Greatest Movie Quotes

I can believe things that are true and things that aren't true and I can believe things where nobody knows if they're true or not. I can believe in Santa Claus and the Easter Bunny and the Beatles and Marilyn Monroe and Elvis and Mister Ed. Listen - I believe that people are perfectable, that knowledge is infinite, that the world is run by secret banking cartels and is visited by aliens on a regular basis, nice ones that look like wrinkled lemurs and bad ones who mutilate cattle and want our water and our women. I believe that the future sucks and I believe that the future rocks and I believe that one day White Buffalo Woman is going to come back and kick everyone's ass. I believe that all men are just overgrown boys with deep problems communicating and that the decline in good sex in America is coincident with the decline in drive-in movie theaters from state to state. I believe that all politicians are unprincipled crooks and I still believe that they are better than the alternative. I believe that California is going to sink into the sea when the big one comes, while Florida is going to dissolve into madness and alligators and toxic waste. I believe that antibacterial soap is destroying our resistance to dirt and disease so that one day we'll all be wiped out by the common cold like martians in War of the Worlds. I believe that the greatest poets of the last century were Edith Sitwell and Don Marquis, that jade is dried dragon sperm, and that thousands of years ago in a former life I was a one-armed Siberian shaman. I believe that mankind's destiny lies in the stars. I believe that candy really did taste better when I was a kid, that it's aerodynamically impossible for a bumble bee to fly, that light is a wave and a particle, that there's a cat in a box somewhere who's alive and dead at the same time (although if they don't ever open the box to feed it it'll eventually just be two different kinds of dead), and that there are stars in the universe billions of years older than the universe itself. I believe in a personal god who cares about me and worries and oversees everything I do. I believe in an impersonal god who set the universe in motion and went off to hang with her girlfriends and doesn't even know that I'm alive. I believe in an empty and godless universe of causal chaos, background noise, and sheer blind luck. I believe that anyone who says sex is overrated just hasn't done it properly. I believe that anyone who claims to know what's going on will lie about the little things too. I believe in absolute honesty and sensible social lies. I believe in a woman's right to choose, a baby's right to live, that while all human life is sacred there's nothing wrong with the death penalty if you can trust the legal system implicitly, and that no one but a moron would ever trust the legal system. I believe that life is a game, that life is a cruel joke, and that life is what happens when you're alive and that you might as well lie back and enjoy it.

Tangled is not a cartoon. Tangled is one of the greatest movies of all time. It's about fighting for freedom and true love.

No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages 1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree. 2) Mozart was already competent on keyboard and violin; he composed from the age of 5. 3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.” 4) Anne Frank was 12 when she wrote the diary of Anne Frank. 5) Magnus Carlsen became a chess Grandmaster at the age of 13. 6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14. 7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15. 8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil. 9) Elvis was a superstar by age 19. 10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961. 11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936. 12) Beethoven was a piano virtuoso by age 23 13) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 24 14) Roger Bannister was 25 when he broke the 4 minute mile record 15) Albert Einstein was 26 when he wrote the theory of relativity 16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 28 18) Alexander the Great, by age 29, had created one of the largest empires of the ancient world 19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter 20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean 21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind 22) Edmund Hillary was 33 when he became the first man to reach Mount Everest 23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream." 24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight 26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions. 27) Neil Armstrong was 38 when he became the first man to set foot on the moon. 28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn" 29) Christopher Columbus was 41 when he discovered the Americas 30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger 31) John F. Kennedy was 43 years old when he became President of the United States 32) Henry Ford Was 45 when the Ford T came out. 33) Suzanne Collins was 46 when she wrote "The Hunger Games" 34) Charles Darwin was 50 years old when his book On the Origin of Species came out. 35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa. 36) Abraham Lincoln was 52 when he became president. 37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels. 38) Dr. Seuss was 54 when he wrote "The Cat in the Hat". 40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived 41) Colonel Harland Sanders was 61 when he started the KFC Franchise 42) J.R.R Tolkien was 62 when the Lord of the Ring books came out 43) Ronald Reagan was 69 when he became President of the US 44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats 45) Nelson Mandela was 76 when he became President

Have you ever heard of Blue Streak?" I blink at him. "That's the name of a movie?" "Romeo Must Die? Bad Boys? Rush Hour? Rush Hour 2? Rush Hour 3? Actually, Rush Hour 3 wasn't that great. Tangled? "That last one, I believe, is a cartoon about a girl with very long hair, inspired by the German fairy tale Rapunzel." Kenji looks like he might be choking. "A cartoon?" he says, outraged. "Tangled is not a cartoon. Tangled is one of the greatest movies of all time. It's about fighting for freedom and true love.

The Room is a drama that is also a comedy that is also an existential cry for help that is finally a testament to human endurance.

The only casting directors who’d be willing to call Tommy in on the basis of this headshot were the ones curious about what it was like to be murdered.

I'm thinking about the top five all-time greatest movie kisses. I can't believe I haven't made that list. And I'm thinking about a screenplay I want to write. I have a hunch it'll be the first good movie I've ever written. This one will be about a girl. I don't know how I ever tried to write my story without her.

In the love scene’s final shot, Johnny gets out of bed and walks bare-assed to the bathroom. Tommy thought long and hard about his decision to show his ass. “I need to do it,” he told me. “I have to show my ass or this movie won’t sell.

There’s a whole psychological reason for those cartoons about good against evil. We have "Superman" and all those other hero people, so that we can go out into life and try to be something. I’ve got most of Disney’s animated movies on video-tapes, and when we watch them. Oh, I could just eat it, eat it. […] Jimmy Cricket, Pinocchio, Mickey Mouse – these are world-known characters. Some of the greatest political figures have come to the United States to meet them.

It's true in life, as in the movies, that the greatest highs are often followed by the lowest lows.

No one ever made a difference by being like everyone else ~ P.T. Barnum

With that, Tommy went off to do his seagull thing elsewhere on set—making a lot of irritating noise while simultaneously shitting on everyone.

Even the world’s greatest actor cannot fake an erection.

I was a tall, sandy-blond Northern California kid. Tommy, meanwhile, appeared to have been grown somewhere dark and moist.

If art is expression, can it fail? Is success simply a matter of what one does with failure?

Mark responds to Peter’s accusation with an uncharacteristically abrupt burst of anger and tries to throw Peter off the roof. Then Mark immediately apologizes to Peter for trying to kill him, and Peter lets it slide. It’s probably the most swiftly forgiven attempted murder in the history of film.

That last one, I believe, is a cartoon about a girl with very long hair, inspired by the German fairy tale ‘Rapunzel.’” Kenji looks like he might be choking. “A cartoon?” he says, outraged. “Tangled is not a cartoon. Tangled is one of the greatest movies of all time. It’s about fighting for freedom and true love.

