Most Quoted Movie Quotes

The vampires start to close in. "shouldn't we stand back to back or something?" Clary said. "What? Why?" "I don't know. In movies that's what they do in this kind of...situation." Jace laughs, "You, you are the most-" The most what?" Clary demands indignantly. Jace: Nothing. This isn't a situation okay? I save that word for when things get really bad." "Really bad? This isn't really bad? What do you want, a nuclear-" The windows exploded inward in a shower of broken glass. Through the shattered windows came dozens of sleek shapes, four footed and low to the ground, their coats scattering moonlight and broken bits of glass. Wolves. "Now, this," said Jace, "is a situation

We had no idea what waited ahead of us, other than the big, fat unknown, and most likely a big, fat kick in the face. The gravity of that was killing me-killing us I squared my shoulders. "Release the Kraken!" Several sets of eyes settled on me. "What?" I gave a lopsided shrug. "I've always wanted to yell that since I saw that movie. Seemed like the perfect moment.

I’ve read hundreds of novels in my life, most of them claiming that love was the center of the universe. That it could heal any damage inside of us. That it was what we needed to survive. From Darcy to Heathcliff, I thought they were fools. That love was something fictional, only found in worn pages of a book. That it was just made up to keep humans full of hope, that it was a lie. But all that changed since I met my Elizabeth Bennett. I never thought I would find myself completely and utterly consumed by another until her. She took my hand and led me out of the darkness and showed me that, whatever our souls are made of, hers and mine are the same. I’m sorry, please forgive me. You once asked me who I loved most in this world. It’s you. — Hardin ( Movie- "After" - Hardin's letter to Tessa )

It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.

Do you know when they say soul-mates? Everybody uses it in personal ads. "Soul-mate wanted". It doesn't mean too much now. But soul mates- think about it. When your soul-whatever that is anyway-something so alive when you make music or love and so mysteriously hidden most of the rest of the time, so colorful and big but without color or shape-when your soul finds another soul it can recognize even before the rest of you knows about it. The rest of you just feels sweaty and jumpy at first. And your souls get married without even meaning to-even if you can't be together for some reason in real life, your souls just go ahead and make the wedding plans. A soul's wedding must be too beautiful to even look at. It must be blinding. In must be like all the weddings in the world-gondolas with canopies of doves, champagne glasses shattering, wings of veils, drums beating, flutes and trumpets,showers of roses. And after that happens-that's it, this is it. But sometimes you have to let that person go. When you are little, people , movie and fairy tales all tell you that one day you're going to meet this person. So you keep waiting and it's a lot harder than they make it sound. Then you meet and you think, okay, now we can just get on with it but you find out that sometimes your sould brother partner lover has other ideas about that.

Da. This is going very well already." Thomas barked out a laugh. "There are seven of us against the Red King and his thirteen most powerful nobles, and it's going well?" Mouse sneezed. "Eight," Thomas corrected himself. He rolled his eyes and said, "And the psycho death faerie makes it nine." "It is like movie," Sanya said, nodding. "Dibs on Legolas." "Are you kidding?" Thomas said. "I'm obviously Legolas. You're . . ." He squinted thoughtfully at Sanya and then at Martin. "Well. He's Boromir and you're clearly Aragorn." "Martin is so dour, he is more like Gimli." Sanya pointed at Susan. "Her sword is much more like Aragorn's." "Aragorn wishes he looked that good," countered Thomas. "What about Karrin?" Sanya asked. "What--for Gimli?" Thomas mused. "She is fairly--" "Finish that sentence, Raith, and we throw down," said Murphy in a calm, level voice. "Tough," Thomas said, his expression aggrieved. "I was going to say 'tough.' " As the discussion went on--with Molly's sponsorship, Mouse was lobbying to claim Gimli on the basis of being the shortest, the stoutest, and the hairiest-- "Sanya," I said. "Who did I get cast as?" "Sam," Sanya said. I blinked at him. "Not . . . Oh, for crying out loud, it was perfectly obvious who I should have been." Sanya shrugged. "It was no contest. They gave Gandalf to your godmother. You got Sam.

I feel like I'm lost in an anime movie" I said, as Coyote picked the thing up. "One of the tentacle-monster ones." Most of them were X-rated and ended up with a lot of dead people.

Don't you go to the movies?" "Mostly just to eat popcorn in the dark.

Many have given up. They stay home and watch the TV screen, living on the earnings of their parents, cousins, bothers, or uncles, and only leave the house to go to the movies or to the nearest bar. "How're you making it?" on may ask, running into them along the block, or in the bar. "Oh, I'm TV-ing it"; with the saddest, sweetest, most shamefaced of smiles, and from a great distance. This distance one is compelled to respect; anyone who has traveled so far will not easily be dragged again into the world. There are further retreats, of course, than the TV screen or the bar. There are those who are simply sitting on their stoops, "stoned," animated for a moment only, and hideously, by the approach of someone who may lend them the money for a "fix." Or by the approach of someone from whom they can purchase it, one of the shrewd ones, on the way to prison or just coming out.

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

[..]Although personally, I think cyberspace means the end of our species." Yes? Why is that?" Because it means the end of innovation," Malcolm said. "This idea that the whole world is wired together is mass death. Every biologist knows that small groups in isolation evolve fastest. You put a thousand birds on an ocean island and they'll evolve very fast. You put ten thousand on a big continent, and their evolution slows down. Now, for our own species, evolution occurs mostly through our behaviour. We innovate new behaviour to adapt. And everybody on earth knows that innovation only occurs in small groups. Put three people on a committee and they may get something done. Ten people, and it gets harder. Thirty people, and nothing happens. Thirty million, it becomes impossible. That's the effect of mass media - it keeps anything from happening. Mass media swamps diversity. It makes every place the same. Bangkok or Tokyo or London: there's a McDonald's on one corner, a Benetton on another, a Gap across the street. Regional differences vanish. All differences vanish. In a mass-media world, there's less of everything except the top ten books, records, movies, ideas. People worry about losing species diversity in the rain forest. But what about intellectual diversity - our most necessary resource? That's disappearing faster than trees. But we haven't figured that out, so now we're planning to put five billion people together in cyberspace. And it'll freeze the entire species. Everything will stop dead in its tracks. Everyone will think the same thing at the same time. Global uniformity. [..]

Do you like manga?" she asked after a minute. "Anime?" "Anime's cool. I'm not really into it, but 1 like Japanese movies, animated or not." "Well, I'm into it. I watch the shows, read the books, chat on the boards, and all that. But this girl I know, she's completely into it. She spends most of her allowance on the books and DVDs. She can recite dialogue from them." She caught my gaze. "So would you say she belongs here?" "No. Most kids are that way about something, right? With me, it's movies. Like knowing who directed a sci-fi movie made before I was born.

Q: Do you feel concerned that after all this work, people won't treat [Starship Titanic] with the gravity of, say, a movie or a book? That they won't treat it as an art form? D.A.: I hope that's the case, yes. I get very worried about this idea of art. Having been an English literary graduate, I've been trying to avoid the idea of doing art ever since. I think the idea of art kills creativity. ... [I]f somebody wants to come along and say, "Oh, it's art," that's as may be. I don't really mind that much. But I think that's for other people to decide after the fact. It isn't what you should be aiming to do. There's nothing worse than sitting down to write a novel and saying, "Well, okay, I'm going to do something of high artistic worth." ... I think you get most of the most interesting work done in fields where people don't think they're doing art, but merely practicing a craft, and working as good craftsmen. ... I tend to get very suspicious of anything that thinks it's art while it's being created.

When King Lear dies in Act V, do you know what Shakespeare has written? He's written "He dies." That's all, nothing more. No fanfare, no metaphor, no brilliant final words. The culmination of the most influential work of dramatic literature is "He dies." It takes Shakespeare, a genius, to come up with "He dies." And yet every time I read those two words, I find myself overwhelmed with dysphoria. And I know it's only natural to be sad, but not because of the words "He dies." but because of the life we saw prior to the words.

Thomas barked out a laugh. "There are seven of us against the Red King and his thirteen most powerful nobles, and it's going well?" Mouse sneezed. "Eight," Thomas corrected himself. He rolled his eyes and said, "And the psycho death faerie makes it nine." "It is like movie," Sanya said, nodding. "Dibs on Legolas.

