Into The Wild Film Quotes

Why aren't you in school? I see you every day wandering around." "Oh, they don't miss me," she said. "I'm antisocial, they say. I don't mix. It's so strange. I'm very social indeed. It all depends on what you mean by social, doesn't it? Social to me means talking to you about things like this." She rattled some chestnuts that had fallen off the tree in the front yard. "Or talking about how strange the world is. Being with people is nice. But I don't think it's social to get a bunch of people together and then not let them talk, do you? An hour of TV class, an hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know, we never ask questions, or at least most don't; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film-teacher. That's not social to me at all. It's a lot of funnels and lot of water poured down the spout and out the bottom, and them telling us it's wine when it's not. They run us so ragged by the end of the day we can't do anything but go to bed or head for a Fun Park to bully people around, break windowpanes in the Window Smasher place or wreck cars in the Car Wrecker place with the big steel ball. Or go out in the cars and race on the streets, trying to see how close you can get to lampposts, playing 'chicken' and 'knock hubcaps.' I guess I'm everything they say I am, all right. I haven't any friends. That's supposed to prove I'm abnormal. But everyone I know is either shouting or dancing around like wild or beating up one another. Do you notice how people hurt each other nowadays?

One of these days they'll be making a film where the whole human race gets wiped out in a nuclear war, but everything works out in the end.

It was at this time I learned that the human mind is a blackened overgrown place. Society tries to mow the lawn and trim back the plants, but every one of us is just days away from a wild jungle. And it's the jungle that interests me.

I love you,” I said, and I could see people filming us with their phones out of the corner of my eye, but I didn’t care. “I’m wild crazy for you, and I’m sure I’ll kill you at some point, but… God, I love you so much, and I want you to marry me.” More tears streamed down my face as I choked out the words. “Marry me, Will Grayson.” I rushed up and hugged his back, wrapping my arms around him. “Can you marry me? Can I marry you?” I

You stand there, braced. Cloud shadows race over the buff rock stacks as a projected film, casting a queasy, mottled ground rash. The air hisses and it is no local breeze but the great harsh sweep of wind from the turning of the earth. The wild country--indigo jags of mountain, grassy plain everlasting, tumbled stones like fallen cities, the flaring roll of sky--provokes a spiritual shudder. It is like a deep note that cannot be heard but is felt, it is like a claw in the gut... ...Other cultures have camped here a while and disappeared. Only earth and sky matter. Only the endlessly repeated flood of morning light. You begin to see that God does not owe us much beyond that.

Way back when the Sam Peckinpah film The Wild Bunch premiered, a woman journalist raised her hand at the press conference and asked the following: “Why in the world do you have to show so much blood all over the place?” She was pretty worked up about it. One of the actors, Ernest Borgnine, looked a bit perplexed and fielded the question. “Lady, did you ever see anyone shot by a gun without bleeding?” This film came out at the height of the Vietnam War. I love that line. That’s gotta be one of the principles behind reality. Accepting things that are hard to comprehend, and leaving them that way. And bleeding. Shooting and bleeding.

He looked just perfect to play Dorian Gray in a film version of Oscar Wilde's novel. Young, graceful, and indecently fresh and handsome, he could easily have worn a badge that said READY FOR DEBAUCHERY!

Here is to all the brilliant minds that love deeply, for they write the stories that make us dream of true love. Here is to all the visionaries that create a miracle when others give up hope. Here is to all the artists, musicians, actors, singers, songwriters, dancers, screenwriters, philosophers, inventors and poetic hearts that create a perspective of heaven we can experience in this lifetime. But most of all, here is to the wild souls that the world calls broken, insane, abnormal, weird or different because they are the ones that renew our faith, by what they overcome and create, in a world that needs a sign that God doesn’t forget the least of us.

Tame birds sing of freedom. Wild birds fly.

(Golden Globe acceptance speech in the style of Jane Austen's letters): "Four A.M. Having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding, was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. Miss Lindsay Doran, of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly apppeared to understand me better than I undersand myself. Mr. James Schamus, a copiously erudite gentleman, and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behavior one has lernt to expect from that race. Mr. Mark Canton, an energetic person with a ready smile who, as I understand it, owes me a vast deal of money. Miss Lisa Henson -- a lovely girl, and Mr. Gareth Wigan -- a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing that it proved impossible to get within ten feet of him. The room was full of interesting activitiy until eleven P.M. when it emptied rather suddenly. The lateness of the hour is due therefore not to the dance, but to the waiting, in a long line for horseless vehicles of unconscionable size. The modern world has clearly done nothing for transport. P.S. Managed to avoid the hoyden Emily Tomkins who has purloined my creation and added things of her own. Nefarious creature." "With gratitude and apologies to Miss Austen, thank you.

You stand there, braced. Cloud shadows race back over the buff rock stacks as a projected film, casting a queasy, mottled ground rash. The air hisses and it is no local breeze but the great harsh sweep of wind from the turning of the earth. The wild country -- indigo jags of mountain, grassy plain everlasting, tumbled stones like fallen cities, the flaring roll of sky -- provokes a spiritual shudder. It is like a deep note that cannot be heard but is felt, it is like a claw in the gut.

While now and then you hear somebody talking about how “. . . beautiful and elegant the predator-prey relationship is, how natural and proper the death of the prey is,” it is usually so much misunderstood balderdash by people who have not witnessed it very many times, or worse, by people who have witnessed only highly edited versions on film.

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.

It is a quintessential example of the whirling kinetics that drive a Keaton film, in which not just the medium but the human body- the permutations of the sinews, the shock of the limbs -seems infinitely elastic, an unruly instument to be wilded with a cheeky kind of grace.

At our meeting, I suggested to Steven and Lynda two guidelines for the science of Interstellar: 1. Nothing in the film will violate firmly established laws of physics, or our firmly established knowledge of the universe. 2. Speculations (often wild) about ill-understood physical laws and the universe will spring from real science, from ideas that at least some “respectable” scientists regard as possible.

In hindsight, I see it was my decision not to let go. I didn't know how, though some days I focused completely on it: using therapy, distraction, exercise. Other days I left myself wildly grieve. Finn affects it all: every conversation I have, what I choose to wear, what books I read, what films and shows I watch. There's that Buddhist quote, (S)he who angers you owns you. She owned me. I allowed it. She controlled me. I knew this feeling of misery would pass, that what I needed was time, but I was impatient. Unfortunately, we must live through the present to get to the future, writes Hanif Kureishi in his novel Intimacy.

In the film Into the Wild, the protagonist Chris McCandless leaves us with words I think are worth living by: “Happiness [is] only real when shared.

In this image-driven age, wildlife filmmakers carry a heavy responsibility. They can influence how we think and behave when we’re in nature. They can even influence how we raise our kids, how we vote and volunteer in our communities, as well as the future of our wildlands and wildlife. If the stories they create are misleading or false in some way, viewers will misunderstand the issues and react in inappropriate ways. People who consume a heavy diet of wildlife films filled with staged violence and aggression, for example, are likely to think about nature as a circus or a freak show. They certainly won’t form the same positive connections to the natural world as people who watch more thoughtful, authentic, and conservation-oriented films.

Despite what film and music would have women believe, the guys are all hopeless when it comes to the female orgasm. They learn sex from watching porn, where giving the camera a good view is the goal and no one really cares if it works for the girl, because she'll pretend it's awesome regardless. Sex happens up close, and inside, not at camera's length. Guys seem to forget that.

I resisted the urge to sit and stare at Lend while he slept; when he dreamed, instead of his eyes moving behind his eyelids, his whole glamour shifted appearances like a stop-motion film. It was fascinating and wildly entertaining sometimes—also a bit freaky considering I showed up constantly.

The truth is that The Wild One -- despite an admittedly fictional treatment -- was an inspired piece of film journalism. Instead of institutionalizing common knowledge, in the style of Time, it told a story that was only beginning to happen and which was inevitably influenced by the film. It gave the outlaws a lasting, romance-glazed image of themselves, a coherent reflection that only a very few had been able to find in a mirror, and it quickly became the bike rider's answer to The Sun Also Rises. The image is not valid, but its wide acceptance can hardly be blamed on the movie. The Wild One was careful to distinguish between "good outlaws" and "bad outlaws," but the people who were most influenced chose to identify with Brando instead of Lee Marvin whose role as the villain was a lot more true to life than Brando's portrayal of the confused hero. They saw themselves as modern Robin Hoods ... virile, inarticulate brutes whose good instincts got warped somewhere in the struggle for self-expression and who spent the rest of their violent lives seeking revenge on a world that done them wrong when they were young and defenseless.

En in de lente van 1979 besloot ik in al die drukte in de wereld te verdwijnen, nummer twee te worden, iemand die nuttig wilde zijn in plaats van op te vallen, die deed wat hem gevraagd werd. Maar dat is uiteraard een gedachte achteraf, dat het toen begon, een poging het beginpunt van een leven vast te pinnen. Alleen in de fictie, in films en romans kun je het exacte tijdstip van een verandering vaststellen. In de werkelijkheid komt de keuze geleidelijk, de gedachte ontwikkelt zich stukje bij beetje en misschien was het pas ergens in de brugklas dat ik actief besloot om onzichtbaar te zijn.

The famous field altar came from the Jewish firm of Moritz Mahler in Vienna, which manufactured all kinds of accessories for mass as well as religious objects like rosaries and images of saints. The altar was made up of three parts, lberally provided with sham gilt like the whole glory of the Holy Church. It was not possible without considerable ingenuity to detect what the pictures painted on these three parts actually represented. What was certain was that it was an altar which could have been used equally well by heathens in Zambesi or by the Shamans of the Buriats and Mongols. Painted in screaming colors it appeared from a distance like a coloured chart intended for colour-blind railway workers. One figure stood out prominently - a naked man with a halo and a body which was turning green, like the parson's nose of a goose which has begun to rot and is already stinking. No one was doing anything to this saint. On the contrary, he had on both sides of him two winged creatures which were supposed to represent angels. But anyone looking at them had the impression that this holy naked man was shrieking with horror at the company around him, for the angels looked like fairy-tale monsters and were a cross between a winged wild cat and the beast of the apocalypse. Opposite this was a picture which was meant to represent the Holy Trinity. By and large the painter had been unable to ruin the dove. He had painted a kind of bird which could equally well have been a pigeon or a White Wyandotte. God the Father looked like a bandit from the Wild West served up to the public in an American film thriller. The Son of God on the other hand was a gay young man with a handsome stomach draped in something like bathing drawers. Altogether he looked a sporting type. The cross which he had in his hand he held as elegantly as if it had been a tennis racquet. Seen from afar however all these details ran into each other and gave the impression of a train going into a station.

I watched an old American submarine movie on television. The creaking plot had the captain and first officer constantly at each other’s throat. The submarine was a fossil, and one guy had claustrophobia. But all that didn’t stop everything from working out well in the end. It was an everything-works-out-in-the-end-so-maybe-war’s-not-so-bad-after-all sort of film. One of these days they’ll be making a film where the whole human race gets wiped out in a nuclear war, but everything works out in the end.

Live... More than your neighbors. Unleash yourself upon the world and go places. Go now. Giggle, no, laugh. No... stay out past dark, And bark at the moon like the wild dog that you are. Understand that this is not a dress rehearsal. This is it... your life. Face your fears and live your dreams. Take it in. Yes, every chance you get... come close. And, by all means, whatever you do... Get it on film.

I love you,” I said, and I could see people filming us with their phones out of the corner of my eye, but I didn’t care. “I’m wild crazy for you, and I’m sure I’ll kill you at some point, but… God, I love you so much, and I want you to marry me.” More tears streamed down my face as I choked out the words. “Marry me, Will Grayson.” I rushed up and hugged his back, wrapping my arms around him. “Can you marry me? Can I marry you?