That’s the greatest miracle, and ultimately the only one: that you awaken from the dream of separation and become a different kind of person. People are constantly concerning themselves with what they do: have I achieved enough, written the greatest screenplay, formed the most powerful company? But the world will not be saved by another great novel, great movie, or great business venture. It will only be saved by the appearance of great people.

Dan had some questions about Chris-R. We all did. Why the name “Chris-R,” for instance? What’s with that hyphen? Tommy’s explanation: “He is gangster.” What about this drug business, which never comes up either before or after Chris-R’s only scene in the film? “We have big problem in society with the drugs.

You have built a human relationship on the foundation of asbestos.

What I was sure of was that Tommy had something I'd never seen in anyone else: a blind and unhinged and totally unfounded ambition. He was so out of touch, so lacking in self-awareness, yet also wildly captivating. That night there was this aura around Tommy- an aura of the possible.

I could spend whole days at Cinecittà. There, I am the greatest director of all time. On the town side, I reshoot the close-ups for Touch of Evil. Down at the beach, I rework the dolly shots for Stagecoach, and offshore I re-create the storm rocking the smugglers of Moonfleet.

And this is what mere humanity always does. It's made up of these inventors or artists, millions and millions of them, each in his own way trying to recruit other people to play a supporting role and sustain him in his make-believe. The great chiefs and leaders recruit the greatest number, and that's what their power is. There's one image that gets out in front to lead the rest and can impose its claim to being genuine with more force than others, or one voice enlarged to thunder is heard above the others. Then a huge invention, which is the invention maybe of the world itself, and of nature, becomes the actual world - with cities, factories, public buildings, railroads, armies, dams, prisons, and movies - becomes the actuality. That’s the struggle of humanity, to recruit others to your version of what’s real. Then even the flowers and the moss on the stones become the moss and the flowers of a version.

Hope. It is the quintessential human delusion, simultaneously the source of your greatest strength, and greatest weakness.

One of the greatest dignities of humankind is that each successive generation is invested in the welfare of each new generation.

Tommy removed his sunglasses and glanced back at me. He had tears in his eyes. He smiled, nodded, and turned toward the screen. It wasn’t often that you got to see a man whose dream was literally about to come true, but then the lights went down, and I couldn’t see him anymore.

We argue, as you know. I don't think she like me, but so what. I say how I feel. Feelings. That's all we have as human beings.' - Tommy

That's the thing with Tommy: Even before he was famous, he acted like he was famous. Maybe that's what, in the end, best explains him. Maybe that's what explains the whole thing.

Our battlefield is on the street and in the heart. The mass shootings in churches, schools, movie theaters, and malls are the opposite face of the same coin: too many guns, too little preventive intervention. This is a mental health issue, a security issue, and the greatest moral issue in America today. Where are the voices of our religious leaders, calling down the failure of legislators and government to face this blight? If this is not a pro-life issue, what on God’s earth is it?

Whenever I finished filming a movie, I felt my job was only half done. Every film had to be nurtured in the marketplace. You can have the greatest movie in the world, but if you don’t get it out there, if people don’t know about it, you have nothing.

It is the form that allows a writer the greatest opportunity to explore human experience...For that reason, reading a novel is potentially a significant act. Because there are so many varieties of human experience, so many kinds of interaction between humans, and so many ways of creating patterns in the novel that can’t be created in a short story, a play, a poem or a movie. The novel, simply, offers more opportunities for a reader to understand the world better, including the world of artistic creation. That sounds pretty grand, but I think it’s true.

Upon its debut, The Room was a spectacular bomb, pulling in all of $1,800 during its initial two-week Los Angeles run. It wasn’t until the last weekend of the film’s short release that the seeds of its eventual cultural salvation were planted. While passing a movie theater, two young film students named Michael Rousselet and Scott Gairdner noticed a sign on the ticket booth that read: NO REFUNDS. Below the sign was this blurb from a review: “Watching this film is like getting stabbed in the head.” They were sold.

Don’t you take the past and just put it in a room in the basement and lock the door and never go in there? That’s what I do. And then you meet someone special and all you want to do is toss them the key. Say, “Open up, step inside.” But you can’t because it’s dark. And there are demons. — Tom Ripley, The Talented Mr. Ripley

So many people die but you don’t die.” (I wish you didn’t exist) – China

That, really, was Sandy’s choice: Tommy’s naked ass or Steven Spielberg’s director of photography.

Gene Simmons after three months in the Gobi Desert? The Hunchback of Notre Dame following corrective surgery? An escaped Muppet? The drummer from Ratt?

Tommy showed me around, starting with the photos on the walls, many of which were of himself, including a few grand, framed neoclassical portraits he’d had done.

You could even say that The Room is about Steven or, at least, about Stevenness, a condition in which things happen for no clear reason, to an unknown purpose, at a fascinatingly inopportune time. Steven completely saves the end of The Room by reminding us how weird it really is.

Kenji looks like he might be choking. “A cartoon?” he says, outraged. “Tangled is not a cartoon. Tangled is one of the greatest movies of all time. It’s about fighting for freedom and true love.

Above all else, he loves trilogies. There has never been a trilogy he didn't like, and if you don't understand why, I have three words for you: father, son, and Holy Spirit. Foremost among his favorites is the original Star Wars trilogy, which he fervently believes is about priests in space, and the first three Alien films, which he believes are about how all women are destined to be mothers. Currently he is obsessed with the Transformers movies, because the greatest Transformer of all . . . is Jesus Christ. He even sat me down one day to have a serious discussion about "moral choices the Transformers are forced to make." At no point did I interrupt him to say, "But Dad, they're cars." This means I am becoming an adult. Because truly, the Transformers are more than cars. Some of them are trucks.

You see," Tommy said. "You act like crazy man first in class and now on highway. It's midnight and you are lost like hell. But that's okay. Don't need to have panicky situation. No restrictions. Be yourself.

Right after we sat down, Don turned around and said, “Oh, by the way—I checked online. This is going to be on your IMDb for the rest of your life.” I offered Don a courtesy laugh, after which he went back to munching his popcorn.

For reasons neither I nor anyone else could gather, every time I got to the part in Mark’s story about the woman being beaten up, Tommy would laugh warmly before delivering his line. It was unsettling. It was disturbing. Take after take, Tommy/Johnny would react to the story of this imaginary woman’s hospitalization with fond and accepting laughter.