In regard to propaganda the early advocates of universal literacy and a free press envisaged only two possibilities: the propaganda might be true, or the propaganda might be false. They did not foresee what in fact has happened, above all in our Western capitalist democracies - the development of a vast mass communications industry, concerned in the main neither with the true nor the false, but with the unreal, the more or less totally irrelevant. In a word, they failed to take into account man's almost infinite appetite for distractions. In the past most people never got a chance of fully satisfying this appetite. They might long for distractions, but the distractions were not provided. Christmas came but once a year, feasts were "solemn and rare," there were few readers and very little to read, and the nearest approach to a neighborhood movie theater was the parish church, where the performances though frequent, were somewhat monotonous. For conditions even remotely comparable to those now prevailing we must return to imperial Rome, where the populace was kept in good humor by frequent, gratuitous doses of many kinds of entertainment - from poetical dramas to gladiatorial fights, from recitations of Virgil to all-out boxing, from concerts to military reviews and public executions. But even in Rome there was nothing like the non-stop distractions now provided by newspapers and magazines, by radio, television and the cinema. In "Brave New World" non-stop distractions of the most fascinating nature are deliberately used as instruments of policy, for the purpose of preventing people from paying too much attention to the realities of the social and political situation. The other world of religion is different from the other world of entertainment; but they resemble one another in being most decidedly "not of this world." Both are distractions and, if lived in too continuously, both can become, in Marx's phrase "the opium of the people" and so a threat to freedom. Only the vigilant can maintain their liberties, and only those who are constantly and intelligently on the spot can hope to govern themselves effectively by democratic procedures. A society, most of whose members spend a great part of their time, not on the spot, not here and now and in their calculable future, but somewhere else, in the irrelevant other worlds of sport and soap opera, of mythology and metaphysical fantasy, will find it hard to resist the encroachments of those would manipulate and control it.

So Oz finally became home; the imagined world became the actual world, as it does for us all, because the truth is that once we have left our childhood places and started out to make our own lives, armed only with what we have and are, we understand that the real secret of the ruby slippers is not that "there's no place like home," but rather that there is no longer such a place as home: except, of course, for the homes we make, or the homes that are made for us, in Oz, which is anywhere and everywhere, except the place from which we began. In the place from which I began, after all, I watched the film from the child's - Dorothy's point of view. I experienced, with her, the frustration of being brushed aside by Uncle Henry and Auntie Em, busy with their dull grown-up counting. Like all adults, they couldn't focus on what was really important to Dorothy: namely, the threat to Toto. I ran away with Dorothy and then ran back. Even the shock of discovering that the Wizard was a humbug was a shock I felt as a child, a shock to the child's faith in adults. Perhaps, too, I felt something deeper, something I couldn't articulate; perhaps some half-formed suspicion about grown-ups was being confirmed. Now, as I look at the movie again, I have become the fallible adult. Now I am a member of the tribe of imperfect parents who cannot listen to their children's voices. I, who no longer have a father, have become a father instead, and now it is my fate to be unable to satisfy the longings of a child. This is the last and most terrible lesson of the film: that there is one final, unexpected rite of passage. In the end, ceasing to be children, we all become magicians without magic, exposed conjurers, with only our simply humanity to get us through. We are the humbugs now.

Gillette--The best a man can get." I stared at the screen. What happened to me? I was meant to be one of those guys, vigorous and athletic and successful and, most of all, American. I was going to walk on the moon, be a movie star or a rock got or a comedian. I was going to have an amazing life and kids with Helen and die like Chaplin a thousand years from now in my Beverly Hills mansion surrounded by my adoring family, with the grieving world media standing by. Instead, I was just another show-business mediocrity. A drunk who shat his pants and ran for help. My life had been careless and selfish. Pleasure in the moment was my only thought, my solitary motivation. I had disappointed whoever had been foolish enough to love me, and left them scarred. I was a very long way from being the best a man can get.

I lay there wrapped in Carter’s arms and it was the most comfortable I had ever been. For about five minutes. This just proved that everything they did in the movies was a load of bullshit. His arm was under my neck on the pillow which tilted my head at an awkward angle. I could already feel the beginnings of a kink. I was starting to sweat like a whore in church with his other arm heavily draped over my waist and his legs tangled with mine. With my sweaty ass and his itchy leg hair, it felt like I had a hundred mosquito bites on my legs. It would be wrong to kick him now, right? I shifted my body just the tiniest bit. I didn't want him to think I didn't want to cuddle, but I was going insane trying to lie perfectly still. . . . "Out with it, Claire," Carter mumbled close to my ear. Shit. Now it was going to get awkward. We just now had sex for the first time in years and I was going to tell him to get away from me so I could sleep. I am the most unromantic person in the world. . . . "My neck is killing me and I'm so hot right now my skin could start a blanket fire," I rambled. Carter was quiet. Too quiet. Shit, I hurt his feelings. "Oh, thank fucking God," he said as he pulled both of his arms out from around me. "My arm fell asleep and my legs were getting a cramp.

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

They should." "Should be like a wood bee," she said. It was a private joke, a mocking appreciation of the slipperiness of even the simplest hope, a nonce catchphrase like so many others lifted from favorite movies or TV shows that served as a rote substitute for conversation and bound them like shut-in twins, each other's best and, most often, only audience.

There's a honey-do-list for you on your nightstand in case you get to feeling like I managed just fine without you. And a wish list of movies I want to see, and books I'd like you to buy me." She bit her lip. "Actually I bought most of the books and called them gifts, so maybe you should give me back that list to update once more.

When she returned, she smiled and said, "We were at the movies once, and this dork took two phone calls during the film. Later we followed him, and Andre broke both his legs with a baseball bat." This proved that even the most evil people could occasionally have a socially responsible impulse.

I taught how to be sociable with ink on paper. I told my students that when they were writing they should be good dates on blind dates, should show strangers good times. Alternatively, they should run really nice whorehouses, come one, come all, although they were in fact working in perfect solitude. I said I expected them to do this with nothing but idiosyncratic arrangements in horizontal lines of twenty-six phonetic symbols, ten numbers, and maybe eight punctuation marks, because it wasn't anything that hadn't been done before. In 1996, with movies and TV doing such good jobs of holding the attention of literates and illiterates alike, I have to question the value of my very strange, when you think about it, charm school. There is this: Attempted seductions with nothing but words on paper are so cheap for would-be ink-stained Don Juans or Cleopatras!They don't have to get a bankable actor or actress to commit to the project, and then a bankable director, and so on, and then raise millions and millions of buckareenies from manic-depressive experts on what most people want. Still and all, why bother? Here's my answer: Many people need desperately to receive this message: "I feel and think much as you do, care about many of the things you care about, although most people don't care about them. You are not alone.

I especially loved the Old Testament. Even as a kid I had a sense of it being slightly illicit. As though someone had slipped an R-rated action movie into a pile of Disney DVDs. For starters Adam and Eve were naked on the first page. I was fascinated by Eve's ability to always stand in the Garden of Eden so that a tree branch or leaf was covering her private areas like some kind of organic bakini. But it was the Bible's murder and mayhem that really got my attention. When I started reading the real Bible I spent most of my time in Genesis Exodus 1 and 2 Samuel and 1 and 2 Kings. Talk about violent. Cain killed Abel. The Egyptians fed babies to alligators. Moses killed an Egyptian. God killed thousands of Egyptians in the Red Sea. David killed Goliath and won a girl by bringing a bag of two hundred Philistine foreskins to his future father-in-law. I couldn't believe that Mom was so happy about my spending time each morning reading about gruesome battles prostitutes fratricide murder and adultery. What a way to have a "quiet time." While I grew up with a fairly solid grasp of Bible stories I didn't have a clear idea of how the Bible fit together or what it was all about. I certainly didn't understand how the exciting stories of the Old Testament connected to the rather less-exciting New Testament and the story of Jesus. This concept of the Bible as a bunch of disconnected stories sprinkled with wise advice and capped off with the inspirational life of Jesus seems fairly common among Christians. That is so unfortunate because to see the Bible as one book with one author and all about one main character is to see it in its breathtaking beauty.

I kept thinking of an old Robert Mitchum cowboy movie where he goes back to see the farmhouse where he was born and finds the house falling apart and an old man living in it by himself. "Lonely place," Robert Mitchum says. The old man says, "Nothing wrong with a lonely place as long as it's private. That's why I never married. Marriage is lonely, but it ain't private." That was always my most intense fear about getting married: When everything sucked and I was by myself, I thought, Well, at least I don't have another miserable person to worry about. I figured if you gave up your private place and it still turns out to be lonely, you're just screwed.

I don't really know how dating works," Jared told her. "High school for me was mostly musical numbers. That's how it is in the States, you've seen the movies. Every time someone had an emotional dilemma or epiphany, they would burst into song, and we would all have to break out into perfectly choreographed dance sequences. It took a lot of intensive training. So many jazz squares, no time for love.

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?

You in the mood for a movie tonight?" Kate asked him a couple days later. Matt was working, and she was sitting on her customary bucket taking a break, drinking bottled water, and surreptitiously admiring him from every angle. "I could pick something up on my way over tonight." "Sure." "How about Pride and Prejudice?" "What's that?" he asked warily. It's not one of those movies where they all wear old-fashioned clothes and walk around talking in British accents, is it?" "That's exactly what it is." Matt groaned. "It's romantic! Maybe one of the most romantic stories ever.

1. Romantic: One who ruthlessly believes in love in its finest form and impresses those feelings onto his or her various relationships. May result in scaring off partners, falling for the wrong person, and desperately trying to turn life into a movie with glamorous Old Hollywood actors. May also result in some of the best, most inspiring, and deepest relationships around.

