyes, Kerr confused academic freedom with academic license, coddled Communist faculty members, and failed to crack down on "young punks" like Savio. Hoover directed his agents to undermine the esteemed educator in myriad ways. He wanted Kerr removed from his post as university president. As he bluntly put it in a memo to his top aides, Kerr was "no good." Reagan listened intently to Lynum's presentation, but he wanted more--much more. He asked for additional information on Kerr, for reports on liberal members of the Board of Regents who might oppose his policies, and for intelligence reports about any upcoming student protests. Just the week before, he had proposed charging tuition for the first time in the university's history, setting off a new wave of protests up and down the state. He told Lynum he feared subversives and liberals would attempt to misrepresent his efforts to establish fiscal responsibility, and that he hoped the FBI would share information about any upcoming demonstrations against him, whether on campus or at his press conferences. It was Reagan's fear, according to Lynum's subsequent report, "that some of his press conferences could be stacked with 'left wingers' who might make an attempt to embarrass him and the state government." Lynum said he understood his concerns, but following Hoover's instructions he made no promises. Then he and Harter wished the ailing governor a speedy recovery, departed the mansion, slipped into their dark four-door Ford, and drove back to the San Francisco field office, where Lynum sent an urgent report to the director. The bedside meeting was extraordinary, but so was the relationship between Reagan and Hoover. It had begun decades earlier, when the actor became an informer in the FBI's investigation of Hollywood Communists. When Reagan was elected president of the Screen Actors Guild, he secretly continued to help the FBI purge fellow actors from the union's rolls. Reagan's informing proved helpful to the House Un-American Activities Committee as well, since the bureau covertly passed along information that could help HUAC hold the hearings that wracked Hollywood and led to the blacklisting and ruin of many people in the film industry. Reagan took great satisfaction from his work with the FBI, which gave him a sense of security and mission during a period when his marriage to Jane Wyman was failing, his acting career faltering, and his faith in the Democratic Party of his father crumbling. In the following years, Reagan and FBI officials courted each other through a series of confidential contacts. (7-8)

Neoliberal economics, the logic of which is tending today to win out throughout the world thanks to international bodies like the World Bank or the International Monetary Fund and the governments to whom they, directly or indirectly, dictate their principles of ‘governance’,10 owes a certain number of its allegedly universal characteristics to the fact that it is immersed or embedded in a particular society, that is to say, rooted in a system of beliefs and values, an ethos and a moral view of the world, in short, an economic common sense, linked, as such, to the social and cognitive structures of a particular social order. It is from this particular economy that neoclassical economic theory borrows its fundamental assumptions, which it formalizes and rationalizes, thereby establishing them as the foundations of a universal model. That model rests on two postulates (which their advocates regard as proven propositions): the economy is a separate domain governed by natural and universal laws with which governments must not interfere by inappropriate intervention; the market is the optimum means for organizing production and trade efficiently and equitably in democratic societies. It is the universalization of a particular case, that of the United States of America, characterized fundamentally by the weakness of the state which, though already reduced to a bare minimum, has been further weakened by the ultra-liberal conservative revolution, giving rise as a consequence to various typical characteristics: a policy oriented towards withdrawal or abstention by the state in economic matters; the shifting into the private sector (or the contracting out) of ‘public services’ and the conversion of public goods such as health, housing, safety, education and culture – books, films, television and radio – into commercial goods and the users of those services into clients; a renunciation (linked to the reduction in the capacity to intervene in the economy) of the power to equalize opportunities and reduce inequality (which is tending to increase excessively) in the name of the old liberal ‘self-help’ tradition (a legacy of the Calvinist belief that God helps those who help themselves) and of the conservative glorification of individual responsibility (which leads, for example, to ascribing responsibility for unemployment or economic failure primarily to individuals, not to the social order, and encourages the delegation of functions of social assistance to lower levels of authority, such as the region or city); the withering away of the Hegelian–Durkheimian view of the state as a collective authority with a responsibility to act as the collective will and consciousness, and a duty to make decisions in keeping with the general interest and contribute to promoting greater solidarity. Moreover,

