Kids Films Quotes

... suddenly I was a kid in the hall standing outside my locker about to head to Math. But that was how it went sometimes, the English language, when you really needed it, crumbled to clay in your mouth. That's when all the real things were said.

Irony is the kid who steals music and is stolen by the music.

This term is used in the 1944 Ingrid Bergman film Gaslight, in which a husband purposefully drives his wife insane by flickering lights, making noises in the attic, and then claiming the very real experience was all in her head.

Tibby sat on the outside of a group of kids in the film program. There was a lot of dark clothing and heavy footwear, and quite a few piercings glinting in sunlight. They had invited her to sit with them while they all finished up their lunches before film seminar. Tibby knew that they had invited her largely because she had a ring in her nose. This bugged her almost as much as when people excluded her because she had a ring in her nose.

...Television is cretinizing me – I can feel it. Soon I’ll be like the TV artists. You know the people I mean. Girls who subliminally model themselves on kid-show presenters, full of faulty melody and joy, Melody and Joy. Men whose manners show newscaster interference, soap stains, film smears. Or the cretinized, those who talk on buses and streets as if TV were real, who call up networks with strange questions, stranger demands...If you lose your rug, you can get a false one. If you lose your laugh, you can get a false one. If you lose your mind, you can get a false one.

There are those wonderful moments of clarity in life when one is reminded how irreparably flawed we humans are. Once, when I was nineteen, on the subway in Boston I lost my balance slightly and bumped into an elderly woman. I quickly apologized and she replied, "Well, hold on to something, stupid." There it is. That's it. That's it in a nutshell. I don't want to sound negative, but I think every fetus should be shown a film of that incident, maybe projected up on the uterine wall, and then asked if it wants to come out. I am a strong believer in a woman's right to choose, but I also think that in the last trimester, the kid should be given every opportunity to back out.

If I learned anything about her it was that she lived with a vehemence most of us never have the courage for." Banks tells me. "But there was something about her that precluded an ordinary existence. In some ways, I'm not surprised she's dead. A job, husband, kids, a beach house? That wasn't her. I can't explain why, except she was more like a force that whipped through life, defying logic, scaring you, even hurting you because she was everything you wanted to be, but you knew you'd never have the guts - and then she was gone. That was my experience with Ashley Cordova.

I’m pretty sure Mom and Dad didn’t see me coming, either: the kid with the black moods, the kid whose mind was always elsewhere, flinching from real life as from a bruise. Who wanted to lay a fiction-filter on top of everything and pretend it was something else just to keep the sheer disappointment of it all bearable: this limited, empirical experience of ours, trapped inside a decaying shell of meat, mainly able to perceive that nothing lasts, even in our most pleasurable moments.

A refurbished Star Wars is on somewhere or everywhere. I have no intention of revisiting any galaxy. I shrivel inside each time it is mentioned. Twenty years ago, when the film was first shown, it had a freshness, also a sense of moral good and fun. Then I began to be uneasy at the influence it might be having. The first bad penny dropped in San Francisco when a sweet-faced boy of twelve told me proudly that he had seen Star Wars over a hundred times. His elegant mother nodded with approval. Looking into the boy's eyes I thought I detected little star-shells of madness beginning to form and I guessed that one day they would explode. 'I would love you to do something for me,' I said. 'Anything! Anything!' the boy said rapturously. 'You won't like what I'm going to ask you to do,' I said. 'Anything, sir, anything!' 'Well,' I said, 'do you think you could promise never to see Star Wars again?' He burst into tears. His mother drew herself up to an immense height. 'What a dreadful thing to say to a child!' she barked, and dragged the poor kid away. Maybe she was right but I just hope the lad, now in his thirties, is not living in a fantasy world of secondhand, childish banalities.

The air was so thick with crumbs that it was like a scene from the horror film that cakes would make if they had video cameras and thumbs.

Cinema – all art really – has great power. Power to illuminate. Power to transform. For those of us who experience film as literature, classic movies comprised an introductory education in the genre. As kids, many of us went searching through library shelves for obscure source novels after seeing some old movie or other. It was the start of many an adventure.

You reach a certain age when reality grabs you by the scruff of the neck and shouts in your face:"Hey, look, this is what life is." And you have to open your eyes and look at it, listen to it, smell it: people who don't like you, things you don't want to do, things that hurt, things that scare you, questions without answers, feelings you don't understand, feelings you don't want but have no control over. Reality. When you gradually come to realise that all that stuff in books, films, television, magazines, newspapers, comics - it's all rubbish. It's got nothing to do with anything. It's all made up. It doesn't happen like that. It's not real. It means nothing. Reality is what you see when you look out of the window of a bus: dour faces, sad and temporary lives, millions of cars, metal, bricks, glass, rain, cruel laughter, ugliness, dirt, bad teeth, crippled pigeons, little kids in pushchairs who've already forgotten how to smile ...

My mom once told me that it's difficult for kids to recognize their parents as anything but supporting cast members in their own feature films, and here it was true. I'd been so wrapped up in my own story with my father that I hadn't stopped to think about what his story was.

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

For all the talk about the merging of film and video game, and for all its inevitability, perhaps the secret of true convergence lies not in an external reality , but in an internal truth: What kids seek from video games is what we all seek from our own distractions--be they movies, radio, comic books, literature, or art: an escape from the mundane to the sublime, where our imaginations make of us heroes, lovers, warriors, and gods.

My kids love going to movies, and I enjoy taking naps during those movies. Sure, I’m not thrilled to pay twelve dollars to take a nap, yet it always seems worth it. I’m not even concerned that I’m missing the film, because I know I’ll have another dozen times to see it at home when my kids watch it on Netflix or force me to buy it on iTunes for a thousand dollars.

Well, you have adventures. All start out with troubles, but then you admit your problems and become a better person by working really hard, which is what fertilizes the happy ending and allows it to bloom—just like the end of all the Rocky films, Rudy, The Karate Kid, the Star Wars and Indiana Jones trilogies, and The Goonies, which are my favorite films, even though I have sworn off movies until Nikki returns, because now my own life is the movie I will watch, and well, it’s always on.

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.

Screaming. Did I mention the screaming? Screaming is usually associated with horror films and roller coasters. This is why I usually look like I’ve just watched a horror film on a rollercoaster. Kids love to scream. Frightened, happy, bored. They scream. I’ve actually learned to love the sound of a vacuum cleaner. It’s just so peaceful.

All those adorable towheaded kids in the promotional film are going to turn thirteen. Once a family member hits puberty, odds are that everybody is not going to have the same ideals. Unless everybody gets together and agrees that the new ideals involve turning the front yard into a skate ramp and officially changing Dad's name to Fuckhead.

The show was over and you had a sinister feeling that out there in the darkness all over the country there were millions of kids—decoding.

The Big Nurse is able to set the wall clock at whatever speed she wants by just turning one of those dials in the steel door; she takes a notion to hurry things up, she turns the speed up, and those hands whip around that disk like spokes in a wheel. The scene in the picture-screen windows goes through rapid changes of light to show morning, noon, and night - throb off and on furiously with day and dark, and everybody is driven like mad to keep up with that passing of fake time; awful scramble of shaves and breakfasts and appointments and lunches and medications and ten minutes of night so you barely get your eyes closed before the dorm light's screaming at you to get up and start the scramble again, go like a sonofabitch this way, going through the full schedule of a day maybe twenty times an hour, till the Big Nurse sees everybody is right up to the breaking point, and she slacks off on the throttle, eases off the pace on that clock-dial, like some kid been fooling with the moving-picture projection machine and finally got tired watching the film run at ten times its natural speed, got bored with all that silly scampering and insect squeak of talk and turned it back to normal.

