Reel Movie Quotes

I want there to be a place in the world where people can engage in one another’s differences in a way that is redemptive, full of hope and possibility. Not this “In order to love you, I must make you something else”. That’s what domination is all about, that in order to be close to you, I must possess you, remake and recast you.

Changing how we see images is clearly one way to change the world.

..Critically intervene in a way that challenges and changes.

Okay. I don’t know if I have the right words, but love is this feeling I get when I look at you. A feeling that as long as you’re near me, or in the world even, then everything will be okay. That everything has meaning. It’s as if the world was all shades of sepia—like an old movie reel—and that everywhere I looked I saw suffering and pain. Then I heard your voice, I saw your face, and somehow the color came into everything.

Social Note: I have sought escape in the Prytania on more than one occasion, pulled by the attractions of some technicolored horrors, filmed abortions that were offenses against any criteria of taste and decency, reels and reels of perversion and blasphemy that stunned my disbelieving eyes, the shocked my virginal mind, and sealed my valve.

..think about the contradictions and complexities that beset people.

It was strange how in that moment of tragedy, it had seemed so unreal, like an old-fashioned movie reel playing on a screen for my eyes only. The pain and broken heart were blocked off for a little while, leaving me numb with disbelief. Shock is what Dad called it. But after a while, the cruel reality started to seep into my tissues, and my body became a sponge, just sucking it all up until, finally, there was so much grief inside, I couldn't help feeling it. That's how it happened for me. First, the numbness right after she died, next the agonising pain and then the place I was at now—the land of perpetual depression.

we were alive, together, and conscious, aware of our own mortality, but thrilled by the fact of our own ridiculous existence.

But there comes a point in the speech where I find my cadence. The crowd quiets rather than roars. It's the kind of moment I'd come to recognize in subsequent years, on certain magic nights. There's a physical feeling, a current of emotion that passes back and forth between you and the crowd, as if your lives and theirs are suddenly spliced together, like a movie reel, projecting backward and forward in time, and your voice creeps right up to the edge of cracking, because for an instant, you feel them deeply; you can see them whole. You've tapped into some collective spirit, a thing we all know and wish for - a sense of connection that overrides our differences and replaces them with a giant swell of possibility - and like all things that matter most, you know the moment is fleeting and that soon the spell will be broken.

We keep coming back to the question of representation because identity is always about representation. People forget that when they wanted white women to get into the workforce because of the world war, what did they start doing? They started having a lot of commercials, a lot of movies, a lot of things that were redoing the female image, saying, “Hey, you can work for the war, but you can still be feminine.” So what we see is that the mass media, film, TV, all of these things, are powerful vehicles for maintaining the kinds of systems of domination we live under, imperialism, racism, sexism etc. Often there’s a denial of this and art is presented as politically neutral, as though it is not shaped by a reality of domination.

The good things aren’t a movie. There isn’t enough to make a reel. The good things are a poem, barely longer than a haiku. There

Life doesn’t imitate art, it imitates bad television’.

While everybody tries to be as close as possible to the rest, everybody remains utterly alone, pervaded by the deep sense of insecurity, anxiety and guilt which always results when human separateness cannot be overcome. Our civilization offers many palliatives which help people to be consciously unaware of this aloneness: first of all the strict routine of bureaucratized, mechanical work, which helps people to remain unaware of their most fundamental human desires, of the longing for transcendence and unity. Inasmuch as the routine alone does not succeed in this, man overcomes his unconscious despair by the routine of amusement, the passive consumption of sounds and sights offered by the amusement industry; furthermore by the satisfaction of buying ever new things, and soon exchanging them for others. Modern man is actually close to the picture Huxley describes in his Brave New World: well fed, well clad, satisfied sexually, yet without self, without any except the most superficial contact with his fellow men, guided by the slogans which Huxley formulated so succinctly, such as: “When the individual feels, the community reels”; or “Never put off till tomorrow the fun you can have today,” or, as the crowning statement: “Everybody is happy nowadays.” Man’s happiness today consists in “having fun.” Having fun lies in the satisfaction of consuming and “taking in” commodities, sights, food, drinks, cigarettes, people, lectures, books, movies—all are consumed, swallowed.