Just about everyone I've ever interviewed has told me that by doing something or other--recovering from cancer, climbing a mountain, playing the part of a serial killer in a movie--they have learned something about themselves. And I always nod and smile thoughtfully, when really I want to pin them down: What did you learn from the cancer, actually? That you don't like being sick? That you don't want to die? That wigs make your scalp itch? Come on, be specific. I suspect it's something they tell themselves in order to turn the experience into something that might appear valuable, rather than a complete and utter waste of time. In the last few months, I have been to prison, lost every last molecule of self-respect, become estranged from my children, and thought very seriously about killing myself. I mean, that little lot has got to be the psychological equivalent of cancer, right? And it's certainly a bigger deal than acting in a bloody film. So how come I've learned absolutley bugger all? What was I supposed to learn? I've found out that prison and poverty aren't really me. But, you know, I could have had a wild stab in the dark about both of those things beforehand. Call me literal-minded, but I suspect people might learn more about themselves if they didn't get cancer. They'd have more time, and a lot more energy.

Everything comes to he who waits. I guess. At last, after at least 200 years of constant vigil, there was delivered to me a big, fat, lumpy letter. There are few things more thrilling in Life than lumpy letters. That rattle. Even to this day I feel a wild surge of exultation when I run my hands over an envelope that is thick, fat, and pregnant with mystery.

One of these days they’ll be making a film where the whole human race gets wiped out in a nuclear war, but everything works out in the end.

like the guy called Steak and Fries in City of God, that incredible book and film from Brazil.

...the blue movies must have story, character development, and background in which sex scenes are incidental. For example, a story of a whaling voyage, 1859, 2 hours in length, contains only 18 minutes of sex scenes scattered through the film. The blue movies, as a separate genre, have ceased to exist. We show sex as it occurs in the story as a part of life, not a mutilated fragment.

Indians were made for film. Indians were exotic and erotic. All those feathers, all that face paint, the breast plates, the bone chokers, the skimpy loincloths, not to mention the bows and arrows and spears, the war cries, the galloping horses, the stern stares, and the threatening grunts. We hunted buffalo, fought the cavalry, circled wagon trains, fought the cavalry, captured White women, fought the cavalry, scalped homesteaders, fought the cavalry. And don't forget the drums and the wild dances where we got all sweaty and lathered up, before we rode off to fight the cavalry.

Sepenggal dialog dari film Days Of Being Wild… “Kau dan aku telah menghabiskan semenit bersama. Aku takkan melupakan satu menit yang berharga ini. takkan bisa terhapus. Karena satu menit itu telah menjadi masa lalu.

Afterward, as we walk down Congress Street toward my apartment, the man says, “Men like that know how to pick the right ones, you know? They’re real predators. They know how to scan a herd and select the weak.” As he says that, I see a scene of me, fifteen and wild-eyed, separated from my parents, running in a panicked gait across a tundra landscape while Strane sprints after me, gathering me in his arms without breaking stride. An ocean roars in my ears, blocking out the rest of the man’s thoughts on the film, and I think, Maybe that’s all it was. I was an obvious target. He chose me not because I was special, but because he was hungry and I was easy.

Can you be any more vague and mysterious?” He put his fingertips in the air and little jets of blue flame sprouted off each. His glasses filmed over. “On the fifth day of searching, you will find your calling in the large oak of the wild wood.

Meanwhile, Mme Mao and her cohorts were renewing their efforts to prevent the country from working. In industry, their slogan was: "To stop production is revolution itself." In agriculture, in which they now began to meddle seriously: "We would rather have socialist weeds than capitalist crops." Acquiring foreign technology became "sniffing after foreigners' farts and calling them sweet." In education: "We want illiterate working people, not educated spiritual aristocrats." They called for schoolchildren to rebel against their teachers again; in January 1974, classroom windows, tables, and chairs in schools in Peking were smashed, as in 1966. Mme Mao claimed this was like "the revolutionary action of English workers destroying machines in the eighteenth century." All this demagoguery' had one purpose: to create trouble for Zhou Enlai and Deng Xiao-ping and generate chaos. It was only in persecuting people and in destruction that Mme Mao and the other luminaries of the Cultural Revolution had a chance to "shine." In construction they had no place. Zhou and Deng had been making tentative efforts to open the country up, so Mme Mao launched a fresh attack on foreign culture. In early 1974 there was a big media campaign denouncing the Italian director Michelangelo Antonioni for a film he had made about China, although no one in China had seen the film, and few had even heard of it or of Antonioni. This xenophobia was extended to Beethoven after a visit by the Philadelphia Orchestra. In the two years since the fall of Lin Biao, my mood had changed from hope to despair and fury. The only source of comfort was that there was a fight going on at all, and that the lunacy was not reigning supreme, as it had in the earlier years of the Cultural Revolution. During this period, Mao was not giving his full backing to either side. He hated the efforts of Zhou and Deng to reverse the Cultural Revolution, but he knew that his wife and her acolytes could not make the country work. Mao let Zhou carry on with the administration of the country, but set his wife upon Zhou, particularly in a new campaign to 'criticize Confucius." The slogans ostensibly denounced Lin Biao, but were really aimed at Zhou, who, it was widely held, epitomized the virtues advocated by the ancient sage. Even though Zhou had been unwaveringly loyal, Mao still could not leave him alone. Not even now, when Zhou was fatally ill with advanced cancer of the bladder.

read a quote recently from Werner Herzog. You know who he is?” “The German film director.” “Right. He said that America was waking up, as Germany once did, to the awareness that one-third of our people will kill one-third of our people while one-third of our people watches.

As much as I love to see the sun setting behind a city skyline, and to feel the pure majesty of a wild river or soaring mountain, and to fade, then disappear into a transcendent book, song or film, I am always most astounded, moved and transported by the warmth and kindness of a loving person. Always.

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.

Reviewing our experiences, we had become more and more convinced that carrying arms was not only unnecessary in most grizzly country but was certainly no good for the desired atmosphere and proper protocol in obtaining good film records. If we were to obtain such film and fraternize successfully with the big bears, it would be better to go unarmed in most places. The mere fact of having a gun within reach, cached somewhere in a pack or a hidden holster, causes a man to act with unconscious arrogance and thus maybe to smell different or to transmit some kind of signal objectionable to bears. The armed man does not assume his proper role in association with the wild ones, a fact of which they seem instantly aware at some distance. He, being wilder than they, whether he likes to admit it or not, is instantly under even more suspicion than he would encounter if unarmed. One must follow the role of an uninvited visitor—an intruder—rather than that of an aggressive hunter, and one should go unarmed to insure this attitude.

Michael Heseltine, a wild-haired visionary, Klaus Kinski to Margaret's Thatcher's Werner Herzog, pushed Docklands across the Thames to the East Greenwich Peninsula. The Millennium Dome concept was a remake of 'Fitzcarraldo', a film in which suborned natives (expendable extras) drag a paddle steamer over a hill in order to force a short cut to more exploitable territory. The point being to bring Enrico Caruso, one of the gods of opera, to an upstream trading post. An insane achievement mirrored in the rebranding of the Dome, after its long and expensive limbo, as the O2 Arena, a popular showcase for cryogenic rock acts:Norma Desmond divas and the resurrected Michael Jackson, whose virtual rebirth,post-mortem, gave the shabby tent the status of a riverside cathedral.

As Rockwell Kent said in his Alaskan journal, 'The wonder of wilderness was its tranquility.' I wish I had said that first. It grasps the salient point: not just tranquility, but wonder at tranquility. Wilderness is a surprise. We were raised on nature films that converted nature into thrilling entertainment; we still expect to find predators lurking everywhere in the wildness, and danger and excitement. But instead we find tranquility. And wonder at it. Interesting word, "wonder." From Old English wundrain: 'to be affected with astonishment.' Its antonyms name the most pervasive symptoms of modern life: indifference, boredom, ennui. The dictionary strains to explain wonder, mentioning awe, astonishment, marvel, miracle, wizardry, bewilderment (note the 'wild' in 'bewilderment'). Finally it offers this: 'Far superior to anything formerly recognized or foreseen.' Indeed.

YOU STAND THERE, BRACED. CLOUD SHADOWS RACE OVER the buff rock stacks as a projected film, casting a queasy, mottled ground rash. The air hisses and it is no local breeze but the great harsh sweep of wind from the turning of the earth. The wild country—indigo jags of mountain, grassy plain everlasting, tumbled stones like fallen cities, the flaring roll of sky—provokes a spiritual shudder. It is like a deep note that cannot be heard but is felt, it is like a claw in the gut.

Berlin. November 18, 1917. Sunday. I think Grosz has something demonic in him. This new Berlin art in general, Grosz, Becher, Benn, Wieland Herzfelde, is most curious. Big city art, with a tense density of impressions that appears simultaneous, brutally realistic, and at the same time fairy-tale-like, just like the big city itself, illuminating things harshly and distortedly as with searchlights and then disappearing in the glow. A highly nervous, cerebral, illusionist art, and in this respect reminiscent of the music hall and also of film, or at least of a possible, still unrealized film. An art of flashing lights with a perfume of sin and perversity like every nocturnal street in the big city. The precursors are E.T.A. Hoffmann, Breughel, Mallarmé, Seurat, Lautrec, the futurists: but in the density and organization of the overwhelming abundance of sensation, the brutal reality, the Berliners seem new to me. Perhaps one could also include Stravinsky here (Petrushka). Piled-up ornamentation each of which expresses a trivial reality but which, in their sum and through their relations to each other, has a thoroughly un-trivial impact. All round the world war rages and in the center is this nervous city in which so much presses and shoves, so many people and streets and lights and colors and interests: politics and music hall, business and yet also art, field gray, privy counselors, chansonettes, and right and left, and up and down, somewhere, very far away, the trenches, regiments storming over to attack, the dying, submarines, zeppelins, airplane squadrons, columns marching on muddy streets, Hindenburg and Ludendorff, victories; Riga, Constantinople, the Isonzo, Flanders, the Russian Revolution, America, the Anzacs and the poilus, the pacifists and the wild newspaper people. And all ending up in the half-darkened Friedrichstrasse, filled with people at night, unconquerable, never to be reached by Cossacks, Gurkhas, Chasseurs d'Afrique, Bersaglieris, and cowboys, still not yet dishonored, despite the prostitutes who pass by. If a revolution were to break out here, a powerful upheaval in this chaos, barricades on the Friedrichstrasse, or the collapse of the distant parapets, what a spark, how the mighty, inextricably complicated organism would crack, how like the Last Judgment! And yet we have experienced, have caused precisely this to happen in Liège, Brussels, Warsaw, Bucharest, even almost in Paris. That's the world war, all right.

My grandfather ran off the V-2 rocket film a dozen times and then hoped that some day our cities would open up and let the green and the land and the wilderness in more, to remind people that we're allotted a little space on earth and that we survive in that wilderness that can take back what it has given, as easily as blowing its breath on us or sending the sea to tell us we are not so big. When we forget how close the wilderness is in the night, my grandpa said, some day it will come in and get us, for we will have forgotten how terrible and real it can be. You see?

How many scenes of blasted terrain, or medics rushing headlong with a stretcher on which lay a figure beneath a sheet, too small, too anonymous, and too deathly still? How long would they mean? Ellie thought of the Japanese photographer, Hiroshi Sugimoto, who photographed movies inside the cinema. He left the shutter of the camera open in the dark auditorium and the film exposed for the entire length of the screening. The result was not a wildly complicated superimposition of images, but simple white-out, pure light, a flare of nothing. Too many images, layered together, left only a blank.