As residual life energy fades from the brain, the useless clutter is first to go. The movie quotes, the radio jingles, the celebrity gossip and political slogans, they all melt away, leaving only the most potent and wrenching of the memories. As the brain dies, the life inside clarifies and distills. It ages like a fine wine.

He's out there. A guy out there was meant to be the love of your life, your best friend, your soulmate. The one you can tell your dreams to. He'll brush your hair out of your eyes. Send you flowers when you least expect it. He'll stare at you during the movies, even though he paid eight dollars to see it. He'll call to say "Goodnight" or just because he is missing you. He'll look in your eyes and tell you you're the most beautiful girl in the world. And for the first time in your life, you'll believe it.

Let someone else be the most powerful country, make ours the most peaceful country.

MOST DAYS MY LIFE CAN BE SUMMED UP IN MOVIE QUOTES AND HIP HOP AND R&B LYRICS

The conference is geared to people who enjoy meaningful discussions and sometimes "move a conversation to a deeper level, only to find out we are the only ones there." . . . When it's my turn, I talk about how I've never been in a group environment in which I didn't feel obliged to present an unnaturally rah-rah version of myself. . . . Scientists can easily report on the behavior of extroverts, who can often be found laughing, talking, or gesticulating. But "if a person is standing in the corner of a room, you can attribute about fifteen motivations to that person. But you don't really know what's going on inside." . . . So what is the inner behavior of people whose most visible feature is that when you take them to a party they aren't very pleased about it? . . . The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive . . . . They dream vividly, and can often recall their dreams the next day. They love music, nature, art, physical beauty. They feel exceptionally strong emotions--sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments--both physical and emotional--unusually deeply. They tend to notice subtleties that others miss--another person's shift in mood, say, or a lightbulb burning a touch too brightly. . . . [Inside fMRI machines], the sensitive people were processing the photos at a more elaborate level than their peers . . . . It may also help explain why they're so bored by small talk. "If you're thinking in more complicated ways," she told me, "then talking about the weather or where you went for the holidays is not quite as interesting as talking about values or morality." The other thing Aron found about sensitive people is that sometimes they're highly empathic. It's as if they have thinner boundaries separating them from other people's emotions and from the tragedies and cruelties of the world. They tend to have unusually strong consciences. They avoid violent movies and TV shows; they're acutely aware of the consequences of a lapse in their own behavior. In social settings they often focus on subjects like personal problems, which others consider "too heavy.

Besides stage magic props and settings, ritually abusing groups use technology, such as that described by Katz and Fotheringham. Military/political groups have the most sophisticated technologies, and much training or programming is now done with virtual reality equipment. Movies and holograms are used to deceive a child into believing in things that are unreal. When a client says to you “I don't know if it's real; how can it be real?” remember that there are several options, not just two: (1) It happened just as s/he remembers; (2) it did not happen at all; (3) something happened, but due to technology and/or trickery it was not what s/he thinks it was; (4) the thought that the memory must be unreal is itself a program, as described in Chapter Twelve, “Maybe I made it up." p55

We used to hang out all the time. St. Clair and me.But after you arrived,I hardly saw him. He'd sit next to you in class,at lunch,at the movies. Everywhere. And even though I was suspicious,I knew the first time I heard you call him Etienne-I knew you loved him.And I knew by his response-the way his eyes lit up every time you said it-I knew he loved you,too. And I ignored it,because I didn't want to believe it." The struggle rises inside me again. "I don't know if he loves me.I don't know if he does,or if he ever did.It's all so messed up." "It's obvious he wants more than friendship." Mer takes my shaking mug. "Haven't you seen him? He suffers every time he looks at you.I've never seen anyone so miserable in my life." "That's not true." I'm remembering he said the situation with his father is really terrible right now. "He has other things on his mind,more important things." "Why aren't the two of you together?" The directness of her question throws me. "I don't know.Sometimes I think there are only so many opportunies...to get together with someone.And we've both screwed up so many times"-my voice grows quiet-"that we've missed our chance." "Anna." Mer pauses. "That is the dumbest thing I've ever heard." "But-" "But what? You love him,and he loves you, and you live in the most romantic city in the world." I shake my head. "It's not that simple." "Then let me put it another way.A gorgeous boy is in love with you, and you're not even gonna try to make it work?

As millennial women, most of us aspire to motherhood. We grow up craving to start our own families (damn Disney movies with magical Prince Charming, oh and Lifetime). We are ready to use our natural instinct to nurture, love and support our own families - blended and created by us!

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

One of the most terrifying things that has ever happened to me was watching myself over and over again--thirty-five days in a row--not to return a movie I had rented. Every day, I saw it sitting there on the arm of my couch. And every day, I thought, "I should really do something about that..." and then I just didn't.

But the thing I remember most about the screening in October twenty years ago was the moment Julian grasped my hand that had gone numb on the armrest separating our seats. He did this because in the book Julian Wells lived but in the movie's new scenario he had to die. He had to be punished for all of his sins. That's what the movie demanded. (Later, as a screenwriter, I learned it's what all movies demanded.) When this scene occurred, in the last ten minutes, Julian looked at me in the darkness, stunned. "I died," he whispered. "They killed me off." I waited a bit before sighing, "But you're still here." Julian turned back to the screen and soon the movie ended, the credits rolling over the palm trees as I (improbably) take Blair back to my college while Roy Orbison wails a song about how life fades away.

Must you always speak with so many pop culture references?" "I must, yes, but no one's making pop culture anymore, so I'm starting to feel dated. I haven't seen a new movie in two years. And you know what else I just realized?" The doctor stared at him. "I'm never going to find out what the hell was going on with Lost. I mean, was it just sheer coincidence their plane crashed on the island or was it this Jacob guy pulling the strings all along? And how did most of them end up back in the 1970s with the Dharma people?

That's what I love about music. - What? - One of the most banal scenes is suddenly invested with so much meaning, you know? All these banalities, they're suddenly turned into these... these beautiful, effervescent pearls. From music. I've got to say, as I've gotten older, these pearls are just... ...becoming increasingly more and more rare to me. More string than pearls? Yeah. You've got to travel over a lot more string to get to the pearls. This moment is a pearl, Gretta. It sort of is, isn't it? All this has been a pearl.

The gambling industry actually generates more income than the music, sports, and movie industries combined.

Most of the people readily accept the principle but resist its practice.

Sometimes the most terrifying discovery is who you really are.

Uh-oh," Will muttered. "This is going to be ... interesting." It turned out the creative genius behind the movie was Will's dad - the god Apollo, which meant this was not going to be a typical orientation flick. No, as we soon found out, Apollo had written, directed, produced, hosted and starred in ... a variety show. For those of you who don't know what a variety show is, imagine a talent show on steroids, complete with canned laughter, pre-recorded applause, and an extra-large helping of hokeyness. For the next hour, we cringe-watched as Apollo and our demigod predecessors performed in song-and-dance numbers, recited poetry, acted in comedy sketches and harmonized in a musical group called the Lyre Choir. Naturally, Apollo featured prominently in most of the acts. The one of him hula-hooping shirtless while satyrs capered around with long rainbow ribbons on sticks ... you can't unsee that kind of thing.

Horkman and I are on one side of the ravine, holding our guns over our heads. The Cubans are on the other side, going nuts, shouting "YI-YI-YI" ready to go kick some ass. In a movie, the next scene, we're all charging into battle. But what actually happened was, first, Horkman and I climb down our side of the ravine, which was hard because those guns are a lot heavier than they look, plus it is really steep. We both kept dropping the guns and falling down, so we ended up mostly sliding on our butts, which took awhile. The Cubans tried to keep cheering, but after a while they realized they'd better pace themselves. Like every twenty seconds or so, one of them would yell "YI-YI-YI!" But you could tell they were losing the mood.

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

Lady Sylvia McCordle: Mr Weissman -- Tell us about the film you're going to make. Morris Weissman: Oh, sure. It's called "Charlie Chan In London". It's a detective story. Mabel Nesbitt: Set in London? Morris Weissman: Well, not really. Most of it takes place at a shooting party in a country house. Sort of like this one, actually. Murder in the middle of the night, a lot of guests for the weekend, everyone's a suspect. You know, that sort of thing. Constance: How horrid. And who turns out to have done it? Morris Weissman: Oh, I couldn't tell you that. It would spoil it for you. Constance: Oh, but none of us will see it.