That’s what movies are, right? Thousands of still pictures taken months or years or decades before—streams of images burned onto celluloid that are reeled in front of a lamp and projected onto a screen, allowing us the illusion that they’re alive. Flickers of light and dark. Brightness and shadow that won’t stand still—like life itself.

We all need the comforting illusion of stability and security in this shaky rooftop of a thing we call life. Tevye is right; we are all fiddlers, trying to scratch out a simple tune without breaking our necks.

Some days you can just see clearly. Our meaning, what we value, is the most private part of us. It may just define us. It shapes everything we do, everything we say, everything we feel, everything we dream. It’s hidden, from others, from ourselves. There is no mirror to show us what we value. So often it is only revealed to us after the fact, in the long movie reel of memory. And when we see it, our heart stops, aching with recognition. It is a beautiful thing to see yourself.

The Movies have always been here. The Movies were here before God. Time is round like a reel of film. God hates the Movies because the Movies are the evidence of what He's done.

I believe the common denominator of the universe is not harmony, but chaos, hostility, and murder.

[Rylie:] I was thinking about that short you directed--The Pier. I wondered if you had a video or a reel of it somewhere. [Finn:] You want to see my short. Why? [Rylie:] Color me curious.

You’re a projectionist and you’re tired and angry, but mostly you’re bored so you start by taking a single frame of pornography collected by some other projectionist that you find stashed away in the booth, and you splice this frame of a lunging red penis or a yawning wet vagina close-up into another feature movie. This is one of those pet adventures, when the dog and cat are left behind by a traveling family and must find their way home. In reel three, just after the dog and cat, who have human voices and talk to each other, have eaten out of a garbage can, there’s the flash of an erection. Tyler does this.

Then she gave me a signed photograph of herself, in a swimming pool, in an affectionate embrace with a dolphin. She looked really happy in the picture – presumably dolphins don’t care about the bloody Exorcist.

Even the spate of clearly well-intentioned films about AIDS only added to the certainty that gay characters wind up dead by the final reel. After all, in the movies, no one lives with HIV ... perhaps the ultimate stigmatization.

The programme into which Cheryl was inducted combined all the different ways the intelligence community had learned could cause intense psychological change in adults and children. It had been learned through the use of both knowledgeable and 'unwitting' volunteers. They were subjected to sensory overload, isolation, drugs and hypnosis, all used on bodies that had been weakened from mild hunger. The horror of the programme was that it would be like having an elementary school sex education class conducted by a paedophile rapist. It would have been banned had the American government signed the Helsinki Accords. But, of course, they hadn't. For the test that day and in those that followed, Cheryl Hersha was positioned so she faced a portable movie screen. A 16mm movie projector was on a platform, along with several reels of film. Each was a short pornographic film meant to make her aware of sexuality in a variety of forms...

For the benefit of this naïf, the movie experts ran through an inventory of all the lost movies they could think of: the eight-hour version of Greed, Jerry Lewis’s The Day the Clown Cried, about a clown who works in the Nazi concentration camps, the missing reels of The Magnificent Ambersons, Orson Welles’s legendary The Other Side of the Wind, The Blockhouse – a Second World War drama starring Peter Sellers,