They learned about purity before they learned about sex, and they have a silver ring to prove it. They watched The Passion of the Christ, Soul Surfer, or the latest Kirk Cameron film with their youth group. They attended Promise Keepers with guys from church and read Wild at Heart in small groups. They’ve learned more from Pat Robertson, John Piper, Joyce Meyer, and The Gospel Coalition than they have from their pastor’s Sunday sermons. The diffusion of evangelical consumer culture extends far beyond the orbit of evangelical churches. Cultural evangelicalism has made deep inroads into mainline Christianity,

BARRY GIFFORD, Author of "Wild at Heart", on DANGEROUS ODDS by Marisa Lankester: "Marisa Lankester's unique chronicle of high crimes and low company is as wild a ride as any reader is likely to be taken on. She was the lone woman in the eye of a predatory hurricane that blew across continents and devastated countless lives. That she survived is testament to her brains and bravery. The old-timers who invented violence as a second language contended that nothing is deadlier than the female, to cross her was to buck dangerous odds, and this book tells you why." Film "Wild at Heart" won Palme D’Or at the Cannes Film Festival, Film by David Lynch

My characters push the limits of the envelope when it comes to passion, love, and lust. They can be as elegant and distinguished as Lizzie's Darcy, or as wild and unrelenting as Cathy's Heathcliff; sometimes all in one bold personality. I also believe there is a wider universal mosaic on our planet than mere black and white. My contemporary healer/surgeon in the novel 'Hobble' is half Native American (Mayan Mexican + Peruvian, plus Scottish) and his lover is African American (African + European + American Indian). My people see the world differently; they're often mixed race or of a race, color, or nationality not normally associated with nor depicted in romantic and erotic novels or films as central, positively sexual, and realistic.

It’s not a good idea to fall in love, okay?” I say softly. “Not with people, and not with places.” Fen looks surprised by this. “I loved a landscape and watched it burn,” I say. “This island, you can see what it will look like, there’s a film over everything. You can see it disappearing. There’s no stable ground. Not here. Not anywhere else.” “And you’d want to try and survive all of that on your own?” she asks. “What that instability does to relationships—what constant danger does to them—is devastating. It’s unraveling.” I can see she doesn’t believe me but I don’t push the point. She will see, one day. Loving a place is the same as having a child. They are both too much an act of hope, of defiance. And those are a fool’s weapons.

the audience, unaccustomed to any of this, went wild: America! The high point of this whirring, pale-blue era was 1960. The average American earned more than 5,000 dollars a year; a newly built house cost 12,500 dollars, a car 2,600, a pair of shoes 13, a litre of gasoline 6.7 cents. The tail fins on the new Cadillac Eldorado were the largest and sharpest ever seen. In April, the world’s first weather satellite was launched. In the Philippines, the Japanese government tried in vain to coax the last two Japanese soldiers out of the jungle – they refused to believe the war was over. Xerox put the first commercial photocopier on the market. Chubby Checker started a new dance craze, the twist. Frank Sinatra, cigarette in hand, stood and sang in a short film called Music for

Why aren't you in school? I see you every day wandering around." "Oh, they don't miss me," she said. "I'm antisocial, they say. I don't mix. It's so strange. I'm very social indeed. It all depends on what you mean by social, doesn't it? Social to me means talking to you about things like this." She rattled some chestnuts that had fallen off the tree in the front yard. "Or talking about how strange the world is. Being with people is nice. But I don't think it's social to get a bunch of people together and then not let them talk, do you? An hour of TV class, an hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know, we never ask questions, or at least most don't; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film-teacher. That's not social to me at all. It's a lot of funnels and lot of water poured down the spout and out the bottom, and them telling us it's wine when it's not. They run us so ragged by the end of the day we can't do anything but go to bed or head for a Fun Park to bully people around, break windowpanes in the Window Smasher place or wreck cars in the Car Wrecker place with the big steel ball. Or go out in the cars and race on the streets, trying to see how close you can get to lampposts, playing 'chicken' and 'knock hubcaps.' I guess I'm everything they say I am, all right. I haven't any friends. That's supposed to prove I'm abnormal. But everyone I know is either shouting or dancing around like wild or beating up one another. Do you notice how people hurt each other nowadays?

coyotes were everywhere. He would see them in the front yard, sunning themselves, languorously eating fallen fruit from the cherimoya and loquat trees. He would see them loping down the streets of Silver Lake and Echo Park, sometimes in couples or in families, sorting through the trash outside the vegan place on Sunset, hiking stoically in Griffith Park, nursing their young. The coyotes felt capable, canny, and strangely anthropomorphized, as if they had been endowed with human features by a team of animators. Their hair seemed artfully disheveled, the haircut of a hot, young actor playing a drug addict in an independent film. The coyotes felt more human than most of the humans Sam encountered, more human than Sam himself felt back then. Their constant presence made the city feel wild and dangerous, as if he weren’t living in a city at all.

Could it be that the man over there, gesticulating with a cocktail stick, is screaming on the inside, ‘Why did I start this story? There’s no punchline. How can I bail out? These people must hate me. Make your excuses and leave NOW!’ See that woman over there, passionately describing why she loved the latest Star Wars film? Is she really paddling wildly and thinking, ‘They know I haven’t seen it, I’ve only read the synopsis, but I thought it would help me fit in. I am not even sure Chewbacca is in it.’ See that guy over there, throwing his head back in laughter as he eats a devilled egg? He doesn’t know what he’s laughing about, and he just imagined throwing himself out of that open window. I wonder if the secret of the social human is to tactfully conceal the fact that you’re screaming on the inside. Or am I just projecting my scream onto others?

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.

In a seedy cinema on ru du Temple, watching Disney's Peter Pan with my son, I found that although we were all gazing at the same screen in the flickering dark, I was seeing a different film to the rest of the audience. What seemed fantastical and exotic to the Parisian kids looked like home to me. I knew secret coves and hidey-holes like those of the Lost Boys. I'd grown up in a world of rocky islands, boats and obscuring bush. To my mind the only setting that was alien - even whimsical - was the cold, lonely nursery in the Darling family attic. The wild opportunity of Neverland with its freedom from adult surveillance was deeply, warmly familiar. Watching the movie for the umpteenth time and seeing it anew, forsaking story and focusing greedily on the backdrop, I understood what a complete stranger I was in that hemisphere. But acknowledging my strangeness made those years abroad easier to digest and enjoy.

What are we without ideas? Without some grand vision? That is no less frightening: look at what is going on now! Disintegration. Anarchy. Wild West capitalism … But, the past has been condemned … our entire lives. All they talk about is Stalin, the Gulag archipelago … but what films we had then! The joyful songs! Tell me why that was? Answer me … Think about it, and give me an answer! Why are there no films like that any more? No songs? People have to be motivated, inspired. They need ideals. Then you’ll have a strong state. Sausages cannot be an ideal, or a full fridge. A Mercedes is not an ideal. You need shining ideals! And that was what we had. The newspapers … on the radio and television, they were yelling, ‘Give us the truth, the truth!’ At demonstrations what was demanded was: the truth! ‘The situation is bad, very bad, very, very bad! We’re all going to die! The nation will cease to exist!’ Who needs that sort of truth?

Will you marry me?” I asked, breathing hard and my heart hammering. Slowly, I climbed to my feet and turned to face him, seeing him stopped. He stood there, frozen, not turning around, but that was okay. I wasn’t sure I could do this if he looked at me. God, my mouth was so dry I couldn’t swallow. “I love you,” I said, and I could see people filming us with their phones out of the corner of my eye, but I didn’t care. “I’m wild crazy for you, and I’m sure I’ll kill you at some point, but… God, I love you so much, and I want you to marry me.” More tears streamed down my face as I choked out the words. “Marry me, Will Grayson.” I rushed up and hugged his back, wrapping my arms around him. “Can you marry me? Can I marry you?” I held him, my cheek resting against his back and water catching between my lips. He was going to laugh. He was probably freaked out or maybe angry I asked him instead of letting him ask me—if those were his intentions anyway. Shit… But then, he spun around, picked me up off my feet, and kissed me, pressing his lips to mine and backing me into a parked car.

Once or twice, at night, he planted himself in front of the type-writer, trying to get back to the book he'd come to New York to write. It was supposed to be about America, and freedom, and the kinship of time to pain, but in order to write about these things, he'd needed experience. Well, be careful what you wish for. For now all he seemed capable of producing was a string of sentences starting, Here was William. Here was William's courage, for example. And here was William's sadness, smallness of stature, size of hands. Here was his laugh in a dark movie theater, his unpunk love of the films of Woody Allen, not for any of the obvious ways they flattered his sensibility, but for something he called their tragic sense, which he compared to Chekhov's (whom Mercer knew he had not read). Here was the way he never asked Mercer about his work; the way he never talked about his own and yet seemed to carry it with him just beneath the skin; the way his skin looked in the sodium light from outside with the light off, with clothes off, in silver rain; the way he embodied qualities Mercer wanted to have, but without ruining them by wanting to have them; the way his genius overflowed its vessel, running off into the drain; the unfinished self-portrait; the hint of some trauma in his past, like the war a shell-shocked town never talks about; his terrible taste in friends; his complete lack of discipline; the inborn incapacity for certain basic things that made you want to mother him, fuck him, give your right and left arms for him, this man-child, this skinny American; and finally his wildness, his refusal to be imaginable by anyone.

Suddenly, I caught a glimpse of something moving behind me. When I turned, I saw two coyotes standing in an ambush positon. They were watching my brother Jep, who was working as our cameraman and was positioned to the right of us. The coyotes saw Jep moving, but because he was so camouflaged, they apparently didn’t realize he was a human. Our guide in Nebraska had warned us that he’d seen several coyotes jump from the top of the bluffs to the ducks below for a quick meal. The landowner was having a lot of problems with the coyotes, which were suspected of killing some of his farm animals. He even feared a few of them might have rabies. Evidently, the coyotes heard us blowing our duck calls and believed we were actual ducks. Now they were ready for their next meal. We had accidentally called in two predators using our duck calls and in essence became the hunted instead of the hunters! The two coyotes were licking their chops and were about to attack the only unarmed member of our hunting party! It was like a scene out of a bad horror film called Killer Coyotes. I looked at Jep and realized he was oblivious to what was going on behind him. I jumped out of our makeshift blind and ran toward the coyotes. One of the coyotes took off running, but the other one ran about twenty feet and stopped. It turned around and started growling at me. It looked at me like, “Hey, you want some of me?” I raised my shotgun and shot it dead. I had planned on shooting only ducks, but it’s a bad move when a coyote decides it wants to fight a human. Once it stood its ground and said, “You or me,” I wasn’t going to take a threat from a wild scavenger. It was a prime example of what happens when animals become overpopulated and lose their fear of humans. The lesson learned: don’t bring claws and teeth to a gunfight.

With regard to other animals, humans have long since become gods. We don’t like to reflect on this too deeply, because we have not been particularly just or merciful gods. If you watch the National Geographic channel, go to a Disney film or read a book of fairy tales, you might easily get the impression that planet Earth is populated mainly by lions, wolves and tigers who are an equal match for us humans. Simba the lion king holds sway over the forest animals; Little Red Riding Hood tries to evade the Big Bad Wolf; and little Mowgli bravely confronts Shere Khan the tiger. But in reality, they are no longer there. Our televisions, books, fantasies and nightmares are still full of them, but the Simbas, Shere Khans and Big Bad Wolves of our planet are disappearing. The world is populated mainly by humans and their domesticated animals. How many wolves live today in Germany, the land of the Grimm brothers, Little Red Riding Hood and the Big Bad Wolf? Less than a hundred. (And even these are mostly Polish wolves that stole over the border in recent years.) In contrast, Germany is home to 5 million domesticated dogs. Altogether about 200,000 wild wolves still roam the earth, but there are more than 400 million domesticated dogs.1 The world contains 40,000 lions compared to 600 million house cats; 900,000 African buffalo versus 1.5 billion domesticated cows; 50 million penguins and 20 billion chickens.2 Since 1970, despite growing ecological awareness, wildlife populations have halved (not that they were prospering in 1970).3 In 1980 there were 2 billion wild birds in Europe. In 2009 only 1.6 billion were left. In the same year, Europeans raised 1.9 billion chickens for meat and eggs.4 At present, more than 90 per cent of the large animals of the world (i.e., those weighing more than a few pounds) are either humans or domesticated animals.