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

FACT 4 – There is more to the creation of the Manson Family and their direction than has yet been exposed. There is more to the making of the movie Gimme Shelter than has been explained. This saga has interlocking links to all the beautiful people Robert Hall knew. The Manson Family and the Hell’s Angels were instruments to turn on enemy forces. They attacked and discredited politically active American youth who had dropped out of the establishment. The violence came down from neo-Nazis, adorned with Swastikas both in L.A. and in the Bay Area at Altamont. The blame was placed on persons not even associated with the violence. When it was all over, the Beatles and the Rolling Stones were the icing on this cake, famed musicians associated with a racist, neo-Nazi murder. By rearranging the facts, cutting here and there, distorting evidence, neighbors and family feared their own youth. Charles Manson made the cover of Life with those wide eyes, like Rasputin. Charles Watson didn’t make the cover. Why not? He participated in all the killings. Manson wasn’t inside the house. Manson played a guitar and made records. Watson didn’t. He was too busy taking care of matters at the lawyer’s office prior to the killings, or with officials of Young Republicans. Who were Watson’s sponsors in Texas, where he remained until his trial, separate from the Manson Family’s to psychologically distance him from the linking of Watson to the murders he actually committed. “Pigs” was scrawled in Sharon Tate’s house in blood. Was this to make blacks the suspects? Credit cards of the La Bianca family were dropped intentionally in the ghetto after the massacre. The purpose was to stir racial fears and hatred. Who wrote the article, “Did Hate Kill Tate?”—blaming Black Panthers for the murders? Lee Harvey Oswald was passed off as a Marxist. Another deception. A pair of glasses was left on the floor of Sharon Tate’s home the day of the murder. They were never identified. Who moved the bodies after the killers left, before the police arrived? The Spahn ranch wasn’t a hippie commune. It bordered the Krupp ranch, and has been incorporated into a German Bavarian beer garden. Howard Hughes knew George Spahn. He visited this ranch daily while filming The Outlaw. Howard Hughes bought the 516 acres of Krupp property in Nevada after he moved into that territory. What about Altamont? What distortions and untruths are displayed in that movie? Why did Mick Jagger insist, “the concert must go on?” There was a demand that filmmakers be allowed to catch this concert. It couldn’t have happened the same in any other state. The Hell’s Angels had a long working relationship with law enforcement, particularly in the Oakland area. They were considered heroes by the San Francisco Chronicle and other newspapers when they physically assaulted the dirty anti-war hippies protesting the shipment of arms to Vietnam. The laboratory for choice LSD, the kind sent to England for the Stones, came from the Bay Area and would be consumed readily by this crowd. Attendees of the concert said there was “a compulsiveness to the event.” It had to take place. Melvin Belli, Jack Ruby’s lawyer, made the legal arrangements. Ruby had complained that Belli prohibited him from telling the full story of Lee Harvey Oswald’s murder (another media event). There were many layers of cover-up, and many names have reappeared in subsequent scripts. Sen. Philip Hart, a member of the committee investigating illegal intelligence operations inside the US, confessed that his own children told him these things were happening. He had refused to believe them. On November 18, 1975, Sen. Hart realized matters were not only out of hand, but crimes of the past had to be exposed to prevent future outrages. How shall we ensure that it will never happen again? It will happen repeatedly unless we can bring ourselves to understand and accept that it did go on.

I have come to think of the UFO problem in terms of three distinct levels. The first level is physical. We now know that the UFO behaves like a region of space, of small dimensions (about ten meters), within which a very large amount of energy is stored. This energy is manifested by pulsed light phenomena of intense colors and by other forms of electromagnetic radiation. The second level is biological. Reports of UFOs show all kinds of psychophysiological effects on the witnesses. Exposure to the phenomenon causes visions, hallucinations, space and time disorientation, physiological reactions (including temporary blindness, paralysis, sleep cycle changes), and long-term personality changes. The third level is social. Belief in the reality of UFOs is spreading rapidly at all levels of society throughout the world. Books on the subject continue to accumulate. Documentaries and major films are being made by men and women who grew up with flying-saucer stories. Expectations about life in the universe have been revolutionized. Many modern themes in our culture can be traced back to the "messages from space" coming from UFO contactees of the forties and fifties. The experience of a close encounter with a UFO is a shattering physical and mental ordeal. The trauma has effects that go far beyond what the witnesses recall consciously. New types of behavior are conditioned, and new types of beliefs are promoted. Aside from any scientific consideration, the social, political, and religious consequences of the experience are enormous if they are considered over the timespan of a generation. Faced with the new wave of experiences of UFO contact that are described in books like Communion and Intruders and in movies like Close Encounters of the Third Kind, our religions seem obsolete. Our idea of the church as a social entity working within rational structures is obviously challenged by the claim of a direct communication in modern times with visible beings who seem endowed with supernatural powers. This idea can shake our society to the very roots of its culture. Witnesses are no longer afraid to come forward with personal stories of abductions, of spiritual exchanges with aliens, even of sexual interaction with them. Such reports are folklore in the making. I have discovered that they form a striking parallel to the tales of meetings with elves and jinn of medieval times, with the denizens of "Magonia," the land beyond the clouds of ancient chronicles. But they are something else, too: a portent of important things to come.