I walked out of the condos onto the flat lithesome beach this morning, and took a walk in my swimming trunks and no shirt on. And I thought that one natural effect of life is to cover you in a thin layer of . . . what? A film? A residue or skin of all the things you've done and been and said and erred at? I'm not sure. But you are under it, and for a long time, and only rarely do you know it, except that for some unexpected reason or opportunity you come out--for an hour or even a moment--and you suddenly feel pretty good. And in that magical instant you realize how long it's been since you felt just that way. Have you been ill, you ask. Is life itself an illness or a syndrome? Who knows? We've all felt that way, I'm confident, since there's no way that I could feel what hundreds of millions of other citizens haven't. Only suddenly, then, you are out of it--that film, that skin of life--as when you were a kid. And you think: this must've been the way it was once in my life, though you didn't know it then, and don't really even remember it--a feeling of wind on your cheeks and your arms, of being released, let loose, of being the light-floater. And since that is not how it has been for a long time, you want, this time, to make it last, this glistening one moment, this cool air, this new living, so that you can preserve a feeling of it, inasmuch as when it comes again it may just be too late. You may just be too old. And in truth, of course, this may be the last time that you will ever feel this way again.

Not even much survives as memory. Many of the most notable names of the summer—Richard Byrd, Sacco and Vanzetti, Gene Tunney, even Charles Lindbergh—are rarely encountered now, and most of the others are never heard at all. So it is perhaps worth pausing for a moment to remember just some of the things that happened that summer: Babe Ruth hit sixty home runs. The Federal Reserve made the mistake that precipitated the stock market crash. Al Capone enjoyed his last summer of eminence. The Jazz Singer was filmed. Television was created. Radio came of age. Sacco and Vanzetti were executed. President Coolidge chose not to run. Work began on Mount Rushmore. The Mississippi flooded as it never had before. A madman in Michigan blew up a school and killed forty-four people in the worst slaughter of children in American history. Henry Ford stopped making the Model T and promised to stop insulting Jews. And a kid from Minnesota flew across an ocean and captivated the planet in a way it had never been captivated before. Whatever else it was, it was one hell of a summer.

It's one of these juvenile therapy scams,” he went on, sprinkling a pinch of the Golden Virginia tobacco along the rolling paper. “They advertise help for your troubled teen by staring at the stars and singing ‘Kumbaya’. Instead, it’s a bunch of bearded nutjobs left in charge of some of the craziest kids I’ve ever seen in my life—bulimics, nymphos, cutters trying to saw their wrists with the plastic spoons from lunch. You wouldn’t believe the shit that went on.” He shook his head. “Most of the kids had been so mentally screwed by their parents they needed more than twelve weeks of wilderness. They needed reincarnation. To die and just come back as a grasshopper, as a fucking weed. That’d be preferable to the agony they were in just by being alive.

As a kid, I would work tirelessly on adding elements to my game. I would see something I liked in person or on film, go practice it immediately, practice it more the next day, and then go out and use it. By the time I reached the league, I had a short learning curve. I could see something, download it, and have it down pat.

Here it is undeveloped, a roll of film with all its mysteries locked up. I never took it anyplace, just left it waiting in a drawer dreaming of stars. That was our time, to see if Lottie Carson was who we thought she was, all those shots we took, cracking up, kissing with our mouths open, laughing, but we never finished it. We thought we had time, running after her, jumping on the bus and trying to glimpse her dimple through the tired nurses arguing in scrubs and the moms on the phone with the groceries in the laps of the kids in the strollers. We hid behind the mailboxes and lampposts half a block away as she kept moving through her neighborhood, where I've never been, the sky getting dark on only the first date, thinking all the while we'd develop it later.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

And that fear I'd felt, the disembodying confusion, seemed to be a drug I was now addicted to, because moving through the ordinary world- watching CNN, reading the Times, walking to Sant Ambroeus to have a coffee at the bar- made me feel exhausted, even depressed. Perhaps I was suffering from the same problem as the man who'd sailed around the world and now on land, facing his farmhouse, his wife and kids, understood that the constancy of home stretching out before him like a dry flat field was infinitely more terrifying than any violent squall with thirty-foot swells.

I was aware of how shoddily stitched together the words were—suddenly I was a kid in the hall standing outside my locker about to head to Math. But that was how it went sometimes, the English language, when you really needed it, crumbled to clay in your mouth. That’s when all the real things were said.

.... she was like a flower. And suddenly, for a vivid minute, Hercule Poirot had a new conception of the dead girl. In that halting rustic voice the girl Mary lived and bloomed again. "She was like a flower." There was suddenly a poignant sense of loss, of something exquisite destroyed. In his mind phrase after phrase succeeded each other. Peter Lord's "She was a nice kid." Nurse Hopkins's "She could have gone on the films any time." Mrs. Bishop's venomous "No patience with her airs and graces." And now last, putting to shame, laying aside those other views, the quiet, wondering, "She was like a flower.

I thought of him, with his feet in the Chateau Marmont pool and his fork in a carrot cake. He was just a little kid. I was upset at what I had introduced him to, the records and films he didn't already know. I felt like a mother who had left syringes around the room and let her baby get hooked on hard drugs.

So they think wrong. Am I to blame because the world is full of fatheads? You know well enough that birth control has nothing to do with killing babies. In fact it saves them. Which is the bigger crime—letting kids die of disease and starvation or seeing that the unwanted ones don’t get born in the first place?

Aside from wanting to write cracking good books that turn children into lifelong readers, I really want to create stories that enable kids to LOOK at the world around them. To see it for what it is, with wide open, wondering eyes. Our mass media is so horribly skewed. It presents this idea of 'normalcy' which excludes and marginalises so many for an idea of commercial viability which is really nothing but blinkered prejudice. People who are black and Asian and Middle Eastern and Hispanic, people who are gay or transgendered or genderqueer, people who have disabilities, disfigurements or illnesses - all have this vision of a world which does not include them shoved down their throats almost 24-7, and they're told 'No one wants to see stories about people like you. Films and TV shows about people like you won't make money. Stories about straight, white, cisgendered, able-bodied people are universal and everyone likes them. You are small and useless and unattractive and you don't matter.' My worry is that this warped version of 'normal' eventually forms those very same blinkers on children's eyes, depriving them of their ability to see anyone who isn't the same as them, preventing them from developing the ability to empathise with and appreciate and take joy in the lives and experiences of people who are different from them. If Shadows on the Moon - or anything I write - causes a young person to look at their own life, or the life of another, and think, 'Maybe being different is cool' I will die a happy writer. -Guest blog - what diversity means to me

One day about a month ago, I really hit bottom. You know, I just felt that in a Godless universe, I didn't want to go on living. Now I happen to own this rifle, which I loaded, believe it or not, and pressed it to my forehead. And I remember thinking, at the time, I'm gonna kill myself. Then I thought, what if I'm wrong? What if there is a God? I mean, after all, nobody really knows that. But then I thought, no, you know, maybe is not good enough. I want certainty or nothing. And I remember very clearly, the clock was ticking, and I was sitting there frozen with the gun to my head, debating whether to shoot. [The gun fires accidentally, shattering a mirror] All of a sudden, the gun went off. I had been so tense my finger had squeezed the trigger inadvertently. But I was perspiring so much the gun had slid off my forehead and missed me. And suddenly neighbors were, were pounding on the door, and, and I don't know, the whole scene was just pandemonium. And, uh, you know, I-I-I ran to the door, I-I didn't know what to say. You know, I was-I was embarrassed and confused and my-my-my mind was r-r-racing a mile a minute. And I-I just knew one thing. I-I-I had to get out of that house, I had to just get out in the fresh air and-and clear my head. And I remember very clearly, I walked the streets. I walked and I walked. I-I didn't know what was going through my mind. It all seemed so violent and un-unreal to me. And I wandered for a long time on the Upper West Side, you know, and-and it must have been hours. You know, my-my feet hurt, my head was-was pounding, and-and I had to sit down. I went into a movie house. I-I didn't know what was playing or anything. I just, I just needed a moment to gather my thoughts and, and be logical and put the world back into rational perspective. And I went upstairs to the balcony, and I sat down, and, you know, the movie was a-a-a film that I'd seen many times in my life since I was a kid, and-and I always, uh, loved it. And, you know, I'm-I'm watching these people up on the screen and I started getting hooked on the film, you know. And I started to feel, how can you even think of killing yourself. I mean isn't it so stupid? I mean, l-look at all the people up there on the screen. You know, they're real funny, and-and what if the worst is true. What if there's no God, and you only go around once and that's it. Well, you know, don't you want to be part of the experience? You know, what the hell, it's-it's not all a drag. And I'm thinkin' to myself, geez, I should stop ruining my life - searching for answers I'm never gonna get, and just enjoy it while it lasts. And, you know, after, who knows? I mean, you know, maybe there is something. Nobody really knows. I know, I know maybe is a very slim reed to hang your whole life on, but that's the best we have. And then, I started to sit back, and I actually began to enjoy myself.