No one was laughing now. But I had a thought, a thought I can’t fully explain, even today: He should be my next scene partner. I have to do a scene with this guy. Maybe he’d cheer me up. Maybe I’d learn some of his fearlessness. What made him so confident? I was desperately curious to discover that. It wasn’t his acting, obviously, which was extraordinarily bad. He was simply magically uninhibited; the only person in our class—or any class I’d ever taken, for that matter—whom I actually looked forward to watching perform. The rest of us were toying with chemistry sets and he was lighting the lab on fire.

On my website there's a quote from the writer Anthony Burgess: "The greatest gift is the passion for reading. It is cheap, it consoles, it distracts, it excites, it gives you knowledge of the world and experience of a wide kind." I've always found that inspiring because the written word, as an art form, is unlike any other: movies, TV, music, they're shared experiences, but books aren't like that. The relationship between a writer and a reader is utterly unique to those two individuals. The world that forms in your head as you read a book will be slightly different to that experienced by every other reader. Anywhere. Ever. Reading is very personal, a communication from one mind to another, something which can't be exactly copied, or replicated, or directly shared. If I read the work of, say, one of the great Victorian novelists, it's like a gift from the past, a momentary connection to another's thoughts. Their ideas are down on paper, to be picked up by me, over a century later. Writers can speak individually to readers across a year, or ten years, or a thousand. That's why I love books.

Sufi poet Rumi—“The wound is the place where the Light enters you”—to Groucho Marx—“Blessed are the cracked, for they shall let in the light.” Heck, isn’t the moral of every comic-book movie that our greatest strength often derives from our greatest wound?

While filming the movie “Rough Sex 2,” porn star Regan Starr described in horrific terms in an interview with Talk Magazine in February, 2001, “that while sex acts were performed on her, she was hit and choked until she couldn’t breathe. Other “actresses,” she said, “wept because they were hurting so badly.

Watching Tommy perform this scene, I wondered what his psychologist or psychiatrist had made of him. I tried to image Tommy's mind from the inside out. I saw burning forests, blind alleys, volcanoes in the desert, city streets that plunged into the ocean, barricades everywhere, and all of it lit in the deep-cherry light of emergency.

One of your greatest spiritual gifts as a single person is your yes. Yes to a random phone conversation. Yes to coffee. Yes to help with the move. Yes to stepping in when someone’s sick. Yes to a late-night movie or the special event downtown. You have the unbelievable freedom to say yes when married people can’t even ask the question. When

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.

I have an ambition to live 300 years. I will not live 300 years. Maybe I will live one year more. But I have the ambition. Why you will not have ambition? Why? Have the greatest ambition possible. You want to be immortal? Fight to be immortal. Do it. You want to make the most fantastic art or movie? Try. If you fail, is not important. We need to try.

whole script was like an advisory warning about the perils of having friends at all),

May your penis fall off when you are asleep” – Croatia

You hold on to this notion of your angelic mother and the romantic comedy like her greatest wish in life was for her daughter to be swept off her feet in fucking high school.

On his way to his seat, Tommy stopped, put his hand on my shoulder, kneeled down, and said, “I’m happy you’re here. I could never do project without you.

However, this is a man whose skin Occam’s Razor cannot cut. The enigma of Thomas P. Wiseau is that there never seems to be a simplest explanation.

Kill yourself or not, at Street Fashions!

Why'd you make that?" she asked quietly. "The movie." "Because there needs to be a record somewhere," I told her. "There should be proof, undeniable proof, of the very best thing I've ever achieved in my life." I wrapped my arms around her back and lifted her up in my arms so I could whisper where no one but us would hear. "Falling in love with you is the greatest thing I've ever done, Molly Ward.

You no-business, born-insecure, junkyard motha-f***a!” – Dolemite (1975) “You pompous, stuck-up, snot-nosed, English, giant, twerp, scumbag, f***-face, dickhead, asshole.” –  A Fish Called Wanda (1988)

Gustavo Tiberius speaking." “It’s so weird you do that, man,” Casey said, sounding amused. “Every time I call.” “It’s polite,” Gus said. “Just because you kids these days don’t have proper phone etiquette.” “Oh boy, there’s the Grumpy Gus I know. You miss me?” Gus was well aware the others could hear the conversation loud and clear. He was also aware he had a reputation to maintain. “Hadn’t really thought about it.” “Really.” “Yes.” “Gus.” “Casey.” “I miss you.” “I miss you too,” Gus mumbled into the phone, blushing fiercely. “Yeah? How much?” Gus was in hell. “A lot,” he said truthfully. “There have been allegations made against my person of pining and moping. False allegations, mind you, but allegations nonetheless.” “I know what you mean,” Casey said. “The guys were saying the same thing about me.” Gus smiled. “How embarrassing for you.” “Completely. You have no idea.” “They’re going to get you packed up this week?” “Ah, yeah. Sure. Something like that.” “Casey.” “Yes, Gustavo.” “You’re being cagey.” “I have no idea what you mean. Hey, that’s a nice Hawaiian shirt you’ve got on. Pink? I don’t think I’ve seen you in that color before.” Gus shrugged. “Pastor Tommy had a shitload of them. I think I could wear one every day for the rest of the year and not repeat. I think he may have had a bit of a….” Gus trailed off when his hand started shaking. Then, “How did you know what I was wearing?” There was a knock on the window to the Emporium. Gus looked up. Standing on the sidewalk was Casey. He was wearing bright green skinny jeans and a white and red shirt that proclaimed him to be a member of the 1987 Pasadena Bulldogs Women’s Softball team. He looked ridiculous. And like the greatest thing Gus had ever seen. Casey wiggled his eyebrows at Gus. “Hey, man.” “Hi,” Gus croaked. “Come over here, but stay on the phone, okay?” Gus didn’t even argue, unable to take his eyes off Casey. He hadn’t expected him for another week, but here he was on a pretty Saturday afternoon, standing outside the Emporium like it was no big deal. Gus went to the window, and Casey smiled that lazy smile. He said, “Hi.” Gus said, “Hi.” “So, I’ve spent the last two days driving back,” Casey said. “Tried to make it a surprise, you know?” “I’m very surprised,” Gus managed to say, about ten seconds away from busting through the glass just so he could hug Casey close. The smile widened. “Good. I’ve had some time to think about things, man. About a lot of things. And I came to this realization as I drove past Weed, California. Gus. It was called Weed, California. It was a sign.” Gus didn’t even try to stop the eye roll. “Oh my god.” “Right? Kismet. Because right when I entered Weed, California, I was thinking about you and it hit me. Gus, it hit me.” “What did?” Casey put his hand up against the glass. Gus did the same on his side. “Hey, Gus?” “Yeah?” “I’m going to ask you a question, okay?” Gustavo’s throat felt very dry. “Okay.” “What was the Oscar winner for Best Song in 1984?” Automatically, Gus answered, “Stevie Wonder for the movie The Woman in Red. The song was ‘I Just Called to Say I Love You.’” It was fine, of course. Because he knew answers to all those things. He didn’t know why Casey wanted to— And then he could barely breathe. Casey’s smile wobbled a little bit. “Okay?” Gus blinked the burn away. He nodded as best he could. And Casey said, “Yeah, man. I love you too.” Gus didn’t even care that he dropped his phone then. All that mattered was getting as close to Casey as humanely possible. He threw open the door to the Emporium and suddenly found himself with an armful of hipster. Casey laughed wetly into his neck and Gus just held on as hard as he could. He thought that it was possible that he might never be in a position to let go. For some reason, that didn’t bother him in the slightest.