Is that a no?" I said. "No. I mean.." He struggled for the smile again. "I'm just waiting for the punch line. Something about making it date so I need to pay. Or you expecting flowers. Or.." He trailed off. "There isn't a punch line," I said. I rose onto my knees and inched over, in front of him. Then I stopped about a foot away. "No punch line, Daniel," I said. "I'm asking if you'll go out with me." He didn't answer. Just reched out, his hand sliding between my hair and face, pulling me toward him and.. And he kissed me. His lips touched mine, tentatively, still unsure, and I eased closer, my arms going around his neck. He kissed me for real then, a long kiss that I felt in the bottom of my soul, a click, some deep part of me saying, "Yes, this is it." Even when the kiss broke off, it didn't end. It was like coming to the surface for a quick gasp of air, then plunging back down again, finding that sweet spot again, and holding onto it for as long as we could. Finally it tapered off, and we were lying on the picnic blanket, side by side, his hand on my hip, kissing slower now, with more breaks for air. until I said, "We should have done that sooner." He smiled, a lazy half smile, and he just looked at me for a moment, our gazes locked, lying there in drowsy happiness, before he said, "I think now's just fine." And he kissed me again, slower and softer now, as we rested there, eyes half closed. "So, about Saturday, did you ask me?" he said after a minute, "Because I'm pretty sure that means yo're paying." "Nope. You were imaging it. Considering how you eat, the meal bill is all yours. But I will spring for the movie. And bring you flowers." He chuckled. "Will you?" "Yep, a dozen pink roses, which you'll have to carry all night or risk offending me." "And what happens if I offend you?" "You don't get any more of this." I leaned in and kissed him again. And we stayed out there, on the blanket, as the sun fell, talking and kissing mostly, just being together. We had a long road ahead of us, and I knew it wasn't going to be easy. But I had everything I wanted-everything I needed-and I'd get through it just fine. We all would.

It’s funny how we think life works a certain way because of TV and movies. Most people don’t really think about how scripts are edited and how people get to practice their lines and rehearse. If one doesn’t get it right they get to redo the scene until they do. In real life what’s missing or not working only comes up when we’re going along full blast. We end up being the editors of our lives only while we’re running in real time.

Now, looking for labels, it is hard to call the Hell's Angels anything but mutants. They are urban outlaws with a rural ethic and a new, improvised style of self-preservation. Their image of themselves derives mainly from Celluloid, from the Western movies and two-fisted TV shows that have taught them most of what they know about the society they live in. Very few read books, and in most cases their formal education ended at fifteen or sixteen. What little they know of history has come from the mass media, beginning with comics ... so if they see themselves in terms of the past, it's because they can't grasp the terms of the present, much less the future. They are the sons of poor men and drifters, losers and the sons of losers. Their backgrounds are overwhelmingly ordinary. As people, they are like millions of other people. But in their collective identity they have a peculiar fascination so obvious that even the press has recognized it, although not without cynicism. In its ritual flirtation with reality the press has viewed the Angels with a mixture of awe, humor and terror -- justified, as always, by a slavish dedication to the public appetite, which most journalists find so puzzling and contemptible that they have long since abandoned the task of understanding it to a handful of poll-takers and "experts.

I found it strange how people could sit in an airplane flying miles high at hundreds of speeds and not think about it. We got used to magnificent things. I wanted to think it’s cool every time I fly. I wouldn’t want to act overdramatic but just sit there and look out the window for a moment and process what I’m doing. Really process it. Maybe before turning on a movie or going back to normal life, I would begin the flight with a moment like that.

Hush, Sophie. You’re beautiful.” It was, mostly, a quote from the movie, and it finished Elijah off. Shutting his eyes, he leaned into Baz’s touch. “Don’t eat my heart, Howl.” “Never,” Baz vowed, sealing the promise with a kiss.

There are so many dirty names for her that one rarely learns them all, even in one’s native language. There are dirty names for every female part of her body and for every way of touching her. There are dirty words, dirty laughs, dirty noises, dirty jokes, dirty movies, and dirty things to do to her in the dark. Fucking her is the dirtiest, though it may not be as dirty as she herself is. Her genitals are dirty in the literal meaning: stink and blood and urine and mucous and slime. Her genitals are also dirty in the metaphoric sense: obscene. She is reviled as filthy, obscene, in religion, pornography, philosophy, and in most literature and art and psychology. where she is not maligned she is magnificently condescended to, as in this diary entry by Somerset Maugham written when he was in medical school: The Professor of Gynaecology: He began his course of lectures as follows: Gentlemen, woman is an animal that micturates once a day, defecates once a week, menstruates once a month, parturates once a year and copulates whenever she has the opportunity. I thought it a prettily-balanced sentence. Were she loved sufficiently, or even enough, she could not be despised so much. were she sexually loved, or even liked, she and what is done with or to her, in the dark or in the light, she would not, could not, exist rooted in the realm of dirt, the contempt for her apparently absolute and irrevocable; horrible; immovable; help us, Lord; unjust. She is not just less; she and the sex she incarnates are a species of filth. God will not help of course: "For a whore is a deep ditch; and a strange woman is a narrow pit.

She really talks to you, doesn't she?" She asked. "it's not just you talking to her. She talks BACK." "hel, half the time she starts it." I said, half-defensively. "I know it's weird." "Well, yes, it's weird. Technically, I think it's insane. But who am I to judge?" Maggie shrugged. "I live in a house most people view as the setting of a horror movie waiting to happen, with an army of security ninjas and a couple dozen epileptic dogs for company. I don't think I'm qualified to pass judgement on 'weird'.

Taking care of those you love should never feel like a burden to you. It should never be a burden to you. If it is, you don't have the right heart about it, and you're taking all those beautiful things around you for granted. Sure, everything won't always be roses, but a family is one of the most precious things you can have. You might have to work your fingers to the bone. You might struggle. You might have to get up and smile, even when you don't feel like smiling. You may have to tell your family that things will be okay, even if you feel like you are falling apart. However, you're not the only one who sees what you're going through. You are never alone, and happiness is something you can choose even when things are going in the opposite direction of where you thing you need to be headed. Choose to see the blessings around you, instead of the bad things. It's a privilege, and something you may not always have, so treasure it. Cherish every moment like the gift it is, and work with a generous and privileged heart. (Note: Inspired by the quote in the movie 'Me Again' that says, "It's not a burden, but a privilege.")

There are two kinds of directors; those who have the public in mind when they conceive and make their films and those who don't consider the public at all. For the former, cinema is an art of spectacle; for the latter, it is an individual adventure. There is nothing intrinsically better about one or the other; it's simply a matter of different approaches. For Hitchcock as for Renoir, as for that matter almost all American directors, a film has not succeeded unless it is a success, that is, unless it touches the public that one has had in mind right from the moment of choosing the subject matter to the end of production. While Bresson, Tati, Rossellini, Ray make films their own way and then invite the public to join the "game," Renoir, Clouzot, Hitchcock and Hawks make movies for the public, and ask themselves all the questions they think will interest their audience. Alfred Hitchcock, who is a remarkably intelligent man, formed the habit early--right from the start of his career in England--of predicting each aspect of his films. All his life he has worked to make his own tastes coincide with the public', emphasizing humor in his English period and suspense in his American period. This dosage of humor and suspense has made Hitchcock one of the most commercial directors in the world (his films regularly bring in four times what they cost). It is the strict demands he makes on himself and on his art that have made him a great director.

I never saw "being different" in and of itself as the point to "being Goth" -- dressing different from most others, maybe, but the point to me was to get together with people who liked the same music and clothes, or at least very similar music and clothes, and go to clubs, go to movies, go to coffee-houses and hold poetry readings and, in general, just have some good harmless fun. Did I look like a dork? Sure, but so did everybody else in the club. We weren't "being different", at least not all of us, we just were different and the point was to stop bitching about being different and just have fun.

California during the 1940s had Hollywood and the bright lights of Los Angeles, but on the other coast was Florida, land of sunshine and glamour, Miami and Miami Beach. If you weren't already near California's Pacific Coast you headed for Florida during the winter. One of the things which made Miami such a mix of glitter and sunshine was the plethora of movie stars who flocked there to play, rubbing shoulders with tycoons and gangsters. Sometimes it was hard to tell the difference between the latter two. Miami and everything that surrounded it hadn't happened by accident. Carl Fisher had set out to make Miami Beach a playground destination during the 1930s and had succeeded far beyond his dreams. The promenade behind the Roney Plaza Hotel was a block-long lovers' lane of palm trees and promise that began rather than ended in the blue waters of the Atlantic. Florida was more than simply Miami and Miami Beach, however. When George Merrick opened the Biltmore Hotel in Coral Gables papers across the country couldn't wait to gush about the growing aura of Florida. They tore down Collins Bridge in the Gables and replaced it with the beautiful Venetian Causeway. You could plop down a fiver if you had one and take your best girl — or the girl you wanted to score with — for a gondola ride there before the depression, or so I'd been told. You see, I'd never actually been to Florida before the war, much less Miami. I was a newspaper reporter from Chicago before the war and had never even seen the ocean until I was flying over the Pacific for the Air Corp. There wasn't much time for admiring the waves when Japanese Zeroes were trying to shoot you out of the sky and bury you at the bottom of that deep blue sea. It was because of my friend Pete that I knew so much about Miami. Florida was his home, so when we both got leave in '42 I followed him to the warm waters of Miami to see what all the fuss was about. It would be easy to say that I skipped Chicago for Miami after the war ended because Pete and I were such good pals and I'd had such a great time there on leave. But in truth I decided to stay on in Miami because of Veronica Lake. I'd better explain that. Veronica Lake never knew she was the reason I came back with Pete to Miami after the war. But she had been there in '42 while Pete and I were enjoying the sand, sun, and the sweet kisses of more than a few love-starved girls desperate to remember what it felt like to have a man's arm around them — not to mention a few other sensations. Lake had been there promoting war bonds on Florida's first radio station, WQAM. It was a big outdoor event and Pete and I were among those listening with relish to Lake's sultry voice as she urged everyone to pitch-in for our boys overseas. We were in those dark early days of the war at the time, and the outcome was very much in question. Lake's appearance at the event was a morale booster for civilians and servicemen alike. She was standing behind a microphone that sat on a table draped in the American flag. I'd never seen a Hollywood star up-close and though I liked the movies as much as any other guy, I had always attributed most of what I saw on-screen to smoke and mirrors. I doubted I'd be impressed seeing a star off-screen. A girl was a girl, after all, and there were loads of real dolls in Miami, as I'd already discovered. Boy, was I wrong." - Where Flamingos Fly