One thing I like about the 1950s is that kids were hip without any sense of irony about it.  They were dressing in fifties cool-cat clothing with complete sincerity.  Nobody wanted to be“retro”back then. With the Depression still fresh in everybody’s mind, did anyone in the 1950s dress up as the Joad family from The Grapes of Wrath, and go to Dust Bowl-themed parties because they thought it was cool?  Probably not.  In the past, the past was something you wanted to forget about rather than romanticize.  I really miss those days. 

Part of growing up is developing a bullshit detector, and kids usually do a pretty fair job of wising each other up.

The film is a prime example of when Hollywood gets it all right.

These kids should be out drinking beer and seeing films and having panty raids and losing virginities and writhing to suggestive music, not making up long, sad, convoluted stories.

The on-screen depiction of oral sex performed on women has consistently earned movies an NC-17 rating – Blue Valentine, Boys Don’t Cry, and Charlie Countryman are a few that come to mind. The same standard has certainly not been applied to on-screen blow jobs. I often think of 2013s Lovelace, a biopic about the star of the 1972 porn film Deep Throat. This was an entire movie dedicated to fellatio, and to extreme sexual violence, and even that was given a mild R. Sure, let the kids watch a porn star get repeatedly raped, but female desire? No, no, no.

Men grow up expecting to be the hero of their own story. Women grow up expecting to be the supporting actress in somebody else's. As a kid growing up with books and films and stories instead of friends, that was always the narrative injustice that upset me more than anything else. I felt it sometimes like a sharp pain under the ribcage, the kind of chest pain that lasts for minutes and hours and might be nothing at all or might mean you're slowly dying of something mundane and awful. It's a feeling that hit when I understood how few girls got to go on adventures. I started reading science fiction and fantasy long before Harry Potter and The Hunger Games, before mainstream female leads very occasionally got more at the end of the story than together with the protagonist. Sure, there were tomboys and bad girls, but they were freaks and were usually killed off or married off quickly. Lady hobbits didn't bring the ring to Mordor. They stayed at home in the shire.

How to describe the things we see onscreen, experiences we have that are not ours? After so many hours (days, weeks, years) of watching TV—the morning talk shows, the daily soaps, the nightly news and then into prime time (The Bachelor, Game of Thrones, The Voice)—after a decade of studying the viral videos of late-night hosts and Funny or Die clips emailed by friends, how are we to tell the difference between them, if the experience of watching them is the same? To watch the Twin Towers fall and on the same device in the same room then watch a marathon of Everybody Loves Raymond. To Netflix an episode of The Care Bears with your children, and then later that night (after the kids are in bed) search for amateur couples who’ve filmed themselves breaking the laws of several states. To videoconference from your work computer with Jan and Michael from the Akron office (about the new time-sheet protocols), then click (against your better instincts) on an embedded link to a jihadi beheading video. How do we separate these things in our brains when the experience of watching them—sitting or standing before the screen, perhaps eating a bowl of cereal, either alone or with others, but, in any case, always with part of us still rooted in our own daily slog (distracted by deadlines, trying to decide what to wear on a date later)—is the same? Watching, by definition, is different from doing.

All I'm saying is that there is a generation gap, and I think it revolves around this public/private thing. Our generation -- we subscribe to the old liberal doctrine of the inviolate self. I'ts the great tradition of realistic fiction, it's what novels are all about. the private life in the foreground, history a distant rumble of gunfire, somewhere offstage. In Jane Austen not even a rumble. Well, the novel is dying, and us with it. No wonder I could never get anything out of my novel-writing class at Euphoric State. It's an unnatural medium for their experience. Those kids...are living a film, not a novel.

And so I have brought this pint for him—a proper Irish pint, from Ireland. This pint—brought through the sky, and over the sea. I am finally buying my old man a good pint of Guinness. As I walk through the door, holding the glass—kids throwing themselves at me, one already crying—I hold it out to Dadda, and tell him to sip it. He tears the cling film off—looking at me, confused—and then takes a sip. “Christ. That’s flat,” he says.

OCTOBER Wednesday My parents are always saying the world doesn’t revolve around me, but sometimes I wonder if it actually DOES. When I was a little kid, I saw this movie about a man whose whole life is secretly being filmed for a TV show. This guy is famous all over the world, and he doesn’t KNOW it. Well, ever since I saw that movie, I’ve kind of figured the same thing is probably happening to ME. HOPE YOU CREEPS ARE ENJOYING YOURSELVES!

The Lion King? It's just a kid's film. Just a kid's film?!? Yeah, just a kid's film with an IMDB rating of 8.5, 2 Academy Awards and 2 Golden Globes, that's been adapted into THE most successful West-end musical of all time, generating a gross profit of 8 million pounds and counting. "But maybe it's just a kid's film because it doesn't deal with any mature films" said fucking nobody ever. The Lion King is the greatest anthropomorphic assault upon the theme of mortality that Western culture has ever produced. It is so complex that your tiny, shriveled, and scrotum of a brain wouldn't dare to fathom it. So no, it is not just a kid's film, it is Shakespear with fur!

In Aditya Chopra’s old office, there used to hang a poster of DDLJ with the following inscription by Shah Rukh Khan: “More than half my career ago, you gave me a dream to cherish all my life. My kids will see it, my grandchildren will love it and I’m sure even in heaven they are playing our film – so my parents would have seen it too. Thanx for taking me to them and making me the star I’m today. Lots of love and come let’s make some more dreams together.

Most of the kids had been so mentally screwed up by their parents they needed more than twelve weeks of wilderness. They needed reincarnation. To die and just come back as a grasshopper, as a fucking weed. That'd be preferable to the agony they were in just by being alive.

It wasn’t much to most kids. I mean, I was basically getting recognized for being straight dogshit, ignoring that I was straight dogshit, and doing anything in my power just to maintain my dogshittiness. I think on Urban Dictionary that’s the definition for insanity—or a Michael Bay film.

Perhaps I was suffering from the same problem as the man who’d sailed around the world and now on land, facing his farmhouse, his wife and kids, understood that the constancy of home stretching out before him like a dry flat field was infinitely more terrifying than any violent squall with thirty-foot swells.

I imagine, sometimes, that if a film could be made of one’s life, every other frame would be death. It goes so fast we’re not aware of it. Destruction and resurrection in alternate beats of being, but speed makes it seem continuous. But you see, kid, with ordinary consciousness you can’t even begin to know what’s happening.

If I had three lives, I’d marry you in two. And the other? That life over there at Starbucks, sitting alone, writing — a memoir, maybe a novel or this poem. No kids, probably, a small apartment with a view of the river, and books — lots of books and time to read. Friends to laugh with; a man sometimes, for a weekend, to remember what skin feels like when it’s alive. I’m thinner in that life, vegan, practice yoga. I go to art films, farmers markets, drink martinis in swingy skirts and big jewelry. I vacation on the Maine coast and wear a flannel shirt weekend guy left behind, loving the smell of sweat and aftershave more than I do him. I walk the beach at sunrise, find perfect shell spirals and study pockmarks water makes in sand. And I wonder sometimes if I’ll ever find you.

We'd already had sex enough times for my body to feel like his and his mine, really nothing new there, but we both had low self-esteem, regularly felt suicidal compulsions, were bullied as kids, and pretentiously enjoyed arty films and books while hating basic crap like Haruki Murakami, Hong Sangsoo, French literature, and Audis, all of which made us end up thinking we were something special as a pair.