I told her every single day that her life had been the world’s greatest gift to me, that I believed I was put on earth not to make movies or wear emerald-green gowns and wave at crowds but to be her mother.

It was striking to see my family loving this cinematic abomination as much as they were. The room was filled with laughter from beginning to end—huge, bright, joyful laughter. We finished watching it at 1:00 a.m. Our cheeks hurt, our stomachs ached, and we felt closer to one another than we had in a long time.... Their response to The Room was a powerful indicator of what this film would do on a much larger scale.

Look in it,' he said, smiling slightly, as you do when you have given someone a present which you know will please him and he is unwrapping it before your eyes. I opened it. In the folder I found four 8×10 glossy photos, obviously professionally done; they looked like the kind of stills that the publicity departments of movie studios put out. The photos showed a Greek vase, on it a painting of a male figure who we recognized as Hermes. Twined around the vase the double helix confronted us, done in red glaze against a black background. The DNA molecule. There could be no mistake. 'Twenty-three or -four hundred years ago,' Fat said. 'Not the picture but the krater, the pottery.' 'A pot,' I said. 'I saw it in a museum in Athens. It's authentic. Thats not a matter of my own opinion; I'm not qualified to judge such matters; it's authenticity has been established by the museum authorities. I talked with one of them. He hadn't realized what the design shows; he was very interested when I discussed it with him. This form of vase, the krater, was the shape later used as the baptismal font. That was one of the Greek words that came into my head in March 1974, the word “krater”. I heard it connected with another Greek word: “poros”. The words “poros krater” essentially mean “limestone font”. ' There could be no doubt; the design, predating Christianity, was Crick and Watson's double helix model at which they had arrived after so many wrong guesses, so much trial-and-error work. Here it was, faithfully reproduced. 'Well?' I said. 'The so-called intertwined snakes of the caduceus. Originally the caduceus, which is still the symbol of medicine was the staff of- not Hermes-but-' Fat paused, his eyes bright. 'Of Asklepios. It has a very specific meaning, besides that of wisdom, which the snakes allude to; it shows that the bearer is a sacred person and not to be molested...which is why Hermes the messenger of the gods, carried it.' None of us said anything for a time. Kevin started to utter something sarcastic, something in his dry, witty way, but he did not; he only sat without speaking. Examining the 8×10 glossies, Ginger said, 'How lovely!' 'The greatest physician in all human history,' Fat said to her. 'Asklepios, the founder of Greek medicine. The Roman Emperor Julian-known to us as Julian the Apostate because he renounced Christianity-conside​red Asklepios as God or a god; Julian worshipped him. If that worship had continued, the entire history of the Western world would have basically changed

Before I met Tommy, I would not have day-tripped to the spot where James Dean died. There would have been too many critical voices in my head telling me how dumb and pointless such a trip would be. Tommy, though, made me realize I could drive to James Dean’s crash site for the simple reason that I felt like doing it. He made me realize that doing such things was the whole point of being young. This was not an attitude that came easily to me, but I could say or do anything around Tommy and he wouldn’t judge me. How could he? He was the weirdest person I’d ever met—but lovably weird. Around Tommy I could be who I wanted to be—and to me that felt like freedom.

When one looks back across a chasm of seventy years, through a prism of pulp fiction and bad gangster movies, there is a tendency to view the events of 1933-34 as mythic, as folkloric. To the generations of Americans raised since World War II, the identities of criminals such as Charles “Pretty Boy” Floyd, Baby Face Nelson, “Ma” Barker, John Dillinger, and Clyde Barrow are no more real than are Luke Skywalker or Indiana Jones. After decades spent in the washing machine of popular culture, their stories have been bled of all reality, to an extent that few Americans today know who these people actually were, much less that they all rose to national prominence at the same time.

I’m often asked about my generation, which some people call the Greatest Generation but which I also call the Hardy Generation. What made us hardy? The Depression years. We were not spoiled with money, that’s for sure. When we had disputes we didn’t use attorneys; we settled them on the street, even got broken bones and noses from fighting. In all ways we helped one another. We shared, we had neighborhood picnics, we made our own toys. (There were no toy stores; I built racing cars.) I also rode one of the first skateboards, with a box on the front. We had a single soccer ball for four or five blocks’ worth of kids; you were lucky if you got to kick it once. We had free time to burn. Distractions? Radio, yes, but no TV. Movies were only once a week. We were happier than people are today, despite the hard times. We overcame adversity and each time we did we enhanced our hardiness. We also knew how to win and lose gracefully.

I started showing them some of Tommy’s greatest acting hits. “Oh my God,” one of them said, laughing. “This is so terrible.” Another one, looking back so as not to be overheard by anyone, said, “Seriously, Greg. Does he think this is serious? This is real?” “Completely,” I said. “Tommy thinks this is the next Streetcar Named Desire.” “What’s he planning to do with this movie?” “Submit it to the Academy Awards.” Everyone laughed, but I wasn’t kidding. That was Tommy’s stated goal.

Have you ever been to the beach and wanted to feed the seagulls? The problem is you tear off a little crust from your sandwich and toss it to one, and ten more show up. Toss a little more and a flock descends. You start to wonder: if I run out of bread, will I become the meal? Turkeys are different. They startle easily and run for the barn. In the wild, they run for the hills. Of course, they’re very tasty. Benjamin Franklin thought them majestic enough to be an emblem for our country. I’m sorry, but Thanksgiving would be downright depressing. There’s our national symbol lying stuffed and roasted and ready to carve up for hungry guests. And then we have the eagles. Our forefathers were trained in the Bible. […]They would have known Isaiah 40:31. “Those who wait upon the Lord will gain new strength; they will mount up with wings like eagles, they will run and not get tired, they will walk and not become weary.” They were making war on the greatest power in the world of the time; the world was watching them. What could this band of commoners do? What troubles me about our country today is how many seagulls there are, scrambling for more. Remember the movie “Finding Nemo”? “Mine, mine, mine!” And we sure have a lot of gutless turkeys running for the barn whenever hard decisions have to be made; like how to keep our country solvent so our children won’t be in soup lines… Where are the eagles? That’s what I want to know. Please, God, we need us some eagles!