Bindi the Jungle Girl aired on July 18, 2007, on ABC (Channel 2) in Australia, and we were so proud. Bindi’s determination to carry on her father’s legacy was a testament to everything Steve believed in. He had perfectly combined his love for his family with his love for conservation and leaving the world a better place. Now this love was perfectly passed down to his kids. The official beginning of Bindi’s career was a fantastic day. All the time and effort, and joy and sorrow of the past year culminated in this wonderful series. Now everyone was invited to see Bindi’s journey, first filming with her dad, and then stepping up and filming with Robert and me. It was also a chance to experience one more time why Steve was so special and unique, to embrace him, to appreciate him, and to celebrate his life. Bindi, Robert, and I would do our best to make sure that Steve’s light wasn’t hidden under a bushel. It would continue to sine as we worked together to protect all wildlife and all wild places. After Bindi’s show launched, it seemed so appropriate that another project we had been working on for many months came to fruition. We found an area of 320,000 acres in Cape York Peninsula, bordered on one side by the Dulcie River and on the other side by the Wenlock River--some of the best crocodile country in the world. It was one of the top spots in Australia, and the most critically important habitat in the state of Queensland. Prime Minister John Howard, along with the Queensland government, dedicated $6.3 million to obtaining this land, in memory of Steve. On July 22, 2007, the Steve Irwin Wildlife Reserve became official. This piece of land means so much to the Irwin family, and I know what it would have meant to Steve. Ultimately, it meant the protection of his crocodiles, the animals he loved so much. What does the future hold for the Irwin family? Each and every day is filled with incredible triumphs and moments of terrible grief. And in between, life goes on. We are determined to continue to honor and appreciate Steve’s wonderful spirit. It lives on with all of us. Steve lived every day of his life doing what he loved, and he always said he would die defending wildlife. I reckon Bindi, Robert, and I will all do the same. God bless you, Stevo. I love you, mate.

Jones, along with the US military attaché in Indonesia, took Subandrio’s advice. He emphasized to Washington that the United States should support the Indonesian military as a more effective, long-term anticommunist strategy. The country of Indonesia couldn’t be simply broken into pieces to slow down the advance of global socialism, so this was a way that the US could work within existing conditions. This strategic shift would begin soon, and would prove very fruitful. But behind the scenes, the CIA boys dreamed up wild schemes. On the softer side, a CIA front called the Congress for Cultural Freedom, which funded literary magazines and fine arts around the world, published and distributed books in Indonesia, such as George Orwell’s Animal Farm and the famous anticommunist collection The God That Failed.33 And the CIA discussed simply murdering Sukarno. The Agency went so far as to identify the “asset” who would kill him, according to Richard M. Bissell, Wisner’s successor as deputy director for plans.34 Instead, the CIA hired pornographic actors, including a very rough Sukarno look-alike, and produced an adult film in a bizarre attempt to destroy his reputation. The Agency boys knew that Sukarno routinely engaged in extramarital affairs. But everyone in Indonesia also knew it. Indonesian elites didn’t shy away from Sukarno’s activities the way the Washington press corps protected philanderers like JFK. Some of Sukarno’s supporters viewed his promiscuity as a sign of his power and masculinity. Others, like Sumiyati and members of the Gerwani Women’s Movement, viewed it as an embarrassing defect. But the CIA thought this was their big chance to expose him. So they got a Hollywood film crew together.35 They wanted to spread the rumor that Sukarno had slept with a beautiful blond flight attendant who worked for the KGB, and was therefore both immoral and compromised. To play the president, the filmmakers (that is, Bing Crosby and his brother Larry) hired a “Hispanic-looking” actor, and put him in heavy makeup to make him look a little more Indonesian. They also wanted him bald, since exposing Sukarno—who always wore a hat—as such might further embarrass him. The idea was to destroy the genuine affection that young Sakono, and Francisca, and millions of other Indonesians, felt for the Founding Father of their country. The thing was never released—not because this was immoral or a bad idea, but because the team couldn’t put together a convincing enough film.36

And the wraith on the heart monitor looks pensively down at Gately from upside-down and asks does Gately remember the myriad thespian extras on for example his beloved ‘Cheers!,’ not the center-stage Sam and Carla and Nom, but the nameless patrons always at tables, filling out the bar’s crowd, concessions to realism, always relegated to back- and foreground; and always having utterly silent conversations: their faces would animate and mouths would move realistically, but without sound; only the name-stars at the bar itself could audibilize. The wraith says these fractional actors, human scenery, could be seen (but not heard) in most pieces of filmed entertainment. And Gately remembers them, the extras in all public scenes, especially like bar and restaurant scenes, or rather remembers how he doesn’t quite remember them, how it never struck his addled mind as in fact surreal that their mouths moved but nothing emerged, and what a miserable fucking bottom-rung job that must be for an actor, to be sort of human furniture, figurants the wraith says they’re called, these surreally mute background presences whose presence really revealed that the camera, like any eye, has a perceptual corner, a triage of who’s important enough to be seen and heard v. just seen. A term from ballet, originally, figurant, the wraith explains. The wraith pushes his glasses up in the vaguely sniveling way of a kid that’s just got slapped around on the playground and says he personally spent the vast bulk of his own former animate life as pretty much a figurant, furniture at the periphery of the very eyes closest to him, it turned out, and that it’s one heck of a crummy way to try to live. Gately, whose increasing self-pity leaves little room or patience for anybody else’s self-pity, tries to lift his left hand and wiggle his pinkie to indicate the world’s smallest viola playing the theme from The Sorrow and the Pity, but even moving his left arm makes him almost faint. And either the wraith is saying or Gately is realizing that you can’t appreciate the dramatic pathos of a figurant until you realize how completely trapped and encaged he is in his mute peripheral status, because like say for example if one of ‘Cheers!’’s bar’s figurants suddenly decided he couldn’t take it any more and stood up and started shouting and gesturing around wildly in a bid for attention and nonperipheral status on the show, Gately realizes, all that would happen is that one of the audibilizing ‘name’ stars of the show would bolt over from stage-center and apply restraints or the Heineken Maneuver or CPR, figuring the silent gesturing figurant was choking on a beer-nut or something, and that then the whole rest of that episode of ‘Cheers!’ would be about jokes about the name star’s life-saving heroics, or else his fuck-up in applying the Heineken Maneuver to somebody who wasn’t choking on a nut. No way for a figurant to win. No possible voice or focus for the encaged figurant.

I love screenwriting. It's simple and mathematical, yet it has the beauty of science and chemistry, the wonder of mystery, and the love of a wild heart.

think we all are, Angela. We share these fears. And we shouldn’t keep them bottled up, inside of us, running wild. We must recognize our fear—and see it for what it is: the mind’s warning system. Once we’ve received the warning, fear has no place. Fear—if we let it—will focus our mind on the object of our fear, the event we dread or the outcome we can’t bear. It will operate like a horror film on repeat, playing endlessly in our minds. We must recognize fear as an alarm and turn it off. That is how we master excess fear—seeing it as a broken alarm, a common event in everyone’s life. With time and practice, you can learn to turn the alarm off.

It’s Fae on Fae, man, what are you thinking?” he asked with a frown and I could only glower as I looked back to the fight, forcing myself to remain still. It might have made me ache to hold back but he was right, I couldn’t get involved in a fight between two Fae. And if it had been anyone else, I never would have considered it. But Roxy always made me want to break the rules. “You jumped up, crown touting, cock sucking, whore!” Mildred slammed her fist into Roxy’s face again, not even bothering to use magic as she screamed insults in her face which included way too many references to me being her beloved. “What’s the matter, Mildred?” Roxy snarled. “Is it just that you can’t suck cock properly with that mis-matched jaw of yours or is it that you know Darius is only marrying you because his father is forcing him to?” “When I take my beloved to the bedroom he will be screaming so loudly that he won’t even remember the name Vega!” Mildred howled as she punched Roxy again. “Yeah, screaming in horror,” Roxy spat and I almost fucking laughed aside from the fact that she was about to get her face smashed in by that beast of a girl. “We’ll see if he’s so tempted by you when I’m done pulverising that pretty face of yours and I cut your perky tits off for good measure!” Mildred howled. “Not the tits!” Tyler Corbin gasped from the other side of the crowd as he filmed the whole thing. My heart pounded. Roxy might have been tough, but Mildred was four times the size of her. She needed to fight back with magic if she was going to stand a chance, but as she swung her head forward and cracked the bridge of Mildred’s nose with a savage headbutt, I got the feeling she wasn’t going to use it. Roxy swung a fist into Mildred’s throat to follow it before driving her knee up between her legs as hard as she could. “Ooo right in the vag!” Tyler called and a laugh caught in my throat. “Yes, Tor!” Darcy screamed as she pushed her way to the front of the crowd. “Show her how we fight where we come from!” As Mildred reared back, Roxy lunged forward, rolling them over so that she was on top before swinging her fists down into Mildred’s ugly face with a brutality that made my heart race. She was wild and vicious, blood pissing down her face from her own injuries as she used my stolen rings to batter Mildred again and again. I wouldn’t be surprised if she didn’t end up with Dragons imprinted all over her face from her own injuries as she used my stolen rings to batter Mildred again and again. I wouldn’t be surprised if she didn’t end up with Dragons imprinted all over her face from the shape of the jewellery. Mildred gave as good as she got, punching Roxy in the sides, the chest, even trying to bite her fist as she punched her. “Holy shit,” Seth breathed as he nuzzled against my arm. “This would be so hot if it wasn’t, you know, Mildred. But if I imagine her being literally any other girl then I’d be so turned on right now.” I swallowed a lump in my throat as I refused to agree out loud, but he was right. There was something about Roxy as she fought like that, her lip curled back with determination and absolutely no mercy in her. They might have been fighting like mortals having a bar brawl, but with a crown on her head and blood painting her flesh, I didn’t think she’d ever looked more like the Savage King’s daughter before. She really was a Fae Princess. And I liked it. Mildred cursed and screamed, throwing fists like sledgehammers so hard that I was pretty sure I heard ribs cracking, but Roxy wasn’t going to give in. She swung her arm back one final time and with a scream of rage, she hit Mildred so hard in her pug face that she blacked out. A laugh tumbled from my lips before I could stop it and Roxy looked up at me with a wild determination in her eyes as she grinned like a damn warrior. (Darius POV)

Beethoven and Paul McCartney cited dreams as the spark behind some of their musical compositions (including McCartney’s famous “Yesterday”). Some of the most recognizable sequences in film—sections of Ingmar Bergman’s Wild Strawberries, Fellini’s 8 ½, Richard Linklater’s Waking Life—are translations of the directors’ dreams. Mary Shelley credited dreams with inspiring Frankenstein; E. B. White with Stuart Little.

Bill and Virginia both said that their association with the lions during the filming of Born Free had had an enormous influence on their lives, and we frequently discussed with them the whole question of the conservation and protection of wild animals. We realized for the first time how drastically short-sighted man has been. Many of these issues have since become even more urgent, with the competition between man and wildlife for habitats and resources, including water, the degradation of the environment, and the ramifications of global warming. What has become even more obvious to us in the interrelationships between man and the natural environment, and how holistic any solutions will have to be.

Eyes of Laura Mars (1978)—This New York-set thriller operates on mood and atmosphere and moves so fast, with such delicate changes of rhythm, that its excitement has a subterranean sexiness. Faye Dunaway, with long, thick, dark-red hair, is Laura Mars, a celebrity fashion photographer who specializes in the chic and pungency of sadism; the pictures she shoots have a furtive charge—we can see why they sell. Directed by Irvin Kershner, the film has a few shocking fast cuts, but it also has scabrous elegance and a surprising amount of humor. Laura’s scruffy, wild-eyed driver (Brad Dourif) epitomizes New York’s crazed, hostile flunkies; he’s so wound up he seems to have the tensions of the whole city in his gut. Her manager (René Auberjonois) is tense and ambivalent about Laura—about everything. Her models (Lisa Taylor and Dar-lanne Fluegel), who in their poses look wickedly decadent, are really just fun-loving dingalings.