Let me first establish—on your behalf—feelings of animosity and disgust at the mendacity inherent in this concept of "cartoon." Whenever someone hits you with a conversational shot that is crude or is intended to hurt, and you bristle, the shooter quickly throws up his/her hands and tries to get you to believe, "I was only kidding. It was all in fun. Boy, are you overreacting. You musn't take it seriously, it was just a joke." Well, we know it wasn't any such thing. It was a snippet of truth slipping past the cultural safeguards that keep us dealing with one another with civility. It was for real. Similarly, when such films as Streets of Fire and Gremlins and Temple of Doom are made, we are expected to take them seriously enough to plonk down five bucks for a ticket. When they fail to deliver what they've promised in all those tv clips, and we express our anger at having been fleeced, the shooters tell us we're overreacting and we should feel a lot better about losing our five or ten or whatever amount they got out of us, because it was all a gag. I wonder how well they'd take the gag if we paid for the tickets with counterfeit bills. Or pried open the firedoor at the theater and sneaked in with the entire Duke University Marching Band. "It was all a joke, fellahs; don't take it so seriously; gawd, are you overreacting!" No, they cannot have that cake and eat it, too.

I love my kids, and I’m so proud of them for everything that they have accomplished. My oldest child, Elon, is making electric cars to save the environment and launching rockets. My middle child, Kimbal, opened farm-to-table restaurants and is teaching children across the country to build fruit and vegetable gardens in underserved schools. My youngest child, Tosca, runs her own entertainment company, producing and directing romance films from bestselling novels. They all have different interests.

I don't normally read reviews of children's books, mostly because I can't be bothered, and because kids - my kids, anyway - are not interested in what the Guardian thinks they might enjoy. One of my two-year-old's favourite pieces of night-time reading, for example, is the promotional flyer advertising the Incredibles that I was sent, a flyer outlining some of the marketing plans for the film. If you end up having to read that out loud every night, you soon give up on the idea of seeking out improving literature sanctioned by the liberal broadsheets.

George Pelecanos: This is what I think we did best: we showed people how things work, why things are the way they are. ...if you came up the way I did, you've been hearing all your life, "Why can't these kids just pull themselves up by their bootstraps to get out of the ghetto?" Like it's easy. I think in that season [three/four], we showed America why it's very difficult for them to do that, because of everything they're up against. That's really what I'm proud of, is that we articulated on film the mechanics of why things are the way they are. (257)

Of Human Bondage?" Will said quickly, moving just out of sight for a moment and forcing Charlie to move to the edge of the dining area to see him. He tossed one arch look over his shoulder as he reached up to grab that book, and even knowing it was an act, Charlie felt himself tensing. His eyes fell on the leather cuff at Will's wrist, as they were probably meant to. "Kinky." Charlie's throat locked. "I'm not..." "Into Bette Davis? I know, a lot of people find her scary at first, but after awhile you really start to get into her." The completely reasonable tone was at odds with the wicked light in the kid's eyes, the way his lips were curved up, how he held his breath when Charlie blinked and frowned, replaying the insane words until they made sense. Until he remembered that Bette Davis was in the film version of that novel, until he could finally take his gaze off that wide leather band. His face was burning. "Smartass," he muttered, completely mystified when being called a smartass made Will hop in place, since Will had already made it clear that he had a brain under all that hair and glitter.

You're fixing everything I set down." He nods at my hands, which are readjusting the elephant. "It wasn't polite of me to come in and start touching your things." "Oh,it's okay," I say quickly, letting go of the figurine. "You can touch anything of mine you want." He freezes. A funny look runs across his face before I realize what I've said. I didn't mean it like that. Not that that/i> would be so bad. But I like Toph,and St. Clair has a girlfriend. And even if the situation were different, Mer still has dibs. I'd never do that to her after how nice she was my first day.And my second. And every other day this week. Besides,he's just an attractive boy. Nothing to get worked up over. I mean, the streets of Europe are filled with beautiful guys, right? Guys with grooming regimens and proper haircuts and stylish coats.Not that I've seen anyone even remotely as good-looking as Monsieur Etienne St.Clair.But still. He turns his face away from mine. Is it my imagination or does he look embarrassed? But why would he be embarrassed? I'm the one with the idiotic mouth. "Is that your boyfriend?" He points to my laptop's wallpaper, a photo of my coworkers and me goofing around. It was taken before the midnight release of the lastest fantasy-novel-to-film adaptation. Most of us were dressed like elves or wizards. "The one with his eyes closed?" "WHAT?" He thinks I'd date a guy like Hercules Hercules is an assistant manager. He's ten years older than me and,yes, that's his real name. And even though he's sweet and knows more about Japanese horror films than anyone,he also has a ponytail. A ponytail. "Anna,I'm kidding.This one. Sideburns." He points to Toph,the reason I love the picture so much.Our heads are turned into each other, and we're wearing secret smiles,as if sharing a private joke. "Oh.Uh...no.Not really.I mean, Toph was my almost-boyfriend.I moved away before..." I trail off, uncomfortable. "Before much could happen.

You okay?” I ask him. He nods. “I’ll live. Hey, it’s your turn.” “My turn for what?” “I told you my deepest, darkest secret.” He tilts his head at me. “Now you’ve got to tell me one of yours.” “One of my secrets?” “Yeah. C’mon, I know you’ve got a bunch of ‘em.” “Oh, I do, huh?” “You’re too perfect not to be hiding something,” he says, and my cheeks flood with heat. Me, too perfect? He’s got to be kidding. Only…he looks serious. And earnest. I look down at the camera in my hand, studying it, and then back up at him. I can’t explain it, but I suddenly want to tell him. At least, I want to tell someone, and he’s here, a captive audience. I hesitate a second or two, then blurt it out before I lose my nerve. “I want to go to film school.” I meet his gaze, his eyes round with surprise. “In New York.

A number of children kept coming over to the tennis courts, rattling on the gate, and trying to get in. The watching middle-class mums did nothing to restrain them. Eventually my friend yelled, “Go AWAY!” Whereupon the watching mums did do something. A mob of them descended on us as though my friend had exposed himself. Suddenly we were in the midst of a maternal zombie film. It was the nearest I’ve ever come to getting lynched—they were after my friend rather than me and though, strictly speaking, I was his opponent, I was a tacit accomplice—and a clear demonstration that the rights of parents and their children to do whatever they please have priority over everyone else’s. “A child is the very devil,” wrote Virginia Woolf in a letter, “calling out, as I believe, all the worst and least explicable passions of the parents.

The current popular image of Zeus as a cheerful, avuncular type perplexes me. I know it comes from a silly kids’ movie, but I’m not sure they could have gotten it more wrong. Zeus was never avuncular. He killed his father, raped his sister, and then married her, calculating that sanctified incest was marginally better than the unsanctified kind. After that he conducted a series of what are generously called “affairs” with mortal women, though sometimes tales will admit he “ravished” them, which is to say he raped them. He turned into a swan once for a girl with an avian fetish, and another time he manifested as a golden shower over a woman imprisoned in a hole in the ground. His actions clearly paint him as skeevy to the max and the most despicable of examples. He’s not the kind of god that belongs in kids’ films. He’s the kind that releases the kraken.

April 4th, 1984. Last night to the flicks. All war films. One very good one of a ship full of refugees being bombed somewhere in the Mediterranean. Audience much amused by shots of a great huge fat man trying to swim away with a helicopter after him. first you saw him wallowing along in the water like a porpoise, then you saw him through the helicopters gunsights, then he was full of holes and the sea round him turned pink and he sank as suddenly as though the holes had let in the water, audience shouting with laughter when he sank, then you saw a lifeboat full of children with a helicopter hovering over it, there was a middleaged woman might have been a jewess sitting up in the bow with a little boy about three years old in her arms, little boy screaming with fright and hiding his head between her breasts as if he was trying to burrow right into her and the woman putting her arms round him and comforting him although she was blue with fright herself, all the time covering him up as much as possible as if she thought her arms could keep the bullets off him, then the helicopter planted a 20 kilo bomb in among them terrific flash and the boat went all to matchwood, then there was a wonderful shot of a child’s arm going up up up right up into the air a helicopter with a camera in its nose must have followed it up and there was a lot of applause from the party seats but a woman down in the prole part of the house suddenly started kicking up a fuss and shouting they didnt oughter of showed it not in front of kids they didnt it aint right not in front of kids it aint until the police turned her turned her out i dont suppose anything happened to her nobody cares what the proles say typical prole reaction they never—   Winston stopped writing, partly because he was suffering from cramp. He

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.