I'm reminded that romance isn't the only great love story of our lives. Sometimes the love we have with our lifelong friends, the ones we can depend on through changes and fights and joys and heartbreaks - sometimes those are the greatest love stories we have.

He was friendly and funny most of the time—though his work on The Room nearly drove him mad. Years later Sandy would claim to have directed the lion’s share of The Room, which is a bit like claiming to have been the Hindenburg’s principal aeronautics engineer.

Kaitlin said, "I'm so sick of that 'Greatest Generation' crap. We finally drove a silver nail through the heart of Generation X, only to have this new monster rear its head. And I'm soooooo sick of Tom Hanks looking earnest all the time. They should make a Tom Hanks movie where Tom kills off Greatest Generation figureheads one by one." Bree arrived on cue: "And then he starts killing other generations. He becomes this supernova of hate--all he wants to do is destroy." "Hate clings to him like a rich, lathery shampoo. His lungs secrete it like anthrax foam." Mom lost it. "Stop it! All of you! Tom Hanks is a fine actor who would never hurt anybody. At least not onscreen." I thought, 'Hey, didn't Tom Hanks mow down half of Chicago in "Road to Perdition?"' Well, whatever.

To paraphrase Hannah Arendt—as portrayed in the recently released movie of the same name—the Nazi war criminal’s actions stemmed from her well-known phrase “banality of evil,” not as a result of mental illness but as a result of a lack of thinking. Their greatest error was delegating the process of thinking and decision-making to their higher ups. In Rudolf Höss’s case, this would have been his superiors, particularly Heinrich Himmler. To many this conclusion is troubling, for it suggests that if everyday, “normal,” sane men and women are capable of evil, then the atrocities perpetrated during the Holocaust and other genocides could be repeated today and into the future. Yet, this is exactly the lesson we must learn from the war criminals at Nuremberg. We must be ever wary of those who do not take responsibility for their actions. And we ourselves must be extra vigilant, particularly in this day of accelerated technological power, heightened state surveillance, and global corporate reach, that we do not delegate our thinking to others.

Probably the most wasteful and pointless aspect of The Room’s production was Tommy’s decision to simultaneously shoot his movie with both a 35mm film camera and a high-definition (HD) camera. In 2002, an HD and 35mm film camera cost around $250,000 combined; the lenses ran from $20,000 to $40,000 apiece. And, of course, you had to hire an entirely different crew to operate this stuff. Tommy had a mount constructed that was able to accommodate both the 35mm camera and HD camera at the same time, meaning Tommy needed two different crews and two different lighting systems on set at all times. The film veterans on set had no idea why Tommy was doing this. Tommy was doing this because he wanted to be the first filmmaker to ever do so. He never stopped to ask himself why no one else had tried.

The only way to conquer Barbara Stanwyck was to kill her, if she didn’t kill you first. Lynn Bari wanted any husband that wasn’t hers. Jane Russell’s body promised paradise but her eyes said, “Oh, please!” Claire Trevor was semi-sweet in Westerns and super-sour in moderns. Ida Lupino treated men like used-up cigarette butts. Gloria Grahame was oversexed evil with an added fey touch—a different mouth for every role. Ann Sheridan and Joan Blondell slung stale hash to fresh customers. Ann Dvorak rattled everyone’s rafters, including her own. Adele Jergens was the ultimate gun moll, handy when the shooting started. Marie Windsor just wanted them dead. Lucille Ball, pre–Lucy, was smart of mouth and warm as nails. Mercedes McCambridge, the voice of Satan, used consonants like Cagney used bullets. Marilyn Maxwell seemed approachable enough, depending on her mood swings. And Jean Hagen stole the greatest movie musical ever made by being the ultimate bitch. These wonderwomen proved that a woman’s only place was not in the kitchen. We ain’t talkin’ Loretta Young here.

I kissed her forehead like she was my baby again, because she was forever my baby. I told her every single day that her life had been the world's greatest gift to me, that I believed I was put on this earth not to make movies or wear emerald-green gowns and wave at crowds but to be her mother.

Ableism can be hard to hold on to or pinpoint, because it morphs. It lives in distinctly personal stories. It takes on ten thousand shifting faces, and for the world we live in today, it’s usually more subtle than overt cruelty. Some examples to start the sketch: the assumption that all people who are deaf would prefer to be hearing—the belief that walking down the aisle at a wedding is obviously preferable to moving down that aisle in a wheelchair—the conviction that listening to an audiobook is automatically inferior to the experience of reading a book with your eyes—the expectation that a nondisabled person who chooses a partner with a disability is necessarily brave, strong, and especially good—the belief that someone who receives a disability check contributes less to our society than the full-time worker—the movie that features a disabled person whose greatest battle is their own body and ultimately teaches the nondisabled protagonist (and audience) how to value their own beautiful life. All of these are different flashes of the same, oppressive structure. Ableism separates, isolates, assumes. It’s starved for imagination, creativity, and curiosity. It’s fueled by fear. It oppresses. All of us.

To boldly go where no man has gone before” says the iconic Captain’s Oath in the Star Trek series. Humanity seeks to live adventures, either by conquering mountains or the seas, or by watching war movies, space adventures, fantasies and thrillers. But often the greatest adventure of them all is to negotiate through a lifetime.

Hitler had been in power for six months. Duck Soup, said Harpo, was his most difficult movie, and the only one in which he worried about his performance. Not because of the director or the script. “The trouble was Adolph Hitler.” American radio was broadcasting Hitler’s speeches, and “twice we suspended shooting to listen to him scream.

When the IOI corporate police came to arrest me, I was right in the middle of the movie Explorers (1985, directed by Joe Dante). It’s about three kids who build a spaceship in their backyard and then fly off to meet aliens. Easily one of the greatest kid flicks ever made. I’d gotten into the habit of watching it at least once a month. It kept me centered.

We remember almost nothing. The idea that we remember a great deal of the subtleties and details of our experiences, as if we are playing back a movie, is nothing more than an illusion, a construct of the brain. And this is perhaps the greatest secret in the study of memory: the astounding truth that, starting from very little information, the brain generates a reality and a past that make us who we are, despite the fact that this past, this collection of memories, is extremely slippery; despite the fact that the mere act of bringing a memory to our consciousness inevitably changes it; despite the fact that what underlies my awareness of a unique, immutable “self” that makes me who I am is constantly changing.