Even with all of this plot to be dispensed, the songs do rise organically out of the script. Doris’s first entrance, in head-to-toe buckskin, finds her astride a stagecoach, belting out the very catchy Sammy Fain/Paul Francis Webster song “The Deadwood Stage (Whip Crack Away).” The rollicking tune and exuberant Day vocal match the physical staging of the song, and character is revealed. Similarly, later in the film there is a lovely quiet moment when Calamity, Bill, the lieutenant, and Katie all ride together in a wagon (with Calamity driving, naturally) to the regiment dance, softly singing the lilting “Black Hills of Dakota.” These are such first-rate musical moments that one is bound to ask, “So what’s the problem?” The answer lies in Day’s performance itself. Although Calamity Jane represents one of Day’s most fondly remembered performances, it is all too much by half. Using a low, gravelly voice and overly exuberant gestures, Day, her body perpetually bent forward, gives a performance like Ethel Merman on film: She is performing to the nonexistent second balcony. This is very strange, because Day is a singer par excellence who understood from her very first film, at least in terms of ballads, that less is more on film. Her understated gestures and keen reading of lyrics made every ballad resonate with audiences, beginning with “It’s Magic” in Romance on the High Seas. Yet here she is, fourteen films later, eyes endlessly whirling, gesturing wildly, and spending most of her time yelling both at Wild Bill Hickok and at the citizens of Deadwood City. As The New York Times review of the film held, in what was admittedly a minority opinion, “As for Miss Day’s performance, it is tempestuous to the point of becoming just a bit frightening—a bit terrifying—at times…. David Butler, who directed, has wound her up tight and let her go. She does everything but hit the ceiling in lashing all over the screen.” She is butch in a very cartoonlike manner, although as always, the tomboyish Day never loses her essential femininity (the fact that her manicured nails are always evident helps…). Her clothing and speech mannerisms may be masculine, but Day herself never is; it is one of the key reasons why audiences embraced her straightforward assertive personality. In the words of John Updike, “There’s a kind of crisp androgynous something that is nice—she has backbone and spunk that I think give her a kind of stiffness in the mind.

As he grew increasingly ill from AIDS complications, Monette published Last Watch of the Night: Essays Too Personal and Otherwise (1994). Alternating between rage and remembrance as well as the personal and political, these ten essays offer insight into the life and mind of a powerful and determined writer galvanized by the injustices of his times. A film documentary of the author’s life, Paul Monette: The Brink of Summer’s End, was released in 1996. The slim, eloquent Sanctuary, a fable of same-sex love, posthumously appeared in 1997 and was hailed by critics as Monette’s final gift. He died at his home in Los Angeles on February 10, 1995, at the age of forty-nine and was survived by his father, brother, and final partner, Winston Wilde. Inscribed on his grave are the words Champion of His People.

1973 was the year when the United Kingdom entered the European Economic Union, the year when Watergate helped us with a name for all future scandals, Carly Simon began the year at number one with ‘You’re So Vain’, John Tavener premiered his Variations on ‘Three Blind Mice’ for orchestra, the year when The Godfather won Best Picture Oscar, when the Bond film was Live and Let Die, when Perry Henzell’s film The Harder They Come, starring Jimmy Cliff, opened, when Sofia Gubaidulina’s Roses for piano and soprano premiered in Moscow, when David Bowie was Aladdin Sane, Lou Reed walked on the wild side and made up a ‘Berlin’, Slade were feeling the noize, Dobie Gray was drifting away, Bruce Springsteen was ‘Blinded by the Light’, Tom Waits was calling ‘Closing Time’, Bob Dylan was ‘Knocking on Heaven’s Door’, Sly and the Family Stone were ‘Fresh’, Queen recorded their first radio session for John Peel, when Marvin Gaye sang ‘What’s Going On’ and Ann Peebles’s ‘I Can’t Stand the Rain’, when Morton Feldman’s Voices and Instruments II for three female voices, flute, two cellos and bass, Alfred Schnittke’s Suite in the Old Style for violin and piano and Iannis Xenakis’s Eridanos for brass and strings premiered, when Ian Carr’s Nucleus released two albums refining their tangy English survey of the current jazz-rock mind of Miles Davis, when Ornette Coleman started recording again after a five-year pause, making a field recording in Morocco with the Master Musicians of Joujouka, when Stevie Wonder reached No. 1 with ‘Superstition’ and ‘You Are the Sunshine of My Life’, when Free, Family and the Byrds played their last show, 10cc played their first, the Everly Brothers split up, Gram Parsons died, and DJ Kool Herc DJed his first block party for his sister’s birthday in the Bronx, New York, where he mixed instrumental sections of two copies of the same record using two turntables.

I know. It’s wild. Almost as if not everyone is into having every moment of their life filmed.

Author Oscar Wilde once remarked that the surest way to sell a book was to ban it. This holds true for almost any form of media. Films, video games, books, music albums, and other products sell in far higher number if there's a controversy about their content.

But Wrieto-San was, if anything, a rugged individualist, a one-man, as we say, like the lone cowboy of the Wild West films. Personally, I like to think that it was the Japanese influence that inspired him to employ a circular design for his final major work, the Guggenheim Museum of New York.

Lerner had never been happy with the 1951 stage show, his and Loewe’s entry between Brigadoon and My Fair Lady. He revised it a bit for the national tour, and now decided to give it a completely different storyline and some new numbers to match. The results might, at least, have been a bargain, as the whole thing takes place in and around a single spot, a gold-rush town in more or less everyday (if period) clothes. As opposed to the castles in Spain where Camelot did much of its filming, not to mention the gargoyles and falconry. However, anticipating the disaster-film cycle, Lerner wanted Paint Your Wagon’s mining town (“No-Name City. Population: Male”) to sink into the earth in a catastrophe finale. Worse, production built the place from scratch in the wilds of Oregon, with no nearby living quarters for cast and crew; they had to be trucked and helicoptered in and out each day in a long and pricey commute, greatly protracting the shooting schedule. Back as director again after Camelot, Joshua Logan fretted about all this, but Lerner didn’t care how much of Paramount’s money he spent. He even hired Camelot’s spendthrift designer, John Truscott. In the end, it would appear that no one knows exactly how much Paint Your Wagon cost, but there is no doubt that it lost a vast fortune. It deserved to. Cynically, Lerner took note of changing times and filled the film with a “youth now!” attitude and sexual freedom—refreshing if they didn’t feel so commercially opportunistic. But after all, Hair (1967) had happened. Was Broadway urging Hollywood to go hippie, too, or would Lerner have done this anyway?

and with a more than adequate cast, with the ubiquitous Lloyd Nolan, Carole Landis, Cornel Wilde (not yet of star status), James Gleason, Ralph Byrd, Martin Kosleck (not a Nazi villain for a welcome change), Elisha Cook Jr. and Harold Huber. It faced the situation squarely, as did most of the Pacific-localed films of that bleak time, and did not sugar-coat its patriotic message. It told of a band of guerrillas waging a hit-and-run offensive against the enemy, gradually decimated until only three are left by the unrelenting conclusion. Herbert I. Leeds kept the heroics believable with his direction. Chetniks—the Fighting Guerrillas (1943) paid tribute

When I look back at my earlier films now, I realise that, although I felt I was out there in the wild, wandering through a pristine natural world, that was an illusion. Those forests and plains and seas were already emptying. Many of the larger animals were already rare. A shifting baseline has distorted our perception of all life on Earth. We have forgotten that once there were temperate forests that would take days to traverse, herds of bison that would take four hours to pass, and flocks of birds so vast and dense that they darkened the skies. Those things were normal only a few lifetimes ago. Not any more. We have become accustomed to an impoverished planet.

Since the 1950s, on average, wild animal populations have more than halved. When I look back at my earlier films now, I realise that, although I felt I was out there in the wild, wandering through a pristine natural world, that was an illusion. Those forests and plains and seas were already emptying. Many of the larger animals were already rare. A shifting baseline has distorted our perception of all life on Earth. We have forgotten that once there were temperate forests that would take days to traverse, herds of bison that would take four hours to pass, and flocks of birds so vast and dense that they darkened the skies. Those things were normal only a few lifetimes ago. Not any more. We have become accustomed to an impoverished planet. We have replaced the wild with the tame. We regard the Earth as our planet, run by humankind for humankind. There is little left for the rest of the living world. The truly wild world–that non-human world–has gone. We have overrun the Earth.

The long-term consequence of Gell-Mann Amnesia is Gell-Mann America. People know now that we are systematically misled about the present. But at least we live in the present, so we have local information that can falsify many news stories. We do not live in the past, so all we know is that we may be wildly off-base in our understanding of history. There are no people from the past around to give first hand accounts…though we can read their books and sometimes watch their films.

In the last decade and a half a revival of plant behavior research had brought countless new realizations to botany, more than forty years after an irresponsible best-selling book nearly snuffed out the field for good. The Secret Life of Plants, published in 1973, captured the public imagination on a global scale. Written by Peter Tompkins and Christopher Bird, the book was a mix of real science, flimsy experiments, and unscientific projection. In one chapter, Tompkins and Bird suggested that plants could feel and hear—and that they preferred Beethoven to rock and roll. In another, a former CIA agent named Cleve Backster hooked up a polygraph test to his houseplant and imagined the plant being set on fire. The polygraph needle went wild, which would mean the plant was experiencing a surge in electrical activity. In humans, a reading like that was believed to denote a surge of stress. The plant, according to Backster, was responding to his malevolent thoughts. The implication was that there existed not only a sort of plant consciousness but also plant mind-reading. The book was an immediate and meteoric success on the popular market, surprising for a book about plant science. Paramount put out a feature film about it. Stevie Wonder wrote the soundtrack. The first pressings of the album version were sent out scented with floral perfume. To its many astonished readers, the book offered a new way to view the plants all around them, which up until then had seemed ornamental, passive, more akin to the world of rocks than animals. It also aligned with the advent of New Age culture, which was ready to inhale stories about how plants were as alive as we are. People began talking to their houseplants, and leaving classical music playing for their ficus when they went out. But it was a beautiful collection of myths.

Arkady's smile was probably intended to be reassuring, but it was a trifle too wide; with his wild white hair sticking out from under his curly brimmed beaver hat he looked slightly manic, like Christopher Lloyd in 'Back to the Future', a film Nick had finally stopped renting after the girl at the video store started calling him 'Marty McFly'.

BARRY GIFFORD, Author of "Wild at Heart" on DANGEROUS ODDS by Marisa Lankester: "Marisa Lankester's unique chronicle of high crimes and low company is as wild a ride as any reader is likely to be taken on. She was the lone woman in the eye of a predatory hurricane that blew across continents and devastated countless lives. That she survived is testament to her brains and bravery. The old-timers who invented violence as a second language contended that nothing is deadlier than the female, to cross her was to buck dangerous odds, and this book tells you why." Film "Wild at Heart" won Palme D’Or at the Cannes Film Festival, Film by David Lynch

So suddenly here we are. Six years on. I genuinely never believed we would film more than six episodes of Man vs. Wild, let alone six seasons. I mean, where has the time gone? I also really had no idea quite how many hellholes, remote jungles, stinking swamps, searing deserts, and forbidding, unexplored mountain ranges we have on this small planet of ours. People forget. Me included.

A simple love-story,’ said David piously, ‘about a girl that loves a man frightfully and he is married, so she goes and lives with him, and then his wife is very ill and going to die, so the girl and the man both offer themselves for blood transfusion in a very noble way without each other knowing. But only one of them has the right kind of blood and I can’t decide which. Do you think it would be more pathetic if the girl gave her blood and died, and then the man went off into the desert to be a monk, or if the man died and the wife and the girl made friends over his corpse and both became nuns? One might do good business with that, because in films no one much cares if the hero lives or dies so long as there are plenty of lovely heroines.

It was hard to know what to make of the brothers' dark infatuation with death. It was strange, wildly anomalous in sun-baked Southern California, where the light is so bright it bleaches the shadows.

There were giants striding the screen in the 1930s and ’40s: four actresses so talented, hardworking and versatile that they became laws unto themselves. Joan Crawford and Bette Davis have also become high-camp figures of fun, as they both had such wildly theatrical offscreen lives, and their performances could sometimes veer into self-parody. But Barbara Stanwyck and Claudette Colbert stand the test of time in each and every film: our memories of them are not overshadowed by scandals or vituperative daughters. One rarely sees a Stanwyck or Colbert drag queen. But these ladies were fully the equal—sometimes the superior—of Davis and Crawford.