games. A summary: Exposing children to a violent TV or film clip increases their odds of aggression soon after.41 Interestingly, the effect is stronger in girls (amid their having lower overall levels of aggression). Effects are stronger when kids are younger or when the violence is more realistic and/or is presented as heroic. Such exposure can make kids more accepting of aggression—in one study, watching violent music videos increased adolescent girls’ acceptance of dating violence. The violence is key—aggression isn’t boosted by material that’s merely exciting, arousing, or frustrating. Heavy childhood exposure to media violence predicts higher levels of aggression in young adults of both sexes (“aggression” ranging from behavior in an experimental setting to violent criminality). The effect typically remains after controlling for total media-watching time, maltreatment or neglect, socioeconomic status, levels of neighborhood violence, parental education, psychiatric illness, and IQ. This is a reliable finding of large magnitude. The

I took a step back and appraised the sight of the naked torso in front of me. He’d always had an amazing body, but Christ. Trip had gotten freaking ripped. I put my hands to my hips and asked, “Are you kidding me? What the hell is this?” My anger probably missed its mark, considering I was standing there totally nude. It’s hard to be taken seriously when you’re not wearing any clothes. He knew exactly what I was talking about and was trying to contain a smile as he asked, “What?” I rolled my eyes. “When did this happen? Jesus. Look at you! Give a girl a heads up about such a thing, huh?” That made the smile crack his features. “What? So I’ve been hitting it a little harder lately. I just came off a gladiator film and I’m starting a hockey flick in a few weeks. Occupational hazard, I guess.” “Yeah. A hazard to me, maybe! Here I am with my saggy ass and you’re standing there looking like Michelangelo’s David, you jagweed!” He stepped closer, grabbing my butt and pulling me into direct contact with what was assuredly going to be revealed as his perfect dick. He probably lifted weights with that thing, too. His cock probably possessed its own set of washboard abs.

I silently assessed our predicament before deciding to implement the only real plan I could come up with. It was a risky plan—a plan that could easily backfire. But it was my only option. I was going to have to scare my mother out of the forest. Normally, I wouldn’t have been able to think of anything frightening enough to breach her grown-up resistance to scary kid stories. But a few nights earlier, she had watched The Texas Chainsaw Massacre while she thought I was asleep. Unfortunately, I wasn’t asleep. I was hiding behind the couch. And I had imprinted everything I’d seen that night. I imagine it would be pretty terrifying to be wandering through the forest at night when, out of nowhere, your eight-year-old child begins describing the plot from the horror film you watched the other night, which, as far as you know, she hadn’t seen. But my mother maintained her composure very well—until a twig snapped, at which point she whirled around shrieking, “WE HAVE A DOG!” As if Murphy’s presence were enough to deter a homicidal psychopath with a chainsaw. It was too much. All the helplessness and frustration that she had been trying so hard to hide from us came rushing to the surface.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we're gonna have it haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

If this is true—if solitude is an important key to creativity—then we might all want to develop a taste for it. We’d want to teach our kids to work independently. We’d want to give employees plenty of privacy and autonomy. Yet increasingly we do just the opposite. We like to believe that we live in a grand age of creative individualism. We look back at the midcentury era in which the Berkeley researchers conducted their creativity studies, and feel superior. Unlike the starched-shirted conformists of the 1950s, we hang posters of Einstein on our walls, his tongue stuck out iconoclastically. We consume indie music and films, and generate our own online content. We “think different” (even if we got the idea from Apple Computer’s famous ad campaign). But the way we organize many of our most important institutions—our schools and our workplaces—tells a very different story. It’s the story of a contemporary phenomenon that I call the New Groupthink—a phenomenon that has the potential to stifle productivity at work and to deprive schoolchildren of the skills they’ll need to achieve excellence in an increasingly competitive world. The New Groupthink elevates teamwork above all else. It insists that creativity and intellectual achievement come from a gregarious place. It has many powerful advocates. “Innovation—the heart of the knowledge economy—is fundamentally social,” writes the prominent journalist Malcolm Gladwell. “None of us is as smart as all of us,” declares the organizational consultant Warren Bennis,

Delbert was the only Bumpus kid in my grade, but they infested Warren G. Harding like termites in an outhouse. There was Ima Jean, short and muscular, who was in the sixth grade, when she showed up, but spent most of her time hanging around the poolroom. There was a lanky, blue-jowled customer they called Jamie, who ran the still and was the only one who ever wore shoes. He and his brother Ace, who wore a brown fedora and blue work shirts, sat on the front steps at home on the Fourth of July, sucking at a jug and pretending to light sticks of dynamite with their cigars when little old ladies walked by. There were also several red-faced girls who spent most of their time dumping dishwater out of windows. Babies of various sizes and sexes crawled about the back yard, fraternizing indiscriminately with the livestock. They all wore limp, battleship-gray T-shirts and nothing else. They cried day and night. We thought that was all of them—until one day a truck stopped in front of the house and out stepped a girl who made Daisy Mae look like Little Orphan Annie. My father was sprinkling the lawn at the time; he wound up watering the windows. Ace and Emil came running out onto the porch, whooping and hollering. The girl carried a cardboard suitcase—in which she must have kept all her underwear, if she owned any—and wore her blonde hair piled high on her head; it gleamed in the midday sun. Her short muslin dress strained and bulged. The truck roared off. Ace rushed out to greet her, bellowing over his shoulder as he ran: “MAH GAWD! HEY, MAW, IT’S CASSIE! SHE’S HOME FROM THE REFORMATORY!” Emil

Because he’d talked to her about Catriona Bruce. He must be a lonely man. Living all on his own in that house since his mother died. Suddenly he had company, someone sympathetic, wanting him to talk, listening to him. Perhaps she had her own reasons for encouraging him to speak. She wanted his stories for her film. Perhaps she was just a nice kid who felt sorry for him. And the temptation was too much for him. Perhaps he’d had a whisky or two and that loosened his tongue. Whatever.’ ‘I can see that,’ Perez said. ‘I can even see him killing her afterwards to keep the whole thing quiet. But I can’t see him going into the Ross house, searching her room and finding the disk, finding the script and wiping all trace of it from the PC. I don’t get that.’ They sat looking at each other for a moment in silence. Taylor stretched, shuffled in his chair. He’d told Perez he had a bad back, disc trouble, that was why he couldn’t sit still, but Perez wasn’t convinced. It was the man’s mind that didn’t know how to rest, not his body. ‘So what do we do about it?’ Taylor said. ‘Time’s running out for me. I’ve promised I’ll be back at the end of the week. Any longer than that and they’ll start talking about a disciplinary.’ ‘I’m going to take another trip to the Anderson,’ Perez said. ‘Check she didn’t hand the film in early, give it to a friend to look at. If the film is safe we have to let the whole thing go. Like you said, the note on the back of the receipt incriminates Magnus. It shows he talked to her about Catriona. Euan says there’s no other way she could have known about the girl.’ Taylor stood up, lifting the plan with both hands on his way.

My mother never seemed to listen to much music, but she loved Barbara Streisand, counting The Way We Were and Yentl as two of her favorite films. I remembered how we used to sing the song "Tell Him" together, and skipped through the album until I found it on track four. "Remember this?" I laughed, turning up the volume. It's a duet between Babe and Celine Dion, two powerhouse divas joining together for one epic track. Celine plays the role of a young woman afraid to confess her feelings to the man she loves, and Barbara is her confidant, encouraging her to take the plunge. "I'm scared, so afraid to show I care... Will he think me weak, if I tremble when I speak?" Celine begins. When I was a kid my mother used to quiver her lower lip for dramatic effect when she sang the word "tremble." We would trade verses in the living room. I was Barbara and she was Celine, the two of us adding interpretive dance and yearning facial expressions to really sell it. "I've been there, with my heart out in my hand..." I'd join in, a trail of chimes punctuating my entrance. "But what you must understand, you can't let the chance to love him pass you by!" I'd exclaim, prancing from side to side, raising my hand to urge my voice upward, showcasing my exaggerated vocal range. Then, together, we'd join in triumphantly. "Tell him! Tell him that the sun and moon rise in his eyes! Reach out to him!" And we'd ballroom dance in a circle along the carpet, staring into each other's eyes as we crooned along to the chorus. My mom let out a soft giggle from the passenger seat and we sang quietly the rest of the way home. Driving out past the clearing just as the sun went down, the scalloped clouds flushed with a deep orange that made it look like magma.