While gently pushing her towards the dressing room, Lazarus ventured, "Can I ask you something kind of personal?" Pulling her shirt over her head behind the curtain, and holding her hand out for the corset, she replied, "Anything for you, Laz." "How are you still friends with him?" "Can you hook this thing?" Holding the corset on her stomach, Lazarus peeked through the curtain, fingers deftly snapping the twenty hook-and-eye latches. "He saved my life. There are a million reasons to hate him, but there are a million and one reasons to forgive him for his faults." Twisting to look in the mirror, adjusting her breasts in the tight silk, she continued, "He'll say the worst thing at the worst possible time, except every once in awhile, he says the one most perfect thing that just makes you want to cry from happiness. He knows the exact way you need to be touched at any moment, in any mood, like he's fucking telepathic. He'll make you want to scream when he ignores you, but then you find out he knows your favorite color, your favorite meal, what movie makes you cry and he can list every little thing in the entire world that you hate. And mostly? Well," Turning to face Lazarus and strike a pose, "I just can't fucking stop.

I’m a big fan of Disney’s animated movies, or at least of most of them. I don’t know what it is, but the songs get stuck in my head. There is a Disney song for every situation you encounter in life. Some people quote The Godfather. Some quote Monty Python and the Holy Grail. I quote Walt Disney. Those are the true classics.

So what happened?" "I don't know." Another glance to ensure his continued state of Not Looking, and then I rip off my clothes in one fast swoop. I am now officially stark naked in the room with the most beautiful boy I know. Funny,but this isn't how I imagined this moment. No.Not funny.One hundred percent the exact opposite of funny. "I think I maybe,possibly, vaguely remember hitting the snooze button." I jabber to cover my mortification. "Only I guess it was the off button.But I had the alarm on my phone set,too, so I don't know what happened." Underwear,on. "Did you turn the ringer back on last night?" "What?" I hop into my jeans, a noise he seems to determinedly ignore.His ears are apple red. "You went to see a film,right? Don't you set your mobile to silent at the theater?" He's right.I'm so stupid. If I hadn't taken Meredith to A Hard Day's Night, a Beatles movie I know she loves, I would have never turned it off. We'd already be in a taxi to the airport. "The taxi!" I tug my sweater over my head and look up to find myself standing across from a mirror. A mirror St. Clair is facing. "It's all right," he says. "I told the driver to wait when I came up here. We'll just have to tip him a little extra." His head is still down. I don't think he saw anything.I clear my throat, and he glances up. Our eyes meet in the mirror,and he jumps. "God! I didn't...I mean,not until just now..." "Cool.Yeah,fine." I try to shake it off by looking away,and he does the same. His cheeks are blazing.I edge past him and rinse the white crust off my face while he throws my toothbrush and deodorant and makeup into my luggage, and then we tear downstairs and into the lobby.

But Horace’s most renowned phrase, quoted extensively in the movie Dead Poets Society, appears in Ode 1.11. ‘Carpe diem’, says Horace in the last line: pluck the day, trusting as little as possible in the next. Life is short, in other words, and don’t you forget it. His two-word phrase is almost invariably translated as ‘seize the day’.

Everyone knows that children and teens want to blend in and follow the crowd. And from whom do they learn this lesson? Adults, of course. Let's face it: Americans follow the herd. If you want to be successful, we are told in myriad ways, conformity is the way to go. Look at corporate America, with its "team player" ethic and all the strict rules delineating what you can and cannot wear on Casual Fridays. Consider the cycles of women's fashion, which dictate when square-toed, chunky-heeled shoes are out and when pointy-toed, ankle-straining stilettos are in. And what about best-seller lists and electoral horse-race polls and movie box-office postings? Everyone wants to know what everyone else is reading and seeing and thinking--so that they can go out and read and see and think the very same things themselves. If adults possess this tendency to efface themselves in this way, teenagers have it magnified to the thousandth degree. But studying and following the fashions of the times are not enough; teens also feel a need to be associated with fashionable people--the popular people. Their goal is to crack the glass ceiling that separates mere mortals from the "in" crowd. If they are unsuccessful, and most are, they console themselves with a clique of their own. Even an unpopular clique is, the thinking goes, is better than no clique at all.

He was especially excited about Aguirre, the Wrath of God. "Look at this crazy dude," he yelled, point at Klaus Kinski, who on the cover is wearing a Viking helmet and looks like a psychopath. So--with Dad's permission--we put the film in and watched it. This would turn out to be the single most important thing ever to happen in our lives.

Love is a funny word. We use it so much that we seem to forget its meaning. We say we love objects, seasons, times of day, movies, TV shows, and everything. And we use this same word to describe people. We say we love our parents, our friends, our family. It's one of the most used words in the English language, but it remains special. Love is different like that. You can use it to talk about anything, but when you find that one person that you know you want to spend the rest of your life with, love is completely new. And saying, "I love you" becomes the best sound you could ever say or hear. Love grows and changes with us, it is just as alive as those who use it. So love as much as you want! Because love will always find a way to be new.

It was slightly after midnight. Hundreds of people were at a movie theater watching the midnight showing of the opening day of the new Batman movie. Suddenly a man appeared from a side entrance. He was dressed in battle gear and appeared to have a gun. A few patrons were concerned. Many others thought he was part of a promotion for the film. Most of the crowd didn’t notice him.” From Midnight Movie Massacre

If Christianity is true, this changes EVERYTHING. Christ's very last words to us in scripture were: "Behold, I make all things new." (Rev. 21:5) I hope you remember that most moving line in the most moving movie ever made, The Passion Of The Christ, when Christ turns to His mother on the way to Calvary, explaining the need for the Cross and the blood and the agony: "See, Mother, I make all things new." I hope you remember that line with your tear ducts, which connect to the heart, as well as with your ears, which connect to the brain. Christ changed every human being he ever met. In fact, He changed history, splitting it open like a coconut and inserting eternity into the split between B.C. and A.D. If anyone claims to have met Him without being changed, he has not met Him at all. When you touch Him, you touch lightning.

It was slightly after midnight. Hundreds of people were at a movie theater watching the midnight showing of the opening day of the new Batman movie. Suddenly a man appeared from a side entrance. He was dressed in battle gear and appeared to have a gun. A few patrons were concerned. Many others thought he was part of a promotion for the film. Most of the crowd didn’t notice him.” ---The Prophet of Life From: Midnight Movie Massacre

How speak about an art which no one recognizes as an art? I know that a great deal has already been written about the "art of the cinema". One can read about it most every day in the newspapers & the magazines. But it is not the art of the cinema which you will find discussed therein--it is rather dire, botched embryo as it now stands revealed before our eyes, the still-birth which was mangled in the womb by the obstetricians of art.

The sound was still off. In the movie, the girl and the woman had gotten into a car and were driving somewhere. They were still arguing. I watched their mouths without anu sound coming out. And the more I watched them, the more I thought that that's exactly how most people are. They move their mouths, but nothing important comes out. They just talk and talk and talk. That's what Cat Poop wants me to do: talk. But like I keep telling him, there's nothing to say. "Suicide Notes

Most of my friends didn’t believe in destiny. Nothing supernatural, nothing sent from above... no magic, no fate, just life, circumstances, and probability. But there were many signs from the universe pointing to Xuan. I never thought my love story would begin as a blockbuster, but everything that happened seemed like a big neon celestial sign that we were meant to be together. My friends would never understand, not really. If I hadn’t met Xuan, I would likely feel the same as them.