With Tommy by his side but Anthony Jr. nowhere to be seen, Anthony cranks out an old 8mm projector, and soon choppy black- and-white images appear on the cream wall capturing a few snapshots from the canyon of their life—that tell nothing, and yet somehow everything. They watch old movies, from 1963, 1952, 1948, 1947—the older, the more raucous the children and parents becoming. This year, because Ingrid isn’t here, Anthony shows them something new. It’s from 1963. A birthday party, this one with happy sound, cake, unlit candles. Anthony is turning twenty. Tatiana is very pregnant with Janie. (“Mommy, look, that’s you in Grammy’s belly!” exclaims Vicky.) Harry toddling around, pursued loudly and relentlessly by Pasha—oh, how in 1999 six children love to see their fathers wild like them, how Mary and Amy love to see their precious husbands small. The delight in the den is abundant. Anthony sits on the patio, bare chested, in swimshorts, one leg draped over the other, playing his guitar, “playing Happy Birthday to myself,” he says now, except it’s not “Happy Birthday.” The joy dims slightly at the sight of their brother, their father so beautiful and whole he hurts their united hearts—and suddenly into the frame, in a mini-dress, walks a tall dark striking woman with endless legs and comes to stand close to Anthony. The camera remains on him because Anthony is singing, while she flicks on her lighter and ignites the candles on his cake; one by one she lights them as he strums his guitar and sings the number one hit of the day, falling into a burning “Ring of Fire ... ” The woman doesn’t look at Anthony, he doesn’t look at her, but in the frame you can see her bare thigh flush against the sole of his bare foot the whole time she lights his twenty candles plus one to grow on. And it burns, burns, burns . . . And when she is done, the camera—which never lies—catches just one microsecond of an exchanged glance before she walks away, just one gram of neutral matter exploding into an equivalent of 20,000 pounds of TNT. The reel ends. Next. The budding novelist Rebecca says, “Dad, who was that? Was that Grammy’s friend Vikki?” “Yes,” says Anthony. “That was Grammy’s friend Vikki.” Tak zhivya, bez radosti/bez muki/pomniu ya ushedshiye goda/i tvoi serebryannyiye ruki/v troike yeletevshey navsegda . . . So I live—remembering with sadness all the happy years now gone by, remembering your long and silver arms, forever in the troika that flew by . . . Back

Wowbagger grunted. He watched the majesty of creation outside his window for a moment or two. “I think I’ll take a nap,” he said, and then added, “What network areas are we going to be passing through in the next few hours?” The computer beeped. “Cosmovid, Thinkpix and Home Brain Box,” it said, and beeped. “Any movies I haven’t seen thirty thousand times already?” “No.” “Uh.” “There’s Angst in Space. You’ve only seen that thirty-three thousand five hundred and seventeen times.” “Wake me for the second reel.

I have no fucking clue how to handle this situation. And now I’m the one who’s scared. This right here should be the line in the sand for me, I thnk. I can leave. Walk away. This is way more baggage than I need or want. I’ve already been in a high-drama relationship, and I don’t need this in my life. These thoughts run through my brain quickly, like one of those silent movie reels, and as quickly as the enter, they leave. Because instead of running as far away from this woman as possible, I slide in behind her, pushing her forward slightly so that I can wedge myself between her and the wall. I wrap myself around her. “Pulling you close and holding you tightly,” I whisper.

Modern man is actually close to the picture Huxley describes in his Brave New World: well fed, well clad, satisfied sexually, yet without self, without any except the most superficial contact with his fellow men, guided by the slogans which Huxley formulated so succinctly, such as: “When the individual feels, the community reels”; or “Never put off till tomorrow the fun you can have today,” or, as the crowning statement: “Everybody is happy nowadays.” Man’s happiness today consists in “having fun.” Having fun lies in the satisfaction of consuming and “taking in” commodities, sights, food, drinks, cigarettes, people, lectures, books, movies—all are consumed, swallowed. The world is one great object for our appetite, a big apple, a big bottle, a big breast; we are the sucklers, the eternally expectant ones, the hopeful ones—and the eternally disappointed ones. Our character is geared to exchange and to receive, to barter and to consume; everything, spiritual as well as material objects, becomes an object of exchange and of consumption.

As they’re walking on the beach, in the dark sky above the person’s life is played out for them to see. As each scene is played, like a movie reel, the person notices that two sets of footprints were left in the sand behind them. And as they continued, every new scene brought with it a trail of their footprints.” Poppy’s attention honed in on our footprints. “When all the scenes had been played, the person looks back on the trail of footprints and notices something strange. They notice that during the saddest, or most despairing times of their life, there was only one set of footprints. For happier times there was always two sets.” My eyebrows furrowed, wondering where the story was headed. Poppy lifted her chin and blinked in the bright glare of the sun. With watery eyes, she looked at me and continued. “The person is really troubled by this. The Lord said that, when a person dedicates their life to Him, He would walk with them through all the ups and downs. The person then asked the Lord: why, at the worst points of their life, did He abandon them? Why did He leave?” An expression of deep comfort washed over Poppy’s face. “And what?” I prompted. “What does the Lord say?” A single tear fell from her eye. “He tells the person that He had walked with them their whole life through. But, He explains, the times where there is only a single set of footprints were not when He walked beside them, but instead, when He carried them.