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.

Twenty years? No kidding: twenty years? It’s hard to believe. Twenty years ago, I was—well, I was much younger. My parents were still alive. Two of my grandchildren had not yet been born, and another one, now in college, was an infant. Twenty years ago I didn’t own a cell phone. I didn’t know what quinoa was and I doubt if I had ever tasted kale. There had recently been a war. Now we refer to that one as the First Gulf War, but back then, mercifully, we didn’t know there would be another. Maybe a lot of us weren’t even thinking about the future then. But I was. And I’m a writer. I wrote The Giver on a big machine that had recently taken the place of my much-loved typewriter, and after I printed the pages, very noisily, I had to tear them apart, one by one, at the perforated edges. (When I referred to it as my computer, someone more knowledgeable pointed out that my machine was not a computer. It was a dedicated word processor. “Oh, okay then,” I said, as if I understood the difference.) As I carefully separated those two hundred or so pages, I glanced again at the words on them. I could see that I had written a complete book. It had all the elements of the seventeen or so books I had written before, the same things students of writing list on school quizzes: characters, plot, setting, tension, climax. (Though I didn’t reply as he had hoped to a student who emailed me some years later with the request “Please list all the similes and metaphors in The Giver,” I’m sure it contained those as well.) I had typed THE END after the intentionally ambiguous final paragraphs. But I was aware that this book was different from the many I had already written. My editor, when I gave him the manuscript, realized the same thing. If I had drawn a cartoon of him reading those pages, it would have had a text balloon over his head. The text would have said, simply: Gulp. But that was twenty years ago. If I had written The Giver this year, there would have been no gulp. Maybe a yawn, at most. Ho-hum. In so many recent dystopian novels (and there are exactly that: so many), societies battle and characters die hideously and whole civilizations crumble. None of that in The Giver. It was introspective. Quiet. Short on action. “Introspective, quiet, and short on action” translates to “tough to film.” Katniss Everdeen gets to kill off countless adolescent competitors in various ways during The Hunger Games; that’s exciting movie fare. It sells popcorn. Jonas, riding a bike and musing about his future? Not so much. Although the film rights to The Giver were snapped up early on, it moved forward in spurts and stops for years, as screenplay after screenplay—none of them by me—was

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 awake with a start, shaking the cobwebs of sleep from my mind. It’s pitch-dark out, the wind howling. It takes a couple seconds to get my bearings, to realize I’m in my parents’ bed, Ryder beside me, on his side, facing me. Our hands are still joined, though our fingers are slack now. “Hey, you,” he says sleepily. “That one was loud, huh?” “What was?” “Thunder. Rattled the windows pretty bad.” “What time is it?” “Middle of the night, I’d say.” I could check my phone, but that would require sitting up and letting go of his hand. Right now, I don’t want to do that. I’m too comfortable. “Have you gotten any sleep at all?” I ask him, my mouth dry and cottony. “I think I drifted off for a little bit. Till…you know…the thunder started up again.” “Oh. Sorry.” “It should calm down some when the eye moves through.” “If there’s still an eye by the time it gets here. The center of circulation usually starts breaking up once it goes inland.” Yeah, all those hours watching the Weather Channel occasionally come in handy. He gives my hand a gentle squeeze. “Wow, maybe you should consider studying meteorology. You know, if the whole film-school thing doesn’t work out for you.” “I could double major,” I shoot back. “I bet you could.” “What are you going to study?” I ask, curious now. “I mean, besides football. You’ve got to major in something, don’t you?” He doesn’t answer right away. I wonder what’s going through his head--why he’s hesitating. “Astrophysics,” he says at last. “Yeah, right.” I roll my eyes. “Fine, if you don’t want to tell me…” “I’m serious. Astrophysics for undergrad. And then maybe…astronomy.” “What, you mean in graduate school?” He just nods. “You’re serious? You’re going to major in something that tough? I mean, most football players major in something like phys ed or underwater basket weaving, don’t they?” “Greg McElroy majored in business marketing,” he says with a shrug, ignoring my jab. “Yeah, but…astrophysics? What’s the point, if you’re just going to play pro football after you graduate anyway?” “Who says I want to play pro football?” he asks, releasing my hand. “Are you kidding me?” I sit up, staring at him in disbelief. He’s the best quarterback in the state of Mississippi. I mean, football is what he does…It’s his life. Why wouldn’t he play pro ball? He rolls over onto his back, staring at the ceiling, his arms folded behind his head. “Right, I’m just some dumb jock.” “Oh, please. Everyone knows you’re the smartest kid in our class. You always have been. I’d give anything for it to come as easily to me as it does to you.” He sits up abruptly, facing me. “You think it’s easy for me? I work my ass off. You have no idea what I’m working toward. Or what I’m up against,” he adds, shaking his head. “Probably not,” I concede. “Anyway, if anyone can major in astrophysics and play SEC ball at the same time, you can. But you might want to lose the attitude.” He drops his head into his hands. “I’m sorry, Jem. It’s just…everyone has all these expectations. My parents, the football coach--” “You think I don’t get that? Trust me. I get it better than just about anyone.” He lets out a sigh. “I guess our families have pretty much planned out our lives for us, haven’t they?” “They think they have, that’s for sure,” I say.

I had only been in Medomsley Detention Centre a few days when I confronted the ‘Daddy.’ It was well know that he, the Daddy, was the hardest in the place but now he had a challenger and everyone could sense it in the air that a confrontation or take over bid was on the cards. Any of you that have seen the film Scum, starring the young Ray Winstone, will be aware of what I’m on about. After a works detail in the gardens, I was one of the last back. There was big queue stood behind the Daddy while he was washing all the mud from his wellington boots with a hosepipe, and he looked to be taking his time about it as well; talk about taking the piss. The screws, as usual, were in sight and watching us out of the corner of their eyes. As I got closer, I thought I’m not standing in no fucking queue and walked straight to the front. When I got there, I snatched the hosepipe out of his hand and told him to fuck off and started to clean all the shit off my wellies. He felt humiliated and tried to grab the hose back off me, but I grabbed him by the throat and told him I was going to rip his fucking head off. As this was going down, the screws were straight on the scene and parted us. We never got done for it, which was very surprising. He did say to people that he wanted to fight me, but in reality, when I confronted him, he cocked off and there was a new kid on the block. I was the Daddy.

The movie has Marty say "blues riff in B" and then WHAM, the entire band is playing Johnny B. Goode like they've done so for years.  It's amazing, and as a kid, I spent a lot of time trying to figure this out.  How was it possible that everyone knew what notes to play and when to come in??  The backup guitar and drums both hit a beat at the beginning of the song without any communication whatsoever.

Most immigrants agree that at some point, we become permanent foreigners, belonging neither here nor there. Many tomes have been written trying to describe this feeling of floating between worlds but never fully landing. Artists, using every known medium from words to film to Popsicle sticks, have attempted to encapsulate the struggle of trying to hang on to the solid ground of our mother culture and realizing that we are merely in a pond balancing on a lily pad with a big kid about to belly-flop right in. If and when we fall into this pond, will we be singularly American or will we hyphenate? Can we hold on to anything or does our past just end up at the bottom of the pond, waiting to be discovered by future generations?

While Prowse, given his penchant for revealing secrets, was kept in the dark, Hamill was debriefed by Lucas and then Kershner, who called over the actor not long before cameras rolled: “I met with Mark, and said, ‘Uh, you know that Darth Vader’s your father.’ ‘Wha—?’ ‘David Prowse will be saying stuff that doesn’t count, forget it. Use your own rhythm compared to what he’s doing.’ ” “They took me aside and said, ‘This is what he’s going to say,’ ” Hamill says. “ ‘You don’t know the truth, Obi-Wan killed your father.’ ” “I told Mark, ‘Don’t tell anybody—especially don’t tell David Prowse—but I want you to be able to know, to be able to act appropriately,’ ” Lucas says. “And then Kersh worked the scene with him.” “I love when Darth Vader says, ‘The only way you’ll ever beat me is with hate,’ ” Kershner says. “It’s a lie and the kids know it. The last thing Ben says is, ‘Remember, don’t use hate.’ It’s the most important thing in the film.

on the other hand, had been a hippie-dippy back in the day. That’s what Grandma Rose—Mom’s mom—called him. Bobby wasn’t sure exactly what it meant, but he thought it involved long hair and LSD. Grandma Rose didn’t hold Dad in high regard, that was for sure. Bobby was just thankful that if his dad had been doing LSD it was a good thing he hadn’t jumped off a rooftop, like the kid in the film Mrs. Callaway had shown them in Health class. The guy had been on a bad trip, the narrator said, and thought he could fly. He had climbed a ladder in the gymnasium of his school and gone through

The films in 101 Movies to See Before You Grow Up are meant to be watched with your family. I hope that if I inspire you to do this even once a week, you will have spent an unforgettable hour or two taking a journey together into the limitless boundaries of imagination and creativity that only movies can take us on from the comfort of your own home.