As we sat writing down silly answers to the questions at the quiz, I noticed how much Dan had changed since his split with Lisa. It was nice to see him off the lead for once in his life and he had gone from being conservatively wild to a fucking maniac. Off his face would often transform into a bizarre orang-utan type creature. I once watched as he went round and round a table in Trillians like an ape with a glazed look in his eyes. He reminded me of Clyde from the film Every Which Way but Loose.

The grey wall to the right of me had my unfocused eyes attention. The blandness of all four walls and the concrete flooring created a backdrop for my imagination to run wild. Like a blink screen just waiting for a film to start, this bare and depressingly dreary decor did wonderful things for my illusions. I could lay for hours on the floor, staring at seemingly nothing while my mind whirled in a secret place where my reality could not encroach. I'd spend days on end imagining an eleven Kingdom with purple trees and sparkling sapphire oceans. Where I was a guardian of the kingdom, strong and fearless, fighting mythical creatures and villainous traitors. I received adoration from the civilians I was protecting and gratitude from royalty. In this place I was everything I wasn't in the reality. In this place I was wanted. In this place I was alive.

We liked his work and sensibility but sensed it would be wise to try him out on a short first to determine not only whether he had filmmaking chops but also if he could work well with others. The first sign of trouble? The film he delivered clocked in at twelve minutes—more of a “medium” than a “short.” But length is flexible; the real problem was that although the director was extraordinarily creative, he was unable to settle on a spine for a story. The piece meandered, lacked focus, and thus packed no emotional punch. It wouldn’t be the first time we would find someone who was able to invent wildly creative elements but was unable to solve the problems of story—the central and most important creative challenge. So we pulled the plug. Some might have lost sleep over the two million dollars we expended on this experiment. But we consider it money well spent. As Joe Ranft said at the time, “Better to have train wrecks with miniature trains than with real ones.

As the wildly favorable word of mouth spread, however, the box office receipts began to soar. First, fans of musicals came. Then the ever-growing cadre of Julie Andrews devotees. Finally, those longing for a happy ending—anywhere—began to turn out in droves. At which point the oddest thing of all happened: all these fans of the movie returned to see it again. And then once more. And then once again—until the phenomenon eventually resulted in a record-setting first release run of over four and a half years.

Every once in a while goannas sauntered right through camp. As I chopped vegetables that first night, a big lacey showed up. “Grab it,” Steve said to me. I dropped what I was doing and picked up the lizard. John and his crew went into action. I told the camera everything I knew about lace monitors. “Lace monitors are excellent tree climbers,” I said. “They can grow up to seven feet long, but this guy looks to be between four and five feet.” I spoke about the lizard’s predatory nature and diet. Meanwhile, the star of the show flicked his forked tongue in and out. After we got some footage, I put the huge lizard down, and Steve leaned his head into the camera frame to have a last word. “And they’ve also got teeth like a tiger shark, mate,” he said with relish. “They can tear you to ribbons!” “Thanks a lot,” I said, laughing, after John stopped filming. “You should have told me that before I picked the bloody thing up!” It was a brave new world that I found myself in. At night I would hear the sounds of the fruit bats as they came into the trees. Also in the mix were the strange, far-off grunts of the koalas as they sang out their mating calls. Herds of wild pigs passed right behind the tent. Venturing outside in the middle of the night with my dunny roll to go use a bush was a daunting experience.

It was a brave new world that I found myself in. At night I would hear the sounds of the fruit bats as they came into the trees. Also in the mix were the strange, far-off grunts of the koalas as they sang out their mating calls. Herds of wild pigs passed right behind the tent. Venturing outside in the middle of the night with my dunny roll to go use a bush was a daunting experience. Steve was a natural in front of the camera. John had to give him only one important piece of advice. “Stevo,” John instructed, “there are three people in this documentary. There’s you, Terri, and the camera. Treat the camera just like another person.” Steve’s energy and enthusiasm took over. He completely relaxed, and he managed to just be himself--which was true of his entire career. This wasn’t just a film trip, it was also our honeymoon. Steve would sometimes escape the camera crew and take us up a tributary to be alone. We watched the fireflies come out. I’d never seen fireflies in Oregon. The magical little insects glowed everywhere, in the bushes and in the air. The darker it got, the brighter their blue lights burned on and off. I had arrived in a fairyland.

Steve got up before me and left to check the trap. The fire was already going when I crawled out of my swag. I relived the events of the night before over my cup of tea. I heard the boat motor and saw that Steve was coming back, so I got up and ran down to the riverbank to meet him. “We got one,” he said, breathless. “A croc went in that trap after all, mate.” “I guess maybe my splashing around attracted it,” I said with a grin. He laughed. Then he turned and yelled up to the guys, “Cooee!” The whole camp erupted into action. The film crew grabbed their gear, and we went to rescue the crocodile before a poacher’s bullet could claim it. I didn’t know what to expect. I had heard stories of Steve catching crocodiles. I’d seen photographs and some of his video footage. Steve took me into the crocodile enclosures at the zoo. But this was something I’d never experienced. This was in the wild.

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People have often asked me what the Zone is, and what it symbolises, and have put forward wild conjectures on the subject. I'm reduced to a state of fury and despair by such questions. The Zone doesn't symbolise anything, any more than anything else does in my films: the zone is a zone, it's life, and as he makes his way across it a man may break down or he may come through. Whether he comes through or not depends on his own self-respect, and his capacity to distinguish between what matters and what is merely passing.

+ Love + is like an old Wild West film Only you come to realize that You were always in the showdown + with yourself + And as the credits roll, It’s just your name over and over and over, you rub your eyes, Shake it off, smash the tv! Get back on your horse ~ ride into the sunset Time to exchange the scripted For the welcome unknown

Lerner held that Brigadoon was one of Minnelli’s least vivacious efforts, despite the potential offered by CinemaScope. Only the wedding scene and the chase that follows reveal Minnelli’s unique touch. Before shooting began, Freed rushed to inform Lerner that “Vincente is bubbling over with enthusiasm about Brigadoon.” But, evidently, his heart was not in this film. Early on, Minnelli made a mistake and confessed to Kelly that he really hadn’t liked the Broadway show. As a film, Brigadoon was curiously flat and rambling, lacking in warmth or charm, and the direction lacks Minnelli’s usual vitality and smooth flow. Admittedly, Lerner’s fairy-tale story was too much of a wistful fancy. Two American hunters go astray in the Scottish hills, landing in a remote village that seems to be lost in time. One of the fellows falls in love with a bonnie lass from the past, which naturally leads to some complications. Minnelli thought that it would be better to set the story in 1774, after the revolts against English rule had ended. For research about the look of the cottages, he consulted with the Scottish Tourist Board in Edinburgh. But the resulting set of the old highland village looks artificial, despite the décor, the Scottish costumes, the heather blossoms, and the scenic backdrops. Inexplicably, some of the good songs that made the stage show stand out, such as “Come to Me, Bend to Me,” “My Mother’s Wedding Day,” and “There But for You Go I,” were omitted from the film. Other songs, such as “The Heather on the Hill” and “Almost Like Being in Love,” had some charm, though not enough to sustain the musical as a whole. Moreover, the energy of the stage dances was lost in the transfer to the screen, which was odd, considering that Kelly and Charisse were the dancers. For some reason, their individual numbers were too mechanical. What should have been wistful and lyrical became an exercise in trickery and by-now-predictable style. With the exception of “The Chase,” wherein the wild Scots pursue a fugitive from their village, the ensemble dances were dull. Onstage, Agnes de Mille’s choreography gave the dance a special energetic touch, whereas Kelly’s choreography in the film was mediocre at best and uninspired at worst. It didn’t help that Kelly and Charisse made an odd, unappealing couple. While he looks thin and metallic, she seems too solemn and often just frozen. The rest of the cast was not much better. Van Johnson, as Kelly’s friend, pouts too much. As Scottish villagers, Barry Jones, Hugh Laing, and Jimmy Thompson act peculiarly, to say the least.

Tristan ran his fingers through his hair and was so incredibly glad not to meet the long tangles he'd been dealing with for weeks. Makeup had kindly removed the extensions he'd had in for filming and he hadn't even put any product in his hair after washing it, so it was curling wildly. Being free of the black contacts he'd been wearing was also heaven and he had every intention of enjoying the wrap party to the fullest.

You ever watch lions at the zoo? You can always tell which ones were captured in the wild by the look in their eyes. The wild cat. She remembers running across the plain, the thrill of the hunt. Four hundred pounds of killing fury, locked in a box. But after a while, their eyes start to glaze over, and you can tell their soul has died. The same thing happens to a man.

I can’t remember, for instance, anyone who walked out of Arthur Penn’s Bonnie and Clyde or Peckinpah’s The Wild Bunch who didn’t look as if he or she had been hit on the head with a very large board. Yet people walk out of other Peckinpah films—Bring Me the Head of Alfredo Garcia, Cross of Iron—yawning. That vital linkage just never happens.

A strange landscape stared back at her. Delphine gasped and let the tree support her weight as she slowly took in the sight of of the forest drawn tight around the ring of moss surrounding the linden. The trees were skeletal and pale as bone, branches gnarled and twining in complicated knotwork that might have been intentionally woven or might have been the wild striving of trees reaching for the sky. There were no leaves, but a thick hoarfrost of silver coated every branch, every twig, every barren bud. Bracken grew tangled at the roots of the trees; it, too, was layered in sparkling pale beauty. The ground was covered in the same thick silver, which Delphine slowly appreciated was not cold at all, but still as fragile and sharp as frost. No grass grew on the ground, only a thick carpet of the same moss surrounding the tree. The silver didn't pass through the circle, fading to a film near the green encircling the linden tree.

Sidney provides the commentary on the DVD, and he tells us that he wanted “a train song.” Warren and Mercer gave him much more than that, for “On the Atchison, Topeka and the Santa Fe” is really an “entire town song.” It starts in the saloon—an important location, as it will be at war with the restaurant the Harvey girls wait table in—then moves to the train’s passengers, engineers, and conductor as it pulls in and the locals look everyone over, especially the newly mustered Harveys themselves. Warren’s music has imitated the train’s chugging locomotion, but now comes a trio section not by Warren and Mercer (at “Hey there, did you ever see such pearly femininity … ”), and the girls give us some individual backstories—one claims to have been the Lillian Russell of a small town in Kansas, and principals Ray Bolger and Virginia O’Brien each get a solo, too. The number is not only thus detailed as a composition but gets the ultimate MGM treatment on a gigantic set with intricate interaction among the many soloists, choristers, and extras. But now it’s Garland’s turn to enter the number, disembark, and mix in with the crowd. According to Sidney, Garland executed everything perfectly on the first try—and it was all done in virtually a single shot. Fred Astaire would have insisted on rehearsing it for a week, but Garland was a natural. Once she understood the spirit of a number, the physics of it simply fell into place for her. In any other film of the era, the saloon would be the place where the music was made. And Angela Lansbury, queen of the plot’s rowdy element, does have a floor number, dressed in malevolent black and shocking pink topped by a matching Hippodrome hat. But every other number is a story number—“The Train Must Be Fed” (as the Harveys learn the art of waitressing); “It’s a Great Big World” for anxious Harveys Garland, O’Brien, and a dubbed Cyd Charisse; O’Brien’s comic lament, “The Wild, Wild West,” a forging song at Ray Bolger’s blacksmith shop; “Swing Your Partner Round and Round” at a social. Marjorie Main cues it up, telling one and all that this new dance is “all the rage way

The film Beasts of the Southern Wild, a

Do you remember when we discussed the horseshoe theory of politics?” “Yes, of course.” “We talked about how most Americans used to be in the middle, relatively speaking. That’s how America kept its balance all those years. The left and the right were close enough to have disagreements but not hate.” “Okay.” “That world is gone, Gavin, and so it will now be easy to destroy the social order. The middle has become complacent. They are smart, but they are lazy. They see the grays. They get the other side. Extremists, on the other hand, see only black and white. They are not only certain that their vision is absolutely correct, but they are incapable of even understanding the other side. Those who don’t believe as they do are lesser in every way, and so they will kill for that vision. I get those people, Gavin. And I want to create more of them by forcing those in the middle to choose a side. I want to make them extremists too.” “Why?” “Extremists are relentless. They don’t see right or wrong—they see us and them. You’re a baseball fan, aren’t you, Gavin?” “I am.” “A Yankee fan, right?” “So?” “So if you found out the Yankee manager cheated or that all your favorite Yankees took steroids, would you then become a Red Sox fan?” Gavin said nothing. “Well?” “Probably not.” “Exactly. The Yankees could never do anything that would make you a Red Sox fan. That’s the power I want to harness. I read a quote recently from Werner Herzog. You know who he is?” “The German film director.” “Right. He said that America was waking up, as Germany once did, to the awareness that one-third of our people will kill one-third of our people while one-third of our people watches.” Rusty put his hand on Gavin’s shoulder. “You and I are going to change the world, my friend.” He leaned forward. “Drop me off up ahead on the next corner.