As they’re walking on the beach, in the dark sky above the person’s life is played out for them to see. As each scene is played, like a movie reel, the person notices that two sets of footprints were left in the sand behind them. And as they continued, every new scene brought with it a trail of their footprints.” Poppy’s attention honed in on our footprints. “When all the scenes had been played, the person looks back on the trail of footprints and notices something strange. They notice that during the saddest, or most despairing times of their life, there was only one set of footprints. For happier times there was always two sets.” My eyebrows furrowed, wondering where the story was headed. Poppy lifted her chin and blinked in the bright glare of the sun. With watery eyes, she looked at me and continued. “The person is really troubled by this. The Lord said that, when a person dedicates their life to Him, He would walk with them through all the ups and downs. The person then asked the Lord: why, at the worst points of their life, did He abandon them? Why did He leave?” An expression of deep comfort washed over Poppy’s face. “And what?” I prompted. “What does the Lord say?” A single tear fell from her eye. “He tells the person that He had walked with them their whole life through. But, He explains, the times where there is only a single set of footprints were not when He walked beside them, but instead, when He carried them.

As they’re walking on the beach, in the dark sky above the person’s life is played out for them to see. As each scene is played, like a movie reel, the person notices that two sets of footprints were left in the sand behind them. And as they continued, every new scene brought with it a trail of their footprints.” Poppy’s attention honed in on our footprints. “When all the scenes had been played, the person looks back on the trail of footprints and notices something strange. They notice that during the saddest, or most despairing times of their life, there was only one set of footprints. For happier times there was always two sets.” My eyebrows furrowed, wondering where the story was headed. Poppy lifted her chin and blinked in the bright glare of the sun. With watery eyes, she looked at me and continued. “The person is really troubled by this. The Lord said that, when a person dedicates their life to Him, He would walk with them through all the ups and downs. The person then asked the Lord: why, at the worst points of their life, did He abandon them? Why did He leave?” An expression of deep comfort washed over Poppy’s face. “And what?” I prompted. “What does the Lord say?” A single tear fell from her eye. “He tells the person that He had walked with them their whole life through. But, He explains, the times where there is only a single set of footprints were not when He walked beside them, but instead, when He carried them.” Poppy sniffed and said, “I don’t care if you’re not religious, Rune. The poem is not only for the faithful. We all have people who carry us through the worst of times, the saddest of times, the times that seem impossible to break free from. In one way or another, whether it’s through the Lord or a loved one or both, when we feel like we can’t walk on anymore, someone swoops in to help us … someone carries us through.” Poppy rested her head on my chest, wrapping herself

