Minority Report Film Quotes

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Many things in this period have been hard to bear, or hard to take seriously. My own profession went into a protracted swoon during the Reagan-Bush-Thatcher decade, and shows scant sign of recovering a critical faculty—or indeed any faculty whatever, unless it is one of induced enthusiasm for a plausible consensus President. (We shall see whether it counts as progress for the same parrots to learn a new word.) And my own cohort, the left, shared in the general dispiriting move towards apolitical, atonal postmodernism. Regarding something magnificent, like the long-overdue and still endangered South African revolution (a jagged fit in the supposedly smooth pattern of axiomatic progress), one could see that Ariadne’s thread had a robust reddish tinge, and that potential citizens had not all deconstructed themselves into Xhosa, Zulu, Cape Coloured or ‘Eurocentric’; had in other words resisted the sectarian lesson that the masters of apartheid tried to teach them. Elsewhere, though, it seemed all at once as if competitive solipsism was the signifier of the ‘radical’; a stress on the salience not even of the individual, but of the trait, and from that atomization into the lump of the category. Surely one thing to be learned from the lapsed totalitarian system was the unwholesome relationship between the cult of the masses and the adoration of the supreme personality. Yet introspective voyaging seemed to coexist with dull group-think wherever one peered about among the formerly ‘committed’. Traditionally then, or tediously as some will think, I saw no reason to discard the Orwellian standard in considering modern literature. While a sort of etiolation, tricked out as playfulness, had its way among the non-judgemental, much good work was still done by those who weighed words as if they meant what they said. Some authors, indeed, stood by their works as if they had composed them in solitude and out of conviction. Of these, an encouraging number spoke for the ironic against the literal mind; for the generously interpreted interest of all against the renewal of what Orwell termed the ‘smelly little orthodoxies’—tribe and Faith, monotheist and polytheist, being most conspicuous among these new/old disfigurements. In the course of making a film about the decaffeinated hedonism of modern Los Angeles, I visited the house where Thomas Mann, in another time of torment, wrote Dr Faustus. My German friends were filling the streets of Munich and Berlin to combat the recrudescence of the same old shit as I read: This old, folkish layer survives in us all, and to speak as I really think, I do. not consider religion the most adequate means of keeping it under lock and key. For that, literature alone avails, humanistic science, the ideal of the free and beautiful human being. [italics mine] The path to this concept of enlightenment is not to be found in the pursuit of self-pity, or of self-love. Of course to be merely a political animal is to miss Mann’s point; while, as ever, to be an apolitical animal is to leave fellow-citizens at the mercy of Ideolo’. For the sake of argument, then, one must never let a euphemism or a false consolation pass uncontested. The truth seldom lies, but when it does lie it lies somewhere in between.
Christopher Hitchens (For the Sake of Argument: Essays and Minority Reports)
Is there a support group for people who didn’t like ‘Brokeback Mountain’? We must, if the rave reviews and the newspaper reports are to be believed, be a very tiny — not to mention vulnerable — minority. Am I dead inside because I didn’t experience the torrent of emotions I’ve been reading about? Am I as emotionally crippled as Ennis because I didn’t blub and hug after sitting through this ‘visceral’ movie, but instead wanted to go and ‘help with the roundup’?
Mark Simpson
Only one Korean died out of the sixty-three fatalities from the riots. I callously didn’t think this was such a big deal, given the overall destruction, especially since it was an accident, and by the hands of his own people no less. Then, in the documentary Sa-I-Gu (directed by Dai Sil Kim-Gibson), which interviewed the women whose stores burned down, I heard his mother tell her story. “It’s not one individual who killed my son,” said Jung Hui Lee. “Something is drastically wrong.” Interview after interview, the women in the film tell their stories of abandonment. I experienced another shock of recognition watching them. They are like my aunts. Their pain is centuries old. They have been victim to the dark force of power in their homeland and recognized it almost immediately here. They are enraged yet also wary and resigned that no one will ever hear their rage. As one elderly grandmother said, “I will die demonstrating.” They don’t blame black and brown looters, which was what media reported at the time, but see their loss as part of a larger problem: “There is a hole in this country.
Cathy Park Hong (Minor Feelings: An Asian American Reckoning)
making our way through a theme movie night (we’d picked out four films in which the ending is probably the main character’s dying hallucination: Taxi Driver, Minority Report, The Shawshank Redemption, and Mrs. Doubtfire). In
David Wong (What the Hell Did I Just Read (John Dies at the End, #3))