The greatest miracle in the world is that you are, that I am. To be is the greatest miracle—and meditation opens the doors of this great miracle. But only a man who loves himself can meditate; otherwise you are always escaping from yourself, avoiding yourself. Who wants to look at an ugly face, and who wants to penetrate into an ugly being? Who wants to go deep into one’s own mud, into one’s own darkness? Who wants to enter into the hell that you think you are? You want to keep this whole thing covered up with beautiful flowers and you want always to escape from yourself. Hence people are continuously seeking company. They can’t be with themselves; they want to be with others. People are seeking any type of company; if they can avoid the company of themselves, anything will do. They will sit in a movie house for three hours watching something utterly stupid. They will read a detective novel for hours, wasting their time. They will read the same newspaper again and again just to keep themselves engaged. They will play cards and chess just to kill time—as if they have too much time! We don’t have too much time. We don’t have time enough to grow, to be, to rejoice.

There are really only two kinds of monsters in the world, which you already know if you've been watching horror movies: Breeders and Non-breeders. So for instance, Frankenstein’s monster would fall into the second category if he was real. He’s a freak, a singular being and once you kill him, he’s gone. Problem solved. The Breeders are an exponentially bigger problem. Within that group you've got slow breeders like vampires (if they were real, which they’re not) which breed in a small-scale controlled way, but mainly to avoid extinction rather than spread. But then you've got the fast breeders, like zombies (if they existed, which they don’t) where breeding is all they do. They are basically walking epidemics, and are the worst of the worst-case scenarios, because such a creature could, hypothetically, wipe out civilization. This is humanity’s greatest fear, which is why at the moment half of the world’s horror novels, movie posters and video games have zombies on the cover. So in any situation like this, step one is to find out what category of creature you’re dealing with. Step two is to anticipate what the creature is going to do next, based on what you determined in step one. Then step three is you find out if the thing can be killed with a chainsaw.

Moments after the waitress left us, Tommy whipped out both copies of our chosen play and handed me mine. “All right,” he said. “Now we do scene.” “Wait,” I said. “Now?” Tommy was unperturbed. “So what? Yes. We do it now.” I looked around. All the tables around us were full. “Shouldn’t we eat first?” “What? Are you not dedicated actor? Rehearsal is very important.” Tommy was already demonstrating a lot of promise in knowing how to embarrass the shit out of me.

Citing the University of Pittsburgh study, the New York Times noted, “The average adolescent is exposed to approximately 84 references to illicit substance use per day and 591 references per week, or 30,732 references per year. . . . Studies have long shown that media messages have a pronounced impact on childhood risk behaviors.” A study of sixteen thousand teenagers in six European countries found that the more drinking kids saw in movies, the more likely they were to binge drink.

I can believe things that are true and I can believe things that aren’t true and I can believe things where nobody knows if they’re true or not. I can believe in Santa Claus and the Easter Bunny and Marilyn Monroe and the Beatles and Elvis and Mister Ed. Listen—I believe that people are perfectible, that knowledge is infinite, that the world is run by secret banking cartels and is visited by aliens on a regular basis, nice ones that look like wrinkledy lemurs and bad ones who mutilate cattle and want our water and our women. I believe that the future sucks and I believe that the future rocks and I believe that one day White Buffalo Woman is going to come back and kick everyone’s ass. I believe that all men are just overgrown boys with deep problems communicating and that the decline in good sex in America is coincident with the decline in drive-in movie theatres from state to state. I believe that all politicians are unprincipled crooks and I still believe that they are better than the alternative. I believe that California is going to sink into the sea when the big one comes, while Florida is going to dissolve into madness and alligators and toxic waste. I believe that antibacterial soap is destroying our resistance to dirt and disease so that one day we’ll all be wiped out by the common cold like the Martians in War of the Worlds. I believe that the greatest poets of the last century were Edith Sitwell and Don Marquis, that jade is dried dragon sperm, and that thousands of years ago in a former life I was a one-armed Siberian shaman. I believe that mankind’s destiny lies in the stars. I believe that candy really did taste better when I was a kid, that it’s aerodynamically impossible for a bumblebee to fly, that light is a wave and a particle, that there’s a cat in a box somewhere who’s alive and dead at the same time (although if they don’t ever open the box to feed it it’ll eventually just be two different kinds of dead), and that there are stars in the universe billions of years older than the universe itself. I believe in a personal god who cares about me and worries and oversees everything I do. I believe in an impersonal god who set the universe in motion and went off to hang with her girlfriends and doesn’t even know that I’m alive. I believe in an empty and godless universe of causal chaos, background noise and sheer blind luck. I believe that anyone who says that sex is overrated just hasn’t done it properly. I believe that anyone who claims to know what’s going on will lie about the little things too. I believe in absolute honesty and sensible social lies. I believe in a woman’s right to choose, a baby’s right to live, that while all human life is sacred there’s nothing wrong with the death penalty if you can trust the legal system implicitly, and that no one but a moron would ever trust the legal system. I believe that life is a game, life is a cruel joke and that life is what happens when you’re alive and that you might as well lie back and enjoy it.

Sometime in the fifties I remember seeing On the Waterfront in the movies with Mary and thinking that I’m at least as bad as that Marlon Brando character and that some day I’d like to get in union work. The Teamsters gave me good job security at Food Fair. They could only fire you if they caught you stealing. Let me put it another way, they could only fire you if they caught you stealing and they could prove it. • chapter eight • Russell Bufalino In 1957 the mob came out of the closet. It came out unwillingly, but out it came. Before 1957 reasonable men could differ over whether an organized network of gangsters existed in America. For years FBI director J. Edgar Hoover had assured America that no such organization existed, and he deployed the FBI’s greatest resources to investigate suspected Communists. But as a result of the publicity foisted on the mob in 1957, even Hoover came on board. The organization was dubbed “La Cosa Nostra,” meaning “this thing of ours,” a term heard on government wiretaps. Ironically,

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.

...to be an American adult has always been to be a symbolic figure in someone else’s coming-of-age story. And that’s no way to live. It is a kind of moral death in a culture that claims youthful self-invention as the greatest value. We can now avoid this fate. The elevation of every individual’s inarguable likes and dislikes over formal critical discourse, the unassailable ascendancy of the fan, has made children of us all. We have our favorite toys, books, movies, video games, songs, and we are as apt to turn to them for comfort as for challenge or enlightenment.

One of Carl Jung’s notable contributions was to articulate the character of the shadow archetype: it is what the self is and includes, but denies and represses. Though it is repressed, the shadow will be heard and is invariably projected in harmful and perhaps insidious ways. Our mistreatment of animals for food is far and away our greatest cultural shadow. Our collective guilt drives us not only to hide the violence we eat but also to act it out: in our aggressive lifestyle, in movies, books, games, and other media, and in the violence we inflict both directly and indirectly on each other.