It’s my turn next, and I realize then that I never turned in the name of my escort--because I hadn’t planned on being here. I glance around wildly for Ryder, but he’s nowhere to be seen, swallowed up by the sea of people in cocktail dresses and suits. Crap. I thought he realized that escorting me on court was part of the deal, once I’d agreed to go. I guess he’d figured it’d be easier on me, what with the whole Patrick thing, if I was alone onstage. But I don’t want to be alone. I want Ryder with me. By my side, supporting me. Always. I finally spot him in the crowd--it’s not too hard, since he’s a head taller than pretty much everyone else--and our eyes meet. My stomach drops to my feet--you know, that feeling you get on a roller coaster right after you crest that first hill and start plummeting toward the ground. Oh my God, this can’t be happening. I’ve fallen in love with Ryder Marsden, the boy I’m supposed to hate. And it has nothing to do with his confession, his declaration that he loves me. Sure, it might have forced me to examine my feelings faster than I would have on my own, but it was there all along, taking root, growing, blossoming. Heck, it’s a full-blown garden at this point. “Our senior maid is Miss Jemma Cafferty!” comes the principal’s voice. “Jemma is a varsity cheerleader, a member of the Wheelettes social sorority, the French Honor Club, the National Honor Society, and the Peer Mentors. She’s escorted tonight by…ahem, sorry. I’m afraid there’s no escort, so we’ll just--” “Ryder Marsden,” I call out as I make my way across the stage. “I’m escorted by Ryder Marsden.” The collective gasp that follows my announcement is like something out of the movies. I swear, it’s just like that scene in Gone with the Wind where Rhett offers one hundred and fifty dollars in gold to dance with Scarlett, and she walks through the scandalized bystanders to take her place beside Rhett for the Virginia reel. Only it’s the reverse. I’m standing here doing the scandalizing, and Ryder’s doing the walking. “Apparently, Jemma’s escort is Ryder Marsden,” the principal ad-libs into the microphone, looking a little frazzled. “Ryder is…um…the starting quarterback for the varsity football team, and, um…in the National Honor Society and…” She trails off helplessly. “A Peer Mentor,” he adds helpfully as he steps up beside me and takes my hand. The smile he flashes in my direction as Mrs. Crawford places the tiara on my head is dazzling--way more so than the tiara itself. My knees go a little weak, and I clutch him tightly as I wobble on my four-inch heels. But here’s the thing: If the crowd is whispering about me, I don’t hear it. I’m aware only of Ryder beside me, my hand resting in the crook of his arm as he leads me to our spot on the stage beside the junior maid and her escort, where we wait for Morgan to be crowned queen. Oh, there’ll be hell to pay tomorrow. I have no idea what we’re going to tell our parents. Right now I don’t even care. Just like Scarlett O’Hara, I’m going to enjoy myself tonight and worry about the rest later. After all, tomorrow is another…Well, you know how the saying goes.

One of these things doesn’t actually happen in The Man in the Iron Mask, and instead comes from the 2009 Telugu movie Magadheera; but its inclusion would not have made this film much less accurate.

And sometimes those remembered images aren’t even accurate; in revisiting some of the movies I discuss here, I’ve been surprised to realize that what I remember about a particular movie moment, the influential lesson that has stayed with me—how to kiss in the rain, what to say to my shell-shocked parents about their divorce, where in the linen closet to hide the liquor—sometimes doesn’t actually exist in the film. It’s a trick of memory,

This was a fantasy come true. He had real guns, real bullets, and was shooting real people. He was pulling the trigger; he wasn’t just watching a movie. He was the writer, the director, the star. He did not want it to end. This scene had everything. It had the guns and it had the blood, but most of all, it had the power.

Thinking about him requires so little effort that she can do it while performing mindless activities. Soaping the dishes, replaiting Clare Kelley's hair, drying the dishes. The part of her brain that plays his ongoing reel is unconnected to the neurons and synapses that control things like conscious thought and logic. Ben turning to her at a party. Ben turning to her. Ben turning. What human being deserves to be the nucleus of such high esteem? Certainly not Benjamin, middle name Hal, last name Allen. Five-nine in boots. Who has a car that doesn't start on cold mornings, an unfinished screenplay, a law degree he doesn't use, a romantic's tendency to save movie stubs, and a mannered, unsmiling wife.

It is no secret that a story is a powerful way to convey a thought, feeling, or idea. Storytellers from Aesop to Jesus knew that using tales and parables made it easy for broad audiences to understand, recall, and even spread a kernel of wisdom. So where do strength and warmth fit in? There is a significant body of research demonstrating that our brains are wired for stories. We can tell our friends what happened in our favorite movies far more easily than we can reel off the five points of a strategic management plan, because the devices that make stories work—heroes and villains, plots and subplots—stick with us. That makes them the very best way to get in the circle: Everyone likes stories. We have all been listening to them since childhood, and doing it relaxes our critical faculties and lowers our guard. In that respect, sharing a story with others is an inherently warm experience.