He turned over the application, and Lauren watched him scanning it, his gaze nearing the bottom where she had listed her job preferences. She knew the exact instant he spotted what she had written. "What the...!" he said, astonished, and then he burst out laughing. "Weatherby and I are going to have to be careful. Which of our jobs do you want most?" "Neither," Lauren said shortly. "I did that because on my way to the interview at Sinco,I decided I didn't want to work there after all." "So you purposely flunked your tests,is that it?" "That's it." "Lauren..." he began in a soft seductive voice that instantly put her on guard. "I've had the dubious pleasure of reading through your file," she clarified, at his stunned look. "I know all about Bebe Leonardos and the French movie star.I even saw the picture of you that was taken with Ericka Moran the day after you sent me away because a "business aquaintance' was coming to see you." "And," he concluded evenly, "you were hurt." "I was disgusted," Lauren shot back, refusing to admit to any of the anguish she'd felt.

No one was a stranger in that crowd. We had all heard FDR's "Fireside Chats" and Edward R. Murrow's "This is London," listened to H.V. Kaltenborn for the evening news, and watched the newsreels before the movies. We'd read Ernie Pyle's columns, planted victory gardens, written V mails, sent care packages, gathered phonograph records for the USO, given up nylon for parachutes, saved bacon grease for explosives, and turned in tin foil, saved from gum wrappers, for ammunition. Most of all, we'd prayed that our loved ones would be safe.

All the visitors do make an effort to look their best and it's very tender, it's sweet as hell, the way the women wear their prettiest everything, I mean the old ones and the really poor ones too, they make the dearest effort to look nice and smell nice too, and I love them for it. I love the kids too, especially the colored ones. I mean the kids the wives bring. It should be sad, seeing the kids there, but it isn't, they have ribbons in their hair and lots of shine on their shoes, you'd think there was going to be ice cream; and sometimes that's what it's like in the visitors' room, a party. Anyway, it's not like the movies: you know, grim whisperings through a grille. There isn't any grille, just a counter between you and them, and the kids can stand on it to be hugged; all you have to do to kiss somebody is lean across. What I like most, they're so happy to see each other, they've saved up so much to talk about, it isn't possible to be dull, they keep laughing and holding hands. It's different afterwards," she said. "I see them on the train. They sit so quiet watching the river go by.

You in the mood for a movie tonight?" Kate asked him a couple days later. Matt was working, and she was sitting on her customary bucket taking a break, drinking bottled water, and surreptitiously admiring him from every angle. "I could pick something up on my way over tonight." "Sure." "How about Pride and Prejudice?" "What's that?" he asked warily. "It's not one of those movies where they all wear old-fashioned clothes and walk around talking in British accents, is it?" "That's exactly what it is." Matt groaned. "It's romantic! Maybe one of the most romantic stories ever.

Leaving Forever My son can look me level in the eyes now, and does, hard, when I tell him he cannot watch chainsaw murders at the midnight movie, that he must bend his mind to Biology, under this roof, in the clear light of a Tensor lamp. Outside, his friends throb with horsepower under the moon. He stands close, milk sour on his breath, gauging the heat of my conviction, eye-whites pink from his new contacts. He can see me better than before. And I can see myself in those insolent eyes, mostly head in the pupil's curve, closed in by the contours of his unwrinkled flesh. At the window he waves a thin arm and his buddies squall away in a glare of tail lights. I reach out my arm to his shoulder, but he shrugs free and shows me my father's narrow eyes, the trembling hand at my throat, the hard wall at the back of my skull, the raised fist framed in the bedroom window I had climbed through at three A.M. "If you hit me I'll leave forever," I said. But everything was fine in a few days, fine. "I would have come back," I said, "false teeth and all." Now, twice a year after the long drive, in the yellow light of the front porch, I breathe in my father's whiskey, ask for a shot, and see myself distorted in his thick glasses, the two of us grinning, as he holds me with both hands at arm's length.

IS The Mansion haunted, do you think?" "Naw. There ain't no REAL haunted houses--just in the fuckin movies. But if there ever WAS one, it'd be The Mansion. I heard that a couple of years ago, two kids from Norwood Street went in there to bump uglies and the cops found em with their throats cut and all the blood drained out of their bodies. But there wasn't any blood on em or around em. Get it? The blood was ALL GONE." "You shittin me?" "Nope. But that wasn't the worst thing." "What was?" "Their hair was dead white. Both of em. And their eyes were wide open and staring, like they saw the most gross-awful thing in the world." "Aw, gimme a break.

There are hundreds of ways that we distract ourselves from self-reflection, from asking those fundamental questions that really matter – movies, podcasts, games, social media. An endless stream of information you have to digest that does not allow you to spend any time alone with yourself. When you have nothing to do for a long-long time, that is when your mind starts to itch. It is then that you experience the unbearable heaviness of being. I think it happens to you too. Your most random thoughts intermingle in a chaotic descent into your own mental maelstrom, producing the strangest conclusions, as your brain explores the deepest corners of your mind.

‎..:There's a movie being recorded every day where the main character is you. As they say " all eyes on me". Difference is, is ur story, ur life, so, "all eyes on you." You are required to do and give your best at all times. Regardless what life throws at you... For at the end of the day, you'll be the one people are gonna be talking about. Most importantly, you are the one who is to face the Eternal One. The Director. You decide whether you do a great job and influce others with your performance here on earth. You decide if your movie will be seen and talked about for generations to come. Leave a great inspiring movie. Leave behind a great legacy... Have a great day:..

This is not the "relativism of truth" presented by journalistic takes on postmodernism. Rather, the ironist's cage is a state of irony by way of powerlessness and inactivity: In a world where terrorism makes cultural relativism harder and harder to defend against its critics, marauding international corporations follow fair-trade practices, increasing right-wing demagoguery and violence can't be answered in kind, and the first black U.S. president turns out to lean right of center, the intelligentsia can see no clear path of action. Irony dominates as a "mockery of the promise and fitness of things," to return to the OED definition of irony. This thinking is appropriate to Wes Anderson, whose central characters are so deeply locked in ironist cages that his films become two-hour documents of them rattling their ironist bars. Without the irony dilemma Roth describes, we would find it hard to explain figures like Max Fischer, Steve Zissou, Royal Tenenbaum, Mr. Fox, and Peter Whitman. I'm not speaking here of specific political beliefs. The characters in question aren't liberals; they may in fact, along with Anderson himself, have no particular political or philosophical interests. But they are certainly involved in a frustrated and digressive kind of irony that suggests a certain political situation. Though intensely self-absorbed and central to their films, Anderson's protagonists are neither heroes nor antiheroes. These characters are not lovable eccentrics. They are not flawed protagonists either, but are driven at least as much by their unsavory characteristics as by any moral sense. They aren't flawed figures who try to do the right thing; they don't necessarily learn from their mistakes; and we aren't asked to like them in spite of their obvious faults. Though they usually aren't interested in making good, they do set themselves some kind of mission--Anderson's films are mostly quest movies in an age that no longer believes in quests, and this gives them both an old-fashioned flavor and an air of disillusionment and futility.

The diagnosis shouldn't have surprised me, as we had been talking about my symptoms for so long. But it's easier to think you just have a bunch of parts inside. Everyone says things like "A part of me wants to go to the movies, but another part of me wants to just stay home." Using the term "part" made me feel normal. I knew I was a little different in that my parts were quite separate aspects of me. I knew my consciousness wasn't whole and knew that it was unusual to have some thoughts come to me in Spanish. I knew most people didn't experience terror and struggle to catch their breath when they were in benign situations. But we hadn't been calling this DID, so I'd been able to avoid fully accepting the implications of having these special parts.

We understand this well in every other book, movie, or television show—perhaps a little too well. Today’s filmmakers blow up entire populated planets just to raise the stakes for the hero’s climactic fight scene (something done in both the Star Wars and Star Trek science fiction franchises). In “Game of Thrones,” murder and torture are doled out with such abandon, over so many seasons, that they cease to be mere plot devices and become a central theme of the series. But heaven forbid Ayn Rand should write a scene where people suffocate to death to demonstrate the disastrous consequences of Big Government. As with most literary complaints against her, this one is applied selectively, only to the author with an unwelcome political and philosophical message.

Delusions Dissociative disorders, even those created by mind controllers, are not psychosis, but this program will create the most common symptom used to diagnose schizophrenia. The child is hurt while on a turntable, with people and television sets and cartoons and photographs all around the turntable. New alters created by the torture are instructed that they must obey their instructions and become the people around them, people on television, or other alters when they are told to. When this program is triggered, the survivor will hear “voices” of the people whom the "copy alters” are imitating, or will have many confused alters popping out who think they are actually other people or movie stars. The identities of the copy alters change when the survivor's surrounding change.

Oh, what a world, what a world", Abby said. "How's that, honey?" "That's what the wicked witch says in The Wizard of Oz. Did you know that? They're showing a revival downtown and I went to see it last night with Dane. The witch says 'I'm melting! Melting! Oh, what a world. what a world', she says." "I remember the part about 'I'm melting'," Mrs. Whitshank said. "I took Red and Merrick to see that movie when they were little bitty things." "Yes, well, and then she talks about 'what a world'. I told Dane afterward, I said, 'I never heard that before! I had no idea she said that!'" "Me neither," Mrs. Whitshank said. "In a way, it sounds kind of pitiful." "Exactly," Abby said. "All at once I started feeling sorry for her, you know? I really believe that most people who seem scary are just sad.