But the main reason Trump won the nomination—and later the general election—was simpler than any of that: he fit the times. Trump had explored running for president twice before, and the voters had shown little interest. This time around, he turned half the country’s unease and confusion about what was happening to America into a powerful political response. In his own way, he articulated the anger that many middle- and working-class Americans felt over the excesses and condescension of the Democratic Party, the coastal elites, and especially the mainstream news media. Trump had diagnosed a decisive divide in the nation: the alienation of average Americans from the increasingly smug and isolated elites that had mismanaged the country and appeared content to preside over a declining America. They felt the old-boy system in Washington had sold them out and that it was time to disrupt the system. Many ordinary Americans were especially sick of the radical progressives’ shrill disparagement of America and scornful attacks on traditional values, and they were deeply frustrated by the wildly partisan role played by the media. In short, in 2016 many voters felt like the character Howard Beale in the 1976 film Network: “I’m as mad as hell, and I’m not going to take this anymore!” Trump’s pugnacious style worked. These frustrated Americans found in him a fighter willing to punch back, go toe-to-toe with the press, and mount a full-throated defense of America and middle-class values. They were tired of the cooing doublespeak of professional politicians and wanted someone who would tell it like it is—straight from the shoulder—and someone willing to follow through and actually do what other politicians said they would do but never did. Trump’s combativeness also enabled him to break through the distortions and smothering hostility of the partisan media and talk right past them, straight to the American people. For many, supporting Trump was an act of defiance—a protest. The more over the top he was, the more they savored the horrified reaction of the elites, especially the media. Arguments that Trump wasn’t presidential missed the point. Trump’s supporters already knew he didn’t conform to presidential norms. Their question was: Where had presidential norms gotten them? They wanted someone who didn’t conform. The Left was taking a wrecking ball to the country. Many fed up Americans wanted to strike back with their own wrecking ball.

delivered in film, we would hear the actor say “Liberty—someone could slip on that. Break his neck.” Liberty is double-edged; the freedom to succeed is also the freedom to fail.

Where does all that leave the cinema? First, we must acknowledge that a film is a photograph of a drama, and that skilful use of the camera can never excuse the paltriness, sentimentality or weakness of the action. What I have said about modernism and its search for an art that will perpetuate the ethical vision, applies as much to the cinema as it does to the other arts. There are directors who have presented dramas that can be compared with the great modern works for the stage – Bergman, for instance, in Wild Strawberries, where an original situation, conveyed through masterly dialogue, is enhanced by dream sequences and flashbacks of a kind that can be managed successfully only through the skilful cutting that is the essential ingredient in cinematic art. Secondly, however, we must remember the distinction between fantasy and imagination, and the inherent tendency of the camera to realise what it shows – to present not a world of imagination, but a substitute reality. This is never more obvious than in the case of sex and violence, and is the root cause of the fact that these now dominate the cine screen, and would dominate television too, were it not for the censor. With the aid of the camera you can realise violence or the sexual act completely, and so minister to the fantasy which has sex or violence as its focus. If fantasy breaks through the tissue of imagination, then the dramatic thought is scattered, and the imaginative emotions along with it: drama then sinks into the background, and all that we have is obscenity – human flesh without the soul. Hence many people are quickly satiated by cinematic representations, and at the same time deeply disturbed and absorbed by features (violence in particular) which, from the dramatic point of view, have little intrinsic meaning. Imagination withers when realisation blooms, and the ethical view of our condition withers along with it. It is a significant fact that most cinema-goers are disposed to see their favourite films only a few times, and that even people whose interest is not in the drama but in the blood, screams, and orgasms have no great interest in revisiting the last occasion of excitement, and will proceed joylessly to the next one without raising the question of the value of what they watch. This contrasts with every other kind of dramatic art – theatre, novel, opera, dramatic poem – in which the perception of beauty brings with it a desire constantly to return to the source, to re-enact in our emotions a drama which never loses its point for us, since it touches the question why we are here.

The following day, Wilson was still feeling the disorienting effects of the drug. He hallucinated twice, seeing a polar bear wearing a black-turtleneck sweater walk past his house, and then seeing a green, flute-playing Pan, the goat god of nature, in his vegetable garden.139 He did not let such wild sights stop him from going to the movies with Arlen that night, but while watching the film he was hit with an intense wave of anxiety strong enough to immobilize an elephant. He barely made it out of the theater to get some air. Was he still tripping? Belladonna has had terrible effects on people for hundreds of years, giving credence to the old legend that witches and sorcerers used belladonna as a poison and a weapon. The deadly nightshade, to use another of its names, would cause terrible hallucinations and drive people to insanity. Luckily, on the following day, Wilson was fine but again at night the panic hit. This time it lasted for half an hour. To help calm himself down, he concentrated on reciting the plots of old movies to Arlen. By the time he’d finished describing the plot of the film The Third Man, the anxiety attack had passed. Wilson saw the positive in this terrifying dance with Lady Nightshade, as he wrote that the whole experience brought with it an insight into his anxiety which he realized “was sexual excitement.”140

Richard Grierson smiles, but it’s an inward-pointing smile, a smile of someone folding himself back up for storage in the colorful corners of his own crayon fantasies. She looks at the books, their titles hazy with a thin film of sawdust, and she looks at the toy ships built for imaginary journeys along the red dotted lines of a child’s map, and she looks at the exotic pictures in the books still open flat before her, and she understands that these places are just places of the mind, and she wants to be able to exalt his wild dreams and imaginings along with her own—but there’s something about them that make them feel like the saddest thing she’s ever seen.

Brennan often cited Goodbye, My Lady as one of his favorite films. Certainly it was a labor of love in the close collaboration with the director, William Wellman, better known for his action films and for The Ox-Bow Incident (1943). Skeeter (Brandon DeWilde) lives with his none too ambitious uncle Jesse (Brennan) in a swamp, where they find a strange dog with a hyena-like laugh. (It is, in fact a basenji, bred in Africa). Jesse realizes the dog must have escaped from a very different environment, but Skeeter adopts the dog without thinking about the consequences should the dog’s true owner show up. Much of the picture is taken up with Skeeter training the dog to hunt better than other hounds. The deliberate and careful way Wellman paces the film makes it utterly absorbing, even as Brennan delivers one of his best understated performances. With its emphasis on rapport with nature and the land and taking responsibility for other animals, the inspirational script serves as Walter Brennan’s credo. And when the dog’s owner shows up, Skeeter has to learn how to let go of his creation, making for an ending far more real than those of most family films. Sidney Poitier has a small role as a neighbor, and though this story is set in Georgia, there is no evidence of segregation. To the contrary, Poitier’s character appears quite at home with his white neighbors, with whom he shares a bond with the land and its creatures.

The degradation of love here serves merely as a social defence mechanism. The stability of medieval feudal society and even that of the courtly society of the seventeenth century was not threatened by the dangers of love; they needed no such defence against the excesses of prodigal sons. But now, when the frontiers between the social castes are crossed more and more frequently and not only the nobility but also the bourgeoisie has to defend a privileged position in society, the excommunication of the wild, incalculable love-passion, which threatens the prevailing social order, begins, and a literature arises which finally leads to the Dame aux camélias and to our Garbo films.

Candles and waterproof matches.” “Check.” “Weather radio, flashlight, batteries…” “Check, check, check…” “Hurricane-tracking chart, potable water, freeze-dried food, can opener, organic toilet paper, sensible clothes, upbeat reading material, baseball gloves, compass, whistle, signal mirror, first-aid kit, snake-bite kit, mess kit, malaria tablets, smelling salts, flints, splints, solar survival blanket, edible-wild-plant field almanac, trenching tool, semaphores, gas masks, Geiger counter, executive defibrillator, railroad flares, lemons in case of scurvy, Austrian gold coins in case paper money becomes scoffed at, laminated sixteen-language universal hostage-negotiation ‘Kwik-Guide’ (Miami-Dade edition), extra film, extra ammunition, firecrackers, handcuffs, Taser, pepper spray, throwing stars, Flipper lunch box, Eden Roc ashtray, Cypress Gardens felt pennant, alligator snow globe, miniature wooden crate of orange gumballs, acrylic seashell thermometer and pen holder, can of Florida sunshine…” “Check, check, check…. What about my inflatable woman?

The creation of this digital collection, which brings together the entire body of research materials related to William F Cody's personal and professional life, will enable a variety of audiences to consider the impact of William F. Cody the cultural entrepreneur on American life and provide contextualizing documents from other sources, including audio-visual media that exist for the final years of his life. It will allow more scholars to study the man within his times, will provide new resources to contextualize studies of other regional and national events and persons, and will encourage digital edition visitors to explore and learn more about these vital decades of American expansion and development. The digital edition of the Papers will differ significantly from the print edition by including manuscript materials, photographs, and film and sound recordings, and it will offer navigational and search options not possible in the print edition. As Griffin's volume reveals, it took many people to make Buffalo Bill's Wild West happen. Likewise, there are many people whose combined efforts have made this documentary project a reality. All of the generous donors and talented scholars who have contributed to the success of this effort will be noted in due course. But in this, the first publication, it is appropriate to acknowledge that big ideas are carried to fruition only by sound and steady leadership. The McCracken Research Library was fortunate at the advent of the papers project that in its board chair it had such a leader. Maggie Scarlett was not only an early supporter of this documentary editing project but also its first true champion. It was through her connections (and tenacity) that the initial funds were raised to launch the project. Whether seeking support from private donors, the Wyoming State Legislature, federal granting agencies, or the United States Congress, Maggie led the charge and thereby secured the future of this worthy endeavor. Thus, this reissue of Griffin's account is a legacy not only to William Cody but also to all of those who have made this effort and the larger undertaking possible. In that spirit, though these pages rightfully belong to Charles Eldridge Griffin and to Mr. Dixon, if this volume were mine to dedicate, it would be to Maggie. Kurt Graham

There is no standard in creativity , but there are guidelines. Never limit yourself. Go wild and create what you see and feel is right. I believe there is no wrong art as long it comes from within. Those who object what you created don’t understand your art. It doesn’t mean your creativity is wrong. Sometimes it takes times for people to understand and to adopt to something new. Don’t doubt yourself or give up, because of negative comments on your craft.

We have these magnificent minds and hands and ideas and visions, and they beg us to pay attention, give them permission, give them life. I sincerely believe we are created by a Creator to be creative. This is part of His image we bear, this bringing forth of beauty, life, newness. This bears out in one thousand different ways: we write, sculpt, paint, speak, dance, craft, film, design, photograph, draw, bring order, beautify, garden, innovate, produce, cook, invent, fashion, sing, compose, imagine. It looks like art, it looks like music, it looks like community, it looks like splendor. That thing in you that wants to make something beautiful? It is holy.