Radatz described MK12’s first week on the job, ‘We felt like kid astronauts with keys to an actual shuttle, like someone was going to call our bluff at any minute.’139 MK12’s initial creative brief was to explore the element at the heart of the film – water: We learned that we’d been thinking about the film from an opposite perspective than that of Marc and the producers: where we saw water as the central theme, they saw the lack of water as Bond and Greene’s motivation. Our initial concept set Bond in a landscape made of backlit female forms submerged in water. After mulling over random ideas for a few days, it occurred to us that the same technique could be transplanted to a desert scenario, with the female forms instead becoming sand dunes.

Leonard grew up to be an activist, traveling the globe for Greenpeace. Along the way, she made a short film about pollution and garbage called The Story of Stuff in hopes of teaching people about the consequences of buying and discarding more things than we truly need. It struck a nerve, a big one, and the video has now been viewed online at least 25 million times. The film became a book and evolved into a nonprofit organization. Stephen Colbert had her on his show and referred to her film as a “craze.” Children eventually joined

February 17: Simone Signoret spends the night telling Marilyn about film work in France, and Marilyn behaves like “a kid who’s delaying the moment for lights out,” Signoret recalls in a memoir.

It wasn’t hard to imagine the scene. Night, probably. The killers force the lock, at the other end of the large house, and enter. It’s maybe two, three o’clock in the morning; they think Luc Szpilman is alone and asleep. But—surprise—the kid is right in front of them, sitting on the couch with his girlfriend, rolling a joint, which was still there on the coffee table in the living room. Luc suddenly recognizes one of them, the guy in combat boots who’d come for the film. The kids panic, try to run away. The killers catch them and stab them in the back, once, twice. And then that inexplicable frenzy. Lucie and the police remained frozen in place, keeping their own thoughts.

She pressed her lips together, without moving. “You know, Captain, there’s something about this latest crime.” “What’s that?” “On site, the MEs counted thirty-seven stab wounds for the girl and forty-one for the kid…They had them all over their bodies, including the genitals. Deep wounds, several inches down. Sometimes the knife went to the hilt—they could see the marks the metal left around the slits. Given the characteristics, the similarities in the stabbing patterns, they think it’s the work of a single attacker.” The commanding officer answered with silence. There was nothing to say. Lucie stared at him intently. “There’s pure madness in this, Captain. In their movements, their way of operating. Something not right in the way they’ve been proceeding. The same kind of irrationality we saw in those kids in the film, more than fifty years ago.

All My Friends That's how it starts We go back to your house We check the charts And start to figure it out And if it's crowded, all the better Because we know we're gonna be up late But if you're worried about the weather Then you picked the wrong place to stay That's how it starts And so it starts You switch the engine on We set controls for the heart of the sun One of the ways we show our age And if the sun comes up, if the sun comes up, if the sun comes up And I still don't wanna stagger home Then it's the memory of our betters That are keeping us on our feet You spent the first five years trying to get with the plan And the next five years trying to be with your friends again You're talking 45 turns just as fast as you can Teah, I know it gets tired, but it's better when we pretend It comes apart The way it does in bad films Except in parts When the moral kicks in Though when we're running out of the drugs And the conversation's winding away I wouldn't trade one stupid decision For another five years of life You drop the first ten years just as fast as you can And the next ten people who are trying to be polite When you're blowing eighty-five days in the middle of France Yeah, I know it gets tired only where are your friends tonight? And to tell the truth Oh, this could be the last time So here we go Like a sales force into the night And if I made a fool, if I made a fool, if I made a fool On the road, there's always this And if I'm sewn into submission I can still come home to this And with a face like a dad and a laughable stand You can sleep on the plane or review what you said When you're drunk and the kids leave impossible tasks You think over and over, "hey, I'm finally dead." Oh, if the trip and the plan come apart in your hand Tou look contorted on yourself your ridiculous prop You forgot what you meant when you read what you said And you always knew you were tired, but then Where are your friends tonight? Where are your friends tonight? Where are your friends tonight? If I could see all my friends tonight If I could see all my friends tonight If I could see all my friends tonight If I could see all my friends tonight

Kinberg grew up in Hollywood but was largely repulsed by it. His father had been only moderately successful and had “complicated feelings” about his profession. Many of Kinberg’s friends at the private school he attended in the 1980s were the children of film-industry professionals who were snorting drugs and getting divorced and generally doing whatever was necessary to turn their kids into the future protagonists of a Bret Easton Ellis book.

Gore cinema is not liberating (though the kids who flocked to the theaters may think otherwise), but suffocating, the work of cynical adults having a go at the vulnerability of children.

Dana had one arm. He'd lost the other one to cancer. Being the film freak I was, I never bothered to ask about it further. Or even what his last name was. Not enough time before or between the films. A one-armed schoolteacher, teaching kids in the shitty L.A. school district, probably full of more stories and personality than the electric fables being projected above us. But I was more focused on the mummies and vampires and dinosaurs and aliens to take a deeper interest in an actual, unique human being sitting right next to me. Such was my addiction, at that point. Cut off from the world. A ghost, but breathing and jacketed with flesh.

Dean Martin, and Sammy Davis Jr. The cool kids of the 1960s invited the old man who had been cool before they knew cool was cool to join them in a musical romp that nobody took particularly seriously. Crosby enjoys himself. He has nothing at stake, since he’s not the star who has to carry the film. He’s very casual, and appears to be ad-libbing all his lines in the old Road tradition with a touch of W. C. Fields’s colorful vocabulary thrown in: “You gentlemen find my raiment repulsive?” he asks Sinatra and Martin when they object to his character’s lack of chic flash in clothing. Crosby plays a clever con man who disguises himself as square, and his outfits reflect a conservative vibe in the eyes of the cats who are looking him over. The inquiry leads into a number, “Style,” in which Sinatra and Martin put Crosby behind closet doors for a series of humorous outfit changes, to try to spruce him up. Crosby comes out in a plaid suit with knickers and then in yellow pants and an orange-striped shirt. Martin and Sinatra keep on singing—and hoping—while Crosby models a fez. He finally emerges with a straw hat, a cane, and a boutonniere in his tuxedo lapel, looking like a dude. In his own low-key way, taking his spot in the center, right between the other two, Crosby joins in the song and begins to take musical charge. Sinatra is clearly digging Crosby, the older man he always wanted to emulate.*17 Both Sinatra and Martin are perfectly willing to let Crosby be the focus. He’s earned it. He’s the original that the other two wanted to become. He was there when Sinatra and Martin were still kids. He’s Bing Crosby! The three men begin to do a kind of old man’s strut, singing and dancing perfectly together (“…his hat got a little more shiny…”). The audience is looking at the three dominant male singers of the era from 1940 to 1977. They’re having fun, showing everyone exactly not only what makes a pro, not only what makes a star, but what makes a legend. Three great talents, singing and dancing about style, which they’ve all clearly got plenty of: Frank Sinatra, Bing Crosby, and Dean Martin in Robin and the 7 Hoods