White movie stars attracted by Harry Belafonte and Sidney Poitier were lending their names to the struggle, and their sincerity stood up against the most suspicious scrutiny. One evening at Belafonte's house, Shelley Winters explained why she was glad to contribute her money and her time to the SCLC. "It's not that I love Reverend King or all black people or even Harry Belafonte. I have a daughter. She's white and she's young now, but when she grows up and finds that most of the people in the world are black or brown or yellow, and have been oppressed for centuries by people who look like her, she's going to ask me what I did about it. I want to be able to say, 'The best I could.'" I was still suspicious of most white liberals, but Shelley Winters sounded practical and I trusted her immediately. After all, she was a mother just like me, looking after her child.

My favorite scene was my dying scene, when I had to stand up and suddenly in that moment recall my wife and everything I stood for, and I say "My queen, my wife, my love" and I think of all my movies, that is the most powerful moment I ever had. In preparation for each take, I would scream at the ground, clench my fists, and scrape the ground, and cut all my knuckles and rip my nails... I would scream, and scrape, and scratch, and then I would stand and go "GO." And they would film. And it felt so visceral, and so powerful, and the next day, that was my last day of filming, the next day I was leaving Montreal and I went through US IMMIGRATION and the officer asked "what happened to your hands" and I said "I was just scratching the ground" and she took me for secondary questioning, and I missed my flight, and had to stay another day. So the next day I wore gloves.

Why would everyone - in both the movie business and the audience - want to avoid the label "marriage"? Marriage was presumably everybody's business. People were either born into one, born outside of one, living in one, living outside of one, trying to woo someone into one, divorced from one, trying to get divorced from one, reading about one, dreaming about one, or just observing one from afar. For most people, it would be the central event - the biggest decision - of their lives. Marriage was the poor man's trip to Paris and the shopgirl's final goal. At the very least, it was a common touchstone. Unlike a fantasy film or a sci-fi adventure, a marriage story didn't have to be explained or defined. Unlike a western or a gangster plot, it didn't have to find a connection to bring a jolt of emotional recognition to an audience. Marriage was out there, free to be used and presented to people who knew what the deal was.

Why don't you ask me up for a drink?" "A drink? There's not much of a variety, but you're welcome." "It's nice to be asked occasionally." Before he could tuck his hand safely in his pocket, she took it, threaded their fingers together. "You have free time now and again yourself," she said easily. "I wonder if you've heard of the concept of dates. Dinner, movies, drives?" "I've some experience with them," He glanced at his pickup as they turned his quarters. "It you've a yen for a drive, you can climb up into the lorry, but I'd need to shovel it out first." She huffed out a breath. "That, Donnelly, wasn't the most romantic of invitations." "Secondhand lorries aren't particularly romantic, and I've forgotten where I parked my glass coach." "If that's another princess crack-" She broke off,set her teeth. Patience, she reminded herself. She wasn't going to spoil things with an argument. "Never mind.We'll forget the drive." She opened the door herself. "And move straight to dinner.

I felt as though the temple curtain had been drawn aside without warning and I, a goggle-eyed stranger somehow mistaken for an initiate, had been ushered into the sanctuary to witness the mystery of mysteries. I saw a phantasmagoria, a living tapestry of forms jeweled in minute detail. They danced together like guests at a rowdy wedding. They changed their shapes. Within themselves they juggled geometrical shards like the fragments in a kaleidoscope. They sent forth extensions of themselves like the flares of suns. Yet all their activity was obviously interrelated; each being's actions were in step with its neighbors'. They were like bees swarming: They obviously recognised each other and were communicating avidly, but it was impossible to know what they were saying. They enacted a pageant whose beauty awed me. As the lights came back on, the auditorium seemed dull and unreal.I'd been watching various kinds of ordinary cells going about their daily business, as seen through a microscope and recorded by the latest time-lapse movie techniques. The filmmaker frankly admitted that neither he nor anyone else knew just what the cells were doing, or how and why they were doing it. We biologists, especially during our formative years in school, spent most of our time dissecting dead animals and studying preparations of dead cells stained to make their structures more easily visible—"painted tombstones," as someone once called them. Of course, we all knew that life was more a process than a structure, but we tended to forget this, because a structure was so much easier to study. This film reminded me how far our static concepts still were from the actual business of living. As I thought how any one of those scintillating cells potentially could become a whole speckled frog or a person, I grew surer than ever that my work so far had disclosed only a few aspects of a process-control system as varied and widespread as life itself, of which we'd been ignorant until then.

Our relationship quickly grew. I was living in Long Beach at the time; Chris was in San Diego. Conservatively speaking, that’s a two-hour drive. But Chris drove it often. He’d get off work, hop in his pickup, and be at my condo before dark. And not just on the weekends: he often rose before the sun to get to work in Coronado Beach. We’d go out to eat, maybe take in a movie, play miniature golf, bowl, see friends--the usual date stuff. But our most fun was just hanging out together. I pinned a picture of Chris up near my desk. (It’s the profile picture on his Facebook page, if you’re interested.) Under it, I taped a quote that went along the lines of: Life is not about the number of breaths you take; it’s the moments that take your breath away. Chris was all about those breathtaking moments--riding broncs in the rodeo, jumping out of planes. He worked hard and played hard--but was just as likely to relax completely, sitting comfortably on the couch with a beer or whatever as he took it easy. It was a paradox; I loved both sides.

New Rule: Conservatives have to stop complaining about Hollywood values. It's Oscar time again, which means two things: (1) I've got to get waxed, and (2) talk-radio hosts and conservative columnists will trot out their annual complaints about Hollywood: We're too liberal; we're out of touch with the Heartland; our facial muscles have been deadened with chicken botulism; and we make them feel fat. To these people, I say: Shut up and eat your popcorn. And stop bitching about one of the few American products--movies---that people all over the world still want to buy. Last year, Hollywood set a new box-office record: $16 billion worldwide. Not bad for a bunch of socialists. You never see Hollywood begging Washington for a handout, like corn farmers, or the auto industry, or the entire state of Alaska. What makes it even more inappropriate for conservatives to slam Hollywood is that they more than anybody lose their shit over any D-lister who leans right to the point that they actually run them for office. Sony Bono? Fred Thompson? And let'snot forget that the modern conservative messiah is a guy who costarred with a chimp. That's right, Dick Cheney. I'm not trying to say that when celebrities are conservative they're almost always lame, but if Stephen Baldwin killed himself and Bo Derrick with a car bomb, the headline the next day would be "Two Die in Car Bombing." The truth is that the vast majority of Hollywood talent is liberal, because most stars adhere to an ideology that jibes with their core principles of taking drugs and getting laid. The liebral stars that the right is always demonizing--Sean Penn and Michael Moore, Barbra Streisand and Alec Baldwin and Tim Robbins, and all the other members of my biweekly cocaine orgy--they're just people with opinions. None of them hold elective office, and liberals aren't begging them to run. Because we live in the real world, where actors do acting, and politicians do...nothing. We progressives love our stars, but we know better than to elect them. We make the movies here, so we know a well-kept trade secret: The people on that screen are only pretending to be geniuses, astronauts, and cowboys. So please don't hat eon us. And please don't ruin the Oscars. Because honestly, we're just like you: We work hard all year long, and the Oscars are really just our prom night. The tuxedos are scratchy, the limousines are rented, and we go home with eighteen-year-old girls.

We can all be "sad" or "blue" at times in our lives. We have all seen movies about the madman and his crime spree, with the underlying cause of mental illness. We sometimes even make jokes about people being crazy or nuts, even though we know that we shouldn't. We have all had some exposure to mental illness, but do we really understand it or know what it is? Many of our preconceptions are incorrect. A mental illness can be defined as a health condition that changes a person's thinking, feelings, or behavior (or all three) and that causes the person distress and difficulty in functioning. As with many diseases, mental illness is severe in some cases and mild in others. Individuals who have a mental illness don't necessarily look like they are sick, especially if their illness is mild. Other individuals may show more explicit symptoms such as confusion, agitation, or withdrawal. There are many different mental illnesses, including depression, schizophrenia, attention deficit hyperactivity disorder (ADHD), autism, and obsessive-compulsive disorder. Each illness alters a person's thoughts, feelings, and/or behaviors in distinct ways. But in all this struggles, Consummo Plus has proven to be the most effective herbal way of treating mental illness no matter the root cause. The treatment will be in three stages. First is activating detoxification, which includes flushing any insoluble toxins from the body. The medicine and the supplement then proceed to activate all cells in the body, it receives signals from the brain and goes to repair very damaged cells, tissues, or organs of the body wherever such is found. The second treatment comes in liquid form, tackles the psychological aspect including hallucination, paranoia, hearing voices, depression, fear, persecutory delusion, or religious delusion. The supplement also tackles the Behavioral, Mood, and Cognitive aspects including aggression or anger, thought disorder, self-harm, or lack of restraint, anxiety, apathy, fatigue, feeling detached, false belief of superiority or inferiority, and amnesia. The third treatment is called mental restorer, and this consists of the spiritual brain restorer, a system of healing which “assumes the presence of a supernatural power to restore the natural brain order. With this approach, you will get back your loving boyfriend and he will live a better and fulfilled life, like realize his full potential, work productively, make a meaningful contribution to his community, and handle all the stress that comes with life. It will give him a new lease of life, a new strength, and new vigor. The Healing & Recovery process is Gradual, Comprehensive, Holistic, and very Effective. www . curetoschizophrenia . blogspot . com E-mail: rodwenhill@gmail. com