True, there’s nothing as great as “A Day in the Life,” but “2000 Light Years From Home” isn’t far behind, while “Citadel,” “2000 Man,” or “The Lantern” can hang with anything else on Pepper. The psychedelic Stones peaked with the August 1967 double-sided single of “Dandelion” and “We Love You,” an “All You Need Is Love” parody with backing vocals from John and Paul. The Stones filmed a video for “We Love You” as a commentary on their drug trials, set in a Victorian courtroom. Mick plays Oscar Wilde, in the dock for crimes of love; Marianne Faithfull plays his boy toy Lord Alfred Douglas. And as the judge—Keith, of course, complete with wig, robe, and gavel.

I am Jane, a savage wild child writer, Brit, Mensa member. I don't write fluff or you know the princess saves the damsel. I write hard core lesbian crime/Film/Noir/Erotica books, satiated with sex, rock n roll, guns, love, compassion, violence and above all acute honesty about my generation of plugged in gay girl kids. Seat Belt Required

By the way, I’m not exactly wild about the Tacoma Narrows Bridge, and my jaundiced opinion has nothing to do with the fact that it’s now a toll bridge. My dislike goes all the way back to the time when I was a little kid growing up in Seattle. I was born only a few short years after the original Tacoma Narrows Bridge, otherwise known as Galloping Gertie, crashed into the drink. The bridge had been open for only a few months when it started swaying uncontrollably and then collapsed during a fierce windstorm during the winter of 1940. It took ten years to build a replacement. When that one opened in 1950, newsreels in theaters replayed the flapping demise of Galloping Gertie over and over. For me, seeing that film footage left a lasting impression.

I can’t say why this film [Wild Strawberries] materialised. But I know that the important thing is to use myself both as tree and axe. In the end that’s all I have.

Prior to the rafting trip and one week after, I and my collaborators at UC Berkeley, Craig Anderson and Maria Monroy, gathered measures of stress, well-being, and post-traumatic stress disorder (PTSD), the latter based on reports of sleep disruption, intrusive memories, flashbacks, and feeling on edge. Before and after the rafting trip, participants spat into little vials so that we could assay changes in stress-related cortisol over the course of the excursion. We mounted GoPros on the fronts of the rafts, allowing us to film, up close, coordinated rowing, synchronized hoots and hollers, collective laughter, oar touching and celebratory calls after navigating dangerous rapids, shrieks of fear, and vocal bursts of awe—wow, oooooh, aah, whoa. After lunch on the day of the rafting trip, we asked our teenagers and veterans to write about their experiences on the river, to tell their stories of wild awe. As

[Of the documentary film My Octopus Teacher, made by Craig Foster:] Gentleness is the most important thing that hours and hours in nature can teach, Foster says. She made me feel just how precious wild places are, he says. You start to care about all the animals, even the tiniest ones, you understand how highly vulnerable these animals' lives are, how vulnerable all lives are. You start to think about your own vulnerability and about death, your own death. And in the hours and hours he spent exploring the kelp forest, he was stunned repeatedly by the intelligence--the genius--of what he calls the forest mind, a great underwater brain developed over eons, and the intricate work it does to keep everything balanced.

But there was a fly in the ointment. Because of his inexperience, Litchfield did not realize that U-matic tape was the wrong medium for a proper documentary. “You couldn’t edit the stuff,” he explained. “It was totally wild. You couldn’t sync it. The only thing it had going for it was that you could put a soundtrack down, so the quality of the sound on all the stuff that I did with him is absolutely brilliant, but the quality of the vision is shit. I had to [transfer the material] from video to film to edit it, and once you’ve gone down one generation, the quality just disappears. “But he was happy to experiment if I was, and I was. Neither of us knew what the fuck we were doing. We had a disagreement one day over the direction the video was taking, when we were editing it, and Paul said, ‘You don’t know what you’re talking about.’ I said, ‘Neither do you,’ and he said, ‘No, I know—it’s sort of our private film school, really, isn’t it?’”30

Hollywood would never be the same again. Because what was possible, this scruffy and slightly shambolic band had proven, was absolutely anything. They had battled ghouls, made a giant action movie based around blues music, set the template for the buddy-cop film, and inspired millions around the world to memorize and repeat their quips. They had even, on occasion, made people cry. Not all of their material has aged well, and some of it wasn't even funny at the time. But there is no denying that their vast ambition, raw talent, and total disregard for the rules combined to create a movement that was beloved, influential, and truly special. Their movies have been remade, spun off, and homaged to death, and fans still dress up as Ghostbusters, Blutos, and Blues Brothers (the mutant troll-babies from Nothing But Trouble, not so much). Hollywood scouts now keep a close eye on TV sketch shows, particularly SNL, as well as web series on the cutting edge of comedy, in the hopes of finding the next big star. And studio comedies have become raunchier, weirder, bigger, and looser, always chasing that elusive alchemy that happened in the 1980s, when a bunch of very silly men were given very large sums of money and allowed to go play.

Never underestimate the desire for wildly successful men to torture themselves for fun.

I’m teaching early modernist literature, and my students have all of these very bizarre moral reads on the books, which I believe comes from their native narrative intake, which is mostly all of these stupid fucking comic book movies.” “Whoa, whoa, whoa, buddy,” said Moddie. “If you didn’t see Wonder Woman, I’m pretty sure you’re a rapist.” “Well, exactly!” said Peter. “Exactly. Well, film, but probably actually TV, has quite obviously replaced literature as the dominant narrative form. That’s not controversial, it’s just true. So now people are learning how to create narrative identity out of their own experiences using this model we see in film where good triumphs over evil. We see ourselves in the characters as good, and we internalize that to mean that we are good heroes and anything that upsets us or gets in the way of our heroic and constant ascent is evil. We don’t understand anything about the dark parts of our own nature. All of those parts are repressed, so of course, when we see those parts of ourselves expressed in another person, we attack. We vanquish the evil in ourselves by exerting control over others, through shaming, shunning, accusation, boycott. And this is the cultural norm right now, for some obvious and relatable reasons.” “Sure.” “In criticizing oversimplification and scapegoating, I’m not trying to oversimplify and create a new scapegoat. Some people and some actions should be condemned. Some things are objectively bad. But it’s gone too far, and when I see the Marvel Universe mind confronting the complexity of James—it’s wild. They get angry. So, I wanted to try to trace this narrative lineage back from Wonder Woman, for example, through Syd Field’s screenwriting books, Joseph Campbell—who was a Republican who fucked his students, if the author’s identity is important to you,” said Peter, raising and shaking his finger, “back in time to Freytag’s Pyramid, Debit and Credit, and this whole idea of the objectively perfect narrative form or structure, and how this entire notion, which has created the ‘new paradigm,’ ” Peter made a face, “of storytelling, is based on an intense philosophy of racial purity, is essentially propaganda, and is incredibly spiritually limiting, and the best thing we could do would be to become aware of exactly what it is we are consuming before we let it dictate our inner moral and aesthetic compasses.” Peter was very excited. “So, you wanted to do a lecture about how all of your students are fascists but don’t know it?” asked Moddie. Peter shrugged. “I was high.” “How did you imagine it would go?” asked Moddie. “Dead Poets Society.

If we survive this, I will drive you to a zoo and film your social media content for you. And I hate social media, but I don’t break promises.

Since I started filming in the 1950s, on average, wild animal populations have more than halved. I look at these images now and I realize that, although as a young man I felt I was out there in the wild experiencing the untouched natural world... it was an illusion. Those forests and plains and seas were already emptying.

Do it or don’t do it, but if you decide to do it, then start from the premise that we are all working together toward a common goal, everyone has a right to their voice and fair treatment, park your ego and your weird sensitivities at the door, learn how to give up your fears and anxieties, and learn how to embrace the goal of having a good time as at least as important as creating “a professional product,” or coming in on time and on budget. And if you treat people right, and everyone buys in to the premise that we are all working together, fear and anxiety fade away, and the positive joy of creating something can grow and grow, and we all end up doing much more and much better than we previously knew we could, and that experience, that knowledge, that the enjoyment of what we’re doing as a first and primary goal is not just a desired side effect, but it’s also one of the best guarantors of a positive outcome, a great show, a great film, a great broadcast, can be life-changing. And also, you will find that as the project moves forward, you will attract amazing positive input from new people, formerly strangers, who will help you along the way. And if it doesn’t work out as well as we hoped, well, there’s always tomorrow—plus, we had a good time!

Your stepmother told me that you weren't interested in helping me!" Brigid snorted. "You spoke to Sienna Laguerre? When?" "Right after you turned eighteen. I sent you a letter you never answered, so I got the attorney to give me your dad's phone number, and when I called your stepmother answered." "My stepmom? You mean the monster who tortured me every goddamned day until I got my first movie gig and moved the hell out of her house? The stepmother I haven't spoken to since that happened? The stepmother who was the inspiration for the life-sucking demon in the first film I wrote?" Phoebe pulled in a deep breath and held it. "Fuck," she sighed as she set it free. Sibyl was right. She'd been an idiot to listen to Brigid's stepmother.

Filmyzilla— Zootopia 2 - 2025 FullMovie Download Mp4moviez Hindi Dubbed. Almost a decade after Disney’s original blockbuster charmed audiences around the globe, **Zootopia 2 (2025)** is finally stepping back into the spotlight. Fans who fell in love with the warm, witty, species-spanning world of Judy Hopps and Nick Wilde now have a brand-new adventure coming their way — and the excitement is real. From returning cast members to brand-new mammals in the city, from Disney’s production secrets to official release details, here is the **complete, humanized, detailed deep-dive** into the world of *Zootopia 2*. CLICK HERE TO WATCH CLICK HERE TO DOWNLOAD **Introduction: The City That Changed Animated Storytelling** When *Zootopia* first released in 2016, it wasn’t just another animated film — it was a cultural moment. With commentary on prejudice, unity, and ambition wrapped in a fast-paced buddy-cop narrative, the film earned Disney over **$1 billion worldwide** and won the **Academy Award for Best Animated Feature**. Now, in 2025, Disney revives that magic. But this time, the city is bigger. The stakes are higher. And Judy and Nick face challenges unlike anything they’ve tackled before. --- **Zootopia 2 (2025) – Official Release Date** Disney has confirmed that **Zootopia 2 will release on November 26, 2025**. The film will hit theaters worldwide before eventually heading to digital platforms and Disney+ sometime afterward. This means fans will be returning to Zootopia right in time for the holiday season — a prime spot for major animated blockbusters. --- **Cast & Characters — Who’s Returning?** Just like the original, *Zootopia 2* brings together a powerful and charismatic voice cast. ⭐ **Returning Voices** * **Ginnifer Goodwin** as *Judy Hopps* — the ambitious bunny now rising in the ranks of the ZPD. * **Jason Bateman** as *Nick Wilde* — the sly fox turned confident police officer. * **Idris Elba** as *Chief Bogo* — the strong, commanding leader of the ZPD. * **Nate Torrence** as *Clawhauser* — the lovable cheetah officer with endless optimism. * **Jenny Slate** as *Bellwether* — rumored to return in a limited capacity. ⭐ **New Characters (Rumored + Confirmed)** Disney has hinted at new mammals joining the city, potentially expanding story arcs in: * **Outlands / unexplored districts** * **New police department divisions** * **Entertainment and political sectors of Zootopia** While specific casting details are still emerging, Disney is expected to introduce: * A new **antagonist** from a powerful predator class * A **comedian-styled civilian mammal** for humor balance * A political figure who may challenge Judy and Nick’s mission More cast confirmations are expected throughout 2025. --- **Plot Overview — What Is Zootopia 2 About?** Disney has not released a full plot synopsis, but based on insider interviews, early teasers, and production leaks, *Zootopia 2* dives deeper into the political and social ecosystem of Zootopia. **What We Know So Far** * Judy and Nick are now a **full-time investigative duo**, solving larger-scale crimes. * A mysterious series of **citywide disruptions** forces the ZPD to explore new biomes far beyond Zootopia’s original limits. * The film explores **prey–predator dynamics**, new forms of unity, and a rising internal conflict that threatens the city’s stability. * There will be **new districts**, possibly including: * A high-tech mammal sector * An ancient forest-themed region * A desert civilization with political influence

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