Every artist who moves us, from a movie maker to Beethoven or Shakespeare, is a bit of a hypnotist. In this sense that seemingly stupid and mechanical contraption we call "society" must rank as the greatest artist on the planet. For instance, when I was seven or eight, and feeling superior to the kids who closed their eyes "during the scary parts," I was entering a deep hypnosis created by another Virtual Reality called language. This hypnosis was a worse nightmare than the Wicked Witch of the West or King Kong or the Wolf-Man or any of their kith and kin, but it made me a "member of society".

Carey recalled Tillman turning to him and tapping him on the shoulder. "Look who's coming up the road!" he said incredulously. In a scene straight from a movie, General Douglas MacArthur confidently walked straight up the center of the road, "bullets flying around him." Carey was dumbfounded. As MacArthur walked up to his position, Carey pulled him behind the building. "The general fell over" and stared at the lieutenant, quickly snapping, "What the hell do you think you're doing, Lieutenant?" "I'm just trying to keep you from getting killed," Carey snapped back. MacArthur glared at Carey with icy presence and said, "There isn't a bullet made that can kill me.

(On D.W Griffith's The Birth of a Nation) This was the one time in movie history that a man of great ability worked freely, in an unspoiled medium, for an unspoiled audience, on a majestic theme which involved all that he was; and brought to it, besides his abilities as an inventor and artist, absolute passion, pity, courage, and honesty. “The Birth of a Nation” is equal with Brady’s photographs, Lincoln’s speeches, Whitman’s war poems; for all its imperfections and absurdities it is equal, in fact, to the best work that has been done in this country. And among moving pictures it is alone, not necessarily as “the greatest” — whatever that means — but as the one great epic, tragic film.

You can make quite a life for yourself hosting charity dinners and collecting art. You can find a way to be happy with whatever the truth is. Until your daughter dies. Connor was diagnosed with late-stage breast cancer two and a half years ago, when she was thirty-nine. She was given months to live. I knew what it was like to realize that the one you love would leave this earth well before you. But nothing could prepare me for the pain of watching my child suffer. I held her when she puked from the chemo. I wrapped her in blankets when she was so cold she was crying. I kissed her forehead like she was my baby again, because she was forever my baby. I told her every single day that her life had been the world’s greatest gift to me, that I believed I was put on earth not to make movies or wear emerald-green gowns and wave at crowds but to be her mother. I sat next to her hospital bed. “Nothing I have ever done,” I said, “has made me as proud as the day I gave birth to you.” “I know,” she said. “I’ve always known that.” I had made a point of not bullshitting her ever since her father died. We had the sort of relationship where we believed each other, believed in each other. She knew she was loved. She knew that she had changed my life, that she had changed the world. She made it eighteen months before she passed away. And when they put her in the ground next to her father, I broke like I have never broken before. The devastating luxury of panic overtook me. And it has never left.

I liked it better back when we all had to belong to the same Telephone Company, and phones were phones—black, heavy objects that were routinely used in the movies as murder weapons (try that with today’s phones!). Also, they were permanently attached to your house, and only highly trained Telephone Company personnel could “install” them. This involved attaching four wires, but the Telephone Company always made it sound like brain surgery. It was part of the mystique. When you called for your installation appointment, the Telephone Company would say: “We will have an installer in your area between the hours of 9 A.M. October 3 and the following spring. Will someone be at home?” And you would say yes, if you wanted a phone. You would stay at home, the anxious hours ticking by, and you would wait for your Phone Man.

As a society we are only now getting close to where Dogen was eight hundred years ago. We are watching all our most basic assumptions about life, the universe, and everything come undone, just like Dogen saw his world fall apart when his parents died. Religions don’t seem to mean much anymore, except maybe to small groups of fanatics. You can hardly get a full-time job, and even if you do, there’s no stability. A college degree means very little. The Internet has leveled things so much that the opinions of the greatest scientists in the world about global climate change are presented as being equal to those of some dude who read part of the Bible and took it literally. The news industry has collapsed so that it’s hard to tell a fake headline from a real one. Money isn’t money anymore; it’s numbers stored in computers. Everything is changing so rapidly that none of us can hope to keep up. All this uncertainty has a lot of us scrambling for something certain to hang on to. But if you think I’m gonna tell you that Dogen provides us with that certainty, think again. He actually gives us something far more useful. Dogen gives us a way to be okay with uncertainty. This isn’t just something Buddhists need; it’s something we all need. We humans can be certainty junkies. We’ll believe in the most ridiculous nonsense to avoid the suffering that comes from not knowing something. It’s like part of our brain is dedicated to compulsive dot-connecting. I think we’re wired to want to be certain. You have to know if that’s a rope or a snake, if the guy with the chains all over his chest is a gangster or a fan of bad seventies movies. Being certain means being safe. The downfall is that we humans think about a lot of stuff that’s not actually real. We crave certainty in areas where there can never be any. That’s when we start in with believing the crazy stuff. Dogen is interesting because he tries to cut right to the heart of this. He gets into what is real and what is not. Probably the main reason he’s so difficult to read is that Dogen is trying to say things that can’t actually be said. So he has to bend language to the point where it almost breaks. He’s often using language itself to show the limitations of language. Even the very first readers of his writings must have found them difficult. Dogen understood both that words always ultimately fail to describe reality and that we human beings must rely on words anyway. So he tried to use words to write about that which is beyond words. This isn’t really a discrepancy. You use words, but you remain aware of their limitations. My teacher used to say, “People like explanations.” We do. They’re comforting. When the explanation is reasonably correct, it’s useful.

They say that Ridley is a very visual director and he’s indifferent with actors. He’s obviously changed over the years, but I’ll never forget this one sequence. We had wind machines going full blast, we had unicorns, smoke effects, moonbeams coming down, we had all these pigeons dyed different colours, we had a bear eating honey, we had bees floating around, butterflies and sparrows, we had everything. We were in the studio from seven o’clock in the morning until two, without breaking for lunch, preparing this one shot. When Ridley had everything right he shouted, ‘Shoot, for Christ’s sake shoot!’ And old Bill Westley, the AD, turned around and said, ‘What about the max factors then guv?’ meaning the actors. And Ridley went, ‘Oh fuck. Quick, go and get them.’ And Bill rushed out and brought Tom Cruise and Mia Sara on and Ridley went, ‘Ah, OK Tom you sit over there and Mia you sit next to him and just talk among yourselves. OK. And action!