When I first met my long-term partner, Mike, he was suffering with an incurable disease. (No need for specifics). He was taking a concoction of pills and was facing a prospect of steroid medication and perhaps surgery to keep his condition in remission. I was somewhat surprised that on our first date, he told me, not just the full story of his own disease, but also all about his father and sister, who were both suffering with separate incurable illnesses. As I got to know Mike and his family, I was struck by how much they talked about illness. Mike gave an almost daily commentary about his various aches, pains, twinges and physical state. Where some families talk about politics or sport, or celebrities, or current affairs (it’s dogs, cats and kids in my family), Mike’s family would chat around the dinner table about conditions, consultants, tests, medical procedures, drugs and treatments. I found this quite bewildering, because these subjects rarely enter my mind. It was like being in a room full of people talking about a book you haven’t read or a film you haven’t seen. I found myself with nothing to add to this conversation, having no story about illness to tell. But here’s where it gets interesting. When I mentioned my observations to Mike, he became aware of how much he and his family spoke about illness for the first time ever. With my prompting, he began to change his story. And as he did so, not only did his aches and pains begin to disappear, but his chronic disease also started, almost miraculously, to improve. After a few months, he felt well enough to come off all his medication. At some point, he even stopped his regular visits to the doctor. There was just no point in seeing a doctor when he felt so well. Of course, we aren’t allowed to say ‘cured’ (because only doctors are allowed to claim a cure), but all these years later, his ‘incurable’ illness is not simply better, it’s gone. Now, please don’t take this as a prescription to ditch your meds and stop seeing your doctor. I’m not saying you can or should replace proper medical advice or treatment with words. This is just one anecdote about one man who chose to tell a different story. Take from it what you will.

Jacqui Berlinn is a mother whose son, Corey, is homeless and addicted to fentanyl and living on the streets of the Bay Area. “My son tells me San Francisco is where he most readily gets what he needs. He calls it ‘Hell,’ and compared it to Pleasure Island in the Disney film Pinocchio. “On one side of the street are people giving you food and clean needles,” Corey told her. “On the other side of the street are all the drug dealers. It’s like getting all the candy and treats that you think you want. You think you’re having fun. But little by little it’s taking away your humanity and turning you into something you were never meant to be, like how the kids start turning into donkeys in Pinocchio, and then end up trapped and in cages.

I really want my roots to come through in this meal," I said, very conscious of the cameras filming everything I was saying. "I want to make sure viewers and diners"----and investors, please, especially investors----"see everything that the food of my ancestors can be. That Jewish food isn't just matzah ball soup and pastrami sandwiches." So it was with that attitude I went about planning my menu. "I'm thinking my first dish is going to be a tribute to my grandmother," I said. "She was very into chopped liver. I hated it as a kid, for good reason: her chopped liver was bland and gritty." Grandma Ruth hissed in my ear, but I ignored her. "I want to make good chopped liver on good bread with something vinegary and acidic to cut through it. Maybe some kind of pickled fruit, because the judges really loved my pickled cherries in the last round." "How about kumquats?" suggested Kaitlyn. "Or gooseberries?" "I like gooseberries," said Kel. I made a note. "We'll see what they have at the store, since we'll be on a budget. With the second course, Ashkenazi cooking has so many preserved and sometimes weird fish dishes. Think gefilte fish and pickled herring. I've wanted to do my special gefilte fish this whole competition and never got a chance, so I think now's the time." "If not now, when?" Kel said reasonably. "Indeed. And I think coupling it with pickled herring and maybe some other kind of fish to make a trio will create something amazing. Maybe something fried, since the other two parts of the dish won't have any crunch. Or I could just do, like, a potato chip? I do love potatoes." I made another note. "And for the third dish, I'm thinking duck. I want to do cracklings with the duck skin and then a play on borscht, which is what the dish is really about. Beets on the plate, pickled onions, an oniony sauce, et cetera." "Ducks and beets play well together," Kel said, approval warm on their round face.

I could tell Jeung was skeptical about my line of questioning from the get-go. There was a long pause, after which I could hear him puzzling hesitantly on how best to respond. “I don’t know if silence is necessarily secret-keeping,” he said slowly. “I’m sure parents don’t talk about their kids about a lot of things. They don’t talk about their sex lives. I don’t know that it’s necessarily a Taoist approach. There are probably things they’d just rather forget. And there is a Chinese popular religion thing where people don’t talk about negative things. It’s why people don’t talk about cancer. You know The Farewell?” he asked, citing Lulu Wang’s Golden Globe- and BAFTA-winning film about her family’s decision to hide her grandmother’s lung cancer diagnosis from her. Her grandmother was supposed to live only six months, but her family thought she would fare better and live longer if they told her she was just fine. The approach may have worked. At the time I am writing this, eight years after her diagnosis, Lulu’s grandmother is still alive.

Who are we, the people who have ADHD? We are the problem kid who drives his parents crazy by being totally disorganized, unable to follow through on anything, incapable of cleaning up a room, or washing dishes, or performing just about any assigned task; the one who is forever interrupting, making excuses for work not done, and generally functioning far below potential in most areas. We are the kid who gets daily lectures on how we’re squandering our talent, wasting the golden opportunity that our innate ability gives us to do well, and failing to make good use of all that our parents have provided. We are also sometimes the talented executive who keeps falling short due to missed deadlines, forgotten obligations, social faux pas, and blown opportunities. Too often we are the addicts, the misfits, the unemployed, and the criminals who are just one diagnosis and treatment plan away from turning it all around. We are the people Marlon Brando spoke for in the classic 1954 film On the Waterfront when he said, “I coulda been a contender.” So many of us coulda been contenders, and shoulda been for sure. But then, we can also make good. Can we ever! We are the seemingly tuned-out meeting participant who comes out of nowhere to provide the fresh idea that saves the day. Frequently, we are the “underachieving” child whose talent blooms with the right kind of help and finds incredible success after a checkered educational record. We are the contenders and the winners. We are also imaginative and dynamic teachers, preachers, circus clowns, and stand-up comics, Navy SEALs or Army Rangers, inventors, tinkerers, and trend setters. Among us there are self-made millionaires and billionaires; Pulitzer and Nobel prize winners; Academy, Tony, Emmy, and Grammy award winners; topflight trial attorneys, brain surgeons, traders on the commodities exchange, and investment bankers. And we are often entrepreneurs. We are entrepreneurs ourselves, and the great majority of the adult patients we see for ADHD are or aspire to be entrepreneurs too. The owner and operator of an entrepreneurial support company called Strategic Coach, a man named Dan Sullivan (who also has ADHD!), estimates that at least 50 percent of his clients have ADHD as well.

The world will not be destroyed by those who do evil, but by those who do nothing but film it on their smartphones and upload it to the internet'. (paraphrase Albert Einstein)

DIDN’T have another clue in it. Hannah filmed herself tearing it apart only to find…

Because of the picture's constant theatrical circulation all during the forties, two presentations on the Lux Radio Theatre, and finally as a staple of early television, the tale was familiar to almost two generations of moviegoers. Hart's task was to preserve the potent appeal of this Hollywood myth while making it viable for a modern-day audience. The problem was complicated by the necessity of rewriting the part of Esther/Vicki to suit Judy Garland. The original film had walked a delicate dramatic path in interweaving the lives and careers of Vicki and Norman Maine. In emphasizing the "star power" of Lester/Garland, more screen time would have to be devoted to her, thus altering the careful balance of the original. Hart later recalled: "It was a difficult story to do because the original was so famous and when you tamper with the original, you're inviting all sorts of unfavorable criticism. It had to be changed because I had to say new things about Hollywood-which is quite a feat in itself as the subject has been worn pretty thin. The attitude of the original was more naive because it was made in the days when there was a more wide-eyed feeling about the movies ... (and) the emphasis had to be shifted to the woman, rather than the original emphasis on the Fredric March character. Add to that the necessity of making this a musical drama, and you'll understand the immediate problems." To make sure that his retelling accurately reflected the Garland persona, Hart had a series of informal conversations with her and Luft regarding experiences of hers that he might be able to incorporate into the script. Luft recalls: "We were having dinner with Moss and Kitty [Carlisle], and Judy was throwing ideas at Moss, cautiously, and so was I. I remember Judy telling the story of when she was a kid, she was on tour with a band and they were in Kansas City at the Mulebach Hotel-all the singers and performers stayed there. And I think her mother ran into a big producer who was traveling through and she invited him to come and see the act, and supposedly afterward he was very interested in Judy's career. Nothing happened, though. Judy thought it would be a kind of a cute idea to lay onto Moss-that maybe it might be something he could use in his writing.