And, so, what was it that elevated Rubi from dictator's son-in-law to movie star's husband to the sort of man who might capture the hand of the world's wealthiest heiress? Well, there was his native charm. People who knew him, even if only casually, even if they were predisposed to be suspicious or resentful of him, came away liking him. He picked up checks; he had courtly manners; he kept the party gay and lively; he was attentive to women but made men feel at ease; he was smoothly quick to rise from his chair when introduced, to open doors, to light a lady's cigarette ("I have the fastest cigarette lighter in the house," he once boasted): the quintessential chivalrous gent of manners. The encomia, if bland, were universal. "He's a very nice guy," swore gossip columnist Earl Wilson, who stayed with Rubi in Paris. ""I'm fond of him," said John Perona, owner of New York's El Morocco. "Rubi's got a nice personality and is completely masculine," attested a New York clubgoer. "He has a lot of men friends, which, I suppose, is unusual. Aly Khan, for instance, has few male friends. But everyone I know thinks Rubi is a good guy." "He is one of the nicest guys I know," declared that famed chum of famed playboys Peter Lawford. "A really charming man- witty, fun to be with, and a he-man." There were a few tricks to his trade. A society photographer judged him with a professional eye thus: "He can meet you for a minute and a month later remember you very well." An author who played polo with him put it this way: "He had a trick that never failed. When he spoke with someone, whether man or woman, it seemed as if the rest of the world had lost all interest for him. He could hang on the words of a woman or man who spoke only banalities as if the very future of the world- and his future, especially- depended on those words." But there was something deeper to his charm, something irresistible in particular when he turned it on women. It didn't reveal itself in photos, and not every woman was susceptible to it, but it was palpable and, when it worked, unforgettable. Hollywood dirt doyenne Hedda Hoppe declared, "A friend says he has the most perfect manners she has ever encountered. He wraps his charm around your shoulders like a Russian sable coat." Gossip columnist Shelia Graham was chary when invited to bring her eleven-year-old daughter to a lunch with Rubi in London, and her wariness was transmitted to the girl, who wiped her hand off on her dress after Rubi kissed it in a formal greeting; by the end of lunch, he had won the child over with his enthusiastic, spontaneous manner, full of compliments but never cloying. "All done effortlessly," Graham marveled. "He was probably a charming baby, I am sure that women rushed to coo over him in the cradle." Elsa Maxwell, yet another gossip, but also a society gadabout and hostess who claimed a key role in at least one of Rubi's famous liaisons, put it thus: "You expect Rubi to be a very dangerous young man who personifies the wolf. Instead, you meet someone who is so unbelievably charming and thoughtful that you are put off-guard before you know it." But charm would only take a man so far. Rubi was becoming and international legend not because he could fascinate a young girl but because he could intoxicate sophisticated women. p124

Philosophy is different from science and from mathematics. Unlike science it doesn't rely on experiments or observation, but only on thought. And unlike mathematics it has no formal methods of proof. It is done just by asking questions, arguing, trying out ideas and thinking of possible arguments against them, and wondering how our concepts really work. The main concern of philosophy is to question and understand common ideas that all of us use every day without thinking about them. A historian may ask what happened at some time in the past, but a philosopher will ask, "What is time?" A mathematician may investigate the relations among numbers, but a philosopher will ask, "What is a number?" A physicist will ask what atoms are made of or what explains gravity, but a philosopher will ask how we can know there is anything outside of our own minds. A psychologist may investigate how children learn a language, but a philosopher will ask, "What makes a word mean anything?" Anyone can ask whether it's wrong to sneak into a movie without paying, but a philosopher will ask, "What makes an action right or wrong?" We couldn't get along in life without taking the ideas of time, number, knowledge, language, right and wrong for granted most of the time; but in philosophy we investigate those things themselves. The aim is to push our understanding of the world and ourselves a bit deeper. Obviously, it isn't easy. The more basic the ideas you are trying to investigate, the fewer tools you have to work with. There isn't much you can assume or take for granted. So philosophy is a somewhat dizzying activity, and few of its results go unchallenged for long.

It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.

Nope. Look. The Raft is a media event. But in a much more profound, general sense than you can possibly imagine." "Huh?" "It's created by the media in that without the media, people wouldn't know it was here, Refus wouldn't come out and glom onto it the way they do. And it sustains the media. It creates a lot of information flow-movies, news reports - - you know." "So you're creating your own news event to make money off the information flow that it creates?" says the journalist, desperately trying to follow. His tone of voice says that this is all a waste of videotape. His weary attitude suggests that this is not the first time Rife has flown off on a bizarre tangent. "Partly. But that's only a very crude explanation. It really goes a lot deeper than that. You've probably heard the expression that the Industry feeds off of biomass, like a whale straining krill from the ocean." "I've heard the expression, yes." "That's my expression. I made it up. An expression like that is just like a virus, you know -- it's a piece of information -- data -- that spreads from one person to the next. Well, the function of the Raft is to bring more biomass. To renew America. Most countries are static, all they need to do is keep having babies. But America's like this big old clanking, smoking machine that just lumbers across the landscape scooping up and eating everything in sight. Leaves behind a trail of garbage a mile wide. Always needs more fuel... "Now I have a different perspective on it. America must look, to those poor little buggers down there, about the same as Crete looked to those poor Greek suckers. Except that there's no coercion involved. Those people down there give up their children willingly. Send them into the labyrinth by the millions to be eaten up. The Industry feeds on them and spits back images, sends out movies and TV programs, over my networks, images of wealth and exotic things beyond their wildest dreams, back to those people, and it gives them something to dream about, something to aspire to. And that is the function of the Raft. It's just a big old krill carrier." Finally the journalist gives up on being a journalist, just starts to slag L. Bob Rife openly. He's had it with this guy. "That's disgusting. I can't believe you can think about people that way." "Shit, boy, get down off your high horse. Nobody really gets eaten. It's just a figure of speech. They come here, they get decent jobs, find Christ, buy a Weber grill, and live happily ever after. What's wrong with that?

- I’m a normal kid, I was raised by television. The secret to great barbeque: only Oscar knows it. Life should be so simple as enjoying ribs, farting, crapping, pissing, fucking and drinking, and maybe smoking too, but anything other than that is too complicated, life should be simple. It is not. - Work? You would go to work even if there’s a chance your job’s imaginary? Imaginary or not, the questions Max poses remain as relevant for Frank, Sam, and Oscar as they are for us. A slight hangover won’t be best friends with any kind of daylight and while this one wasn’t particularly hazardous, they wouldn’t be having any of it. "...the lunatic is on the grass." Surely if you see a bunch of people having a picnic in a park that would turn your head wouldn’t it? How normal a picnic really is? When was the last time you saw one happening? Not in a movie, in real life. If a man’s hat falls to the ground, said man is expected to pick it up. That’s the premise. I’m not some pissy little kid who stopped believing in God because some priests rape kids. I don’t believe in God because I can’t be sure of its existence. I’m not some pissy little kid who stopped believing in God because the church raped kids. I don’t believe in God because I can’t be sure of its existence. Nothing is wrong. You don’t take another man’s hat, another man’s ride, or another man’s woman. Those are universal laws. - You do not take another man’s hat, another man’s ride, or another man's woman. Universal laws, Rosa. - Jesus, no. That won’t be necessary Mr. Coyote. If there’s one thing I’ve learned through the course of my life is this: loaded guns make pretty compelling arguments, and it’s not like I was the star in the debate team in high school. A lot of dinners are joined by assholes, people that don’t matter, and good friends too, but breakfast are kind of elite. You have breakfast with fewer people in your life and most of the time those people you have breakfast with are the good ones. - That’s the thing: I don’t know. I’m aware of the fact that guns might not be the ultimate protection when what we’re facing is the truth, we’re coming to terms with our reality, but we don’t know what we might find out there and if by god there’s an imaginary monster or something waiting there for us, I’d rather have ammo than luck No gun will ever protect a man as he prepares to meet his maker. Personally, I think half a burger is something you can have regardless of how hungry you are. Air conditioning is a marvel of modern science, how could we have lived without it? In the end, there was no greener grass than Texas.