We live in the society of the capitalist spectacle, mate, the more spectacular the better. Build it and they will come, as that old baseball movie says. We worship the event, the occasion, the unmissable show. We want Super Sunday, the Thriller in Manila, the showdown of the century…the things that bring the highest profits for the capitalist organisers. If you’re not at the event, you’re nobody. Life has passed you by. That’s the tyranny of the spectacle. Yet, if you think about it, the spectacle is the biggest joke of all – because all the people at the event are desperate not to be losers. Who wants to be in a collection of people fleeing from fear of failure? Losers and the spectacle go together, the winners performing and the losers watching. The spectacle is how losers numb the pain, how they crave to be part of something, on the winning side for once. The LLN have decided to harness the society of the spectacle too, but not the capitalist version where small groups perform to large groups and get paid a fortune. Instead, the LLN offer the spectacle of life. And Revolution is the greatest spectacle of all.

However this future evolves, we will have to answer a pressing question: How will writers (or anyone else who creates content that can be digitized, from movies to music to apps to journalism) make a living in an era in which digital content can be freely replicated? That is now my greatest worry as I contemplate the so-called writing life that I hope to continue—and that I hope my daughter and all future generations will continue. For three hundred years, ever since the Statute of Anne was established in Britain, there has been a system under which people who created things, such as books or articles or music or pictures, had a right to benefit from copies that were made of them. Because of this “copyright” system, we have encouraged and rewarded three centuries of creativity in various fields of endeavor, and this has produced a flourishing economy based on the creation by talented individuals of intellectual property. Among other things, this allowed all sorts of people, ranging from Walker Percy on down to me, to make a living at the so-called writing life. May the next generation enjoy that delightful opportunity as well.

«It's not easy to believe.» «I» she told him, «I can believe anything. You have no idea what I can believe.» «Really?» «I can believe things that are true and I can believe things that aren't true and I can believe things where nobody knows if they're true or not. I can believe in Santa Claus and the Easter Bunny and Marilyn Monroe and the Beatles and Elvis and Mister Ed. Listen - I believe that people are perfectible, that knowledge is infinite, that the world is run by secret banking cartels and is visited by aliens on a regular basis, nice ones that look like wrinkledy lemurs and bad ones who mutilate cattle and want our water and our women. I believe that the future sucks and I believe that the future rocks and I believe that one day White Buffalo Woman is going to come back and kick everyone's ass. I believe that all men are just overgrown boys with deep problems communicating and that the decline in good sex in America is coincident with the decline in drive-in movie theaters from state to state. I believe that all politicians are unprincipled crooks and I still believe that they are better than the alternative. I believe that California is going to sink into the sea when the big one comes, while Florida is going to dissolve into madness and alligators and toxic waste. I believe that antibacterial soap is destroying our resistance to dirt and disease so that one day we'll all be wiped out by the common cold like the Martians in "War of the Worlds". I believe that the greatest poets of the last century were Edith Sitwell and Don Marquis, that jade is dried dragon sperm, and that thousands of years ago in a former life I was one-armed Siberian shaman. I believe that mankind's destiny lies in the stars. I believe that candy really did taste better when I was a kid, that it's aerodynamically impossible for a bumblebee to fly, that light is a wave and a particle, that there's a cat in a box somewhere who's alive and dead at the same time (although if they don't ever open the box to feed it it'll eventually just be two different kind of dead), and that there are stars in the universe billions of years older than the universe itself. I believe in a personal god who cares about me and worries and oversees everything I do. I believe in an impersonal god who set the universe in motion and went off to hang with her girlfriends and doesn't even know that I'm alive. I believe in an empty and godless universe of casual chaos, background noise, and sheer blind luck. I believe that anyone who says that sex is overrated just hasn't done it properly. I believe that anyone who claims to know what's going on will lie about the little things too. I believe in absolute honesty and sensible social lies. I believe in a woman's right to choose, a baby's right to live, that while all human life is sacred there's nothing wrong with the death penalty if you can trust the legal system implicitly, and that no one but a moron would ever trust the legal system. I believe that life is a game, that life is a cruel joke, and that life is what happens when you're alive and that you might as well lie back and enjoy it.»

In Healing the Masculine Soul, Dalbey introduced themes that would animate what soon became a cottage industry of books on Christian masculinity. First and foremost, Dalbey looked to the Vietnam War as the source of masculine identity. The son of a naval officer, Dalbey described how the image of the war hero served as his blueprint for manhood. He’d grown up playing “sandlot soldier” in his white suburban neighborhood, and he’d learned to march in military drills and fire a rifle in his Boy Scout “patrol.” Fascinated with John Wayne’s WWII movies, he imagined war “only as a glorious adventure in manhood.” As he got older, he “passed beyond simply admiring the war hero to desiring a war” in which to demonstrate his manhood. 20 By the time he came of age, however, he’d become sidetracked. Instead of demonstrating his manhood on the battlefields of Vietnam, he became “part of a generation of men who actively rejected our childhood macho image of manhood—which seemed to us the cornerstone of racism, sexism, and militarism.” Exhorted to make love, not war, he became “an enthusiastic supporter of civil rights, women’s liberation, and the antiwar movement,” and he joined the Peace Corps in Africa. But in opting out of the military he would discover that “something required of manhood seemed to have been bypassed, overlooked, even dodged.” Left “confused and frustrated,” Dalbey eventually conceded that “manhood requires the warrior.” 21 Dalbey agreed with Bly that an unbalanced masculinity had led to the nation’s “unbalanced pursuit” of the Vietnam War, but an over-correction had resulted in a different problem: Having rejected war making as a model of masculine strength, men had essentially abdicated that strength to women. As far as Dalbey was concerned, the 1970s offered no viable model of manhood to supplant “the boyhood image in our hearts,” and his generation had ended up rejecting manhood itself. If the warrior spirit was indeed intrinsic to males, then attempts to eliminate the warrior image were “intrinsically emasculating.” Women were “crying out” for men to recover their manly strength, Dalbey insisted. They were begging men to toughen up and take charge, longing for a prince who was strong and bold enough to restore their “authentic femininity.” 22 Unfortunately, the church was part of the problem. Failing to present the true Jesus, it instead depicted him “as a meek and gentle milk-toast character”—a man who never could have inspired “brawny fishermen like Peter to follow him.” It was time to replace this “Sunday school Jesus” with a warrior Jesus. Citing “significant parallels” between serving Christ and serving in the military, Dalbey suggested that a “redeemed image of the warrior” could reinvigorate the church’s ministry to men: “What if we told men up front that to join the church of Jesus Christ is . . . to enlist in God’s army and to place their lives on the line? This approach would be based on the warrior spirit in every man, and so would offer the greatest hope for restoring authentic Christian manhood to the Body of Christ.” Writing before the Gulf War had restored faith in American power and the strength of the military, Dalbey’s preoccupation with Vietnam is understandable, yet the pattern he established would endure long after an easy victory in the latter conflict supposedly brought an end to “Vietnam syndrome.” American evangelicals would continue to be haunted by Vietnam. 23