There are the moments you know you’ll remember forever as soon they happen: your engagement, standing at the altar and saying “I do,” the news of your spouse cheating, someone saying the words “you’re fired.” All those beautiful and wretched pieces of news available on your personal movie reel at any second and until the end of time. Still,

I think of my current life and how different and grown-up I’ve become since my time with Henry. Our life together was something I once saw in a movie. I think I liked the movie for the most part, but it’s faded from memory, with only the highlights and lowlights still on the reel. The highs and lows have narrowed in their intensity so much, becoming less and less discernible, moving toward each other until the whole memory will mercifully flatline with the passage of time.

Great writers and my mom never used food as an object. Instead it was a medium, a catalyst to mend hearts, to break down barriers, to build relationships. Mom's cooking fed body and soul. She used to quip, "If the food is good, there's no need to talk about the weather." That was my mantra for years---food as meal and conversation, a total experience. I leaned my forehead against the glass and thought again about Emma and the arrowroot. Mom had highlighted it in my sophomore English class. "Jane Fairfax knew it was given with a selfish heart. Emma didn't care about Jane, she just wanted to appear benevolent." "That girl was stupid. She was poor and should've accepted the gift." The football team had hooted for their spokesman. "That girl's name was Jane Fairfax, and motivation always matters." Mom's glare seared them. I tried to remember the rest of the lesson, but couldn't. I think she assigned a paper, and the football team stopped chuckling. Another memory flashed before my eyes. It was from that same spring; Mom was baking a cake to take to a neighbor who'd had a knee replacement. "We don't have enough chocolate." I shut the cabinet door. "We're making an orange cake, not chocolate." "Chocolate is so much better." "Then we're lucky it's not for you. Mrs. Conner is sad and she hurts and it's spring. The orange cake will not only show we care, it'll bring sunshine and spring to her dinner tonight. She needs that." "It's just a cake." "It's never just a cake, Lizzy." I remembered the end of that lesson: I rolled my eyes----Mom loathed that----and received dish duty. But it turned out okay; the batter was excellent. I shoved the movie reel of scenes from my head. They didn't fit in my world. Food was the object. Arrowroot was arrowroot. Cake was cake. And if it was made with artisan dark chocolate and vanilla harvested by unicorns, all the better. People would crave it, order it, and pay for it. Food wasn't a metaphor---it was the commodity---and to couch it in other terms was fatuous. The one who prepared it best won.

James settled down to the film. He got a shock when he noticed Nicole and Junior had their arms around each other and an even bigger one a minute later when they started snogging. They were all over each other. Nicole’s leg was up in the air and James kept getting kicked. He got up and moved down two seats so he was sitting on the opposite side of April, away from any flailing limbs. “They’re getting on well,” April grinned. She grinned for a long time. James watched half a minute of the film and she was still grinning at him. He realized the girls had planned an ambush. Nicole already knew Junior fancied her because he’d asked her out before. James felt like he’d been hooked on a line and reeled in, but he checked April out and realized that as traps go, it wasn’t a bad one. April was decent-looking, with long brown hair and fit legs. James slid his hand under the armrest and put it on top of April’s. She twisted in her seat, so she could rest her head on James’s shoulder. James turned around, breathed April’s smell and kissed her on the cheek while she grabbed a few of his Maltesers. They stayed that way for a couple of minutes, until April moved away and blew chocolate breath over him. “So,” she whispered. “Are you gonna snog me or what?” James figured, “What the hell, it’s my birthday.” They snogged for ten minutes, breaking up when the movie got near the end and turned into a big car chase and punch-up that was actually worth watching.

Dreams are like short reels of a movie.

Everyday is a movie, only if everybody's lives were captured on reel.

Mary Agnes had been saving her money for two years…and perhaps her parents had been saving up for her wedding for the past twenty. And it was over in five hours, with nothing left but an album of photographs and a reel or two of movie film and a dress that would have to be kept in a box with moth balls, and a million confused and blurred memories.

Just then, the reel snapped off the projector and the screen went black. We stood under the chandelier for one last moment. It cast stars on the floor below us, and we were surrounded by so much velvet I felt like a diamond nestled in a jewel box. But the stars weren't real, and I wasn't a gem. In fact, it was only then that I realized that pretty much everything about the gilded life of Matilda Duplaine was make-believe.

The Exorcist (1973)—The demonic possession of a child, treated with shallow seriousness. The picture is designed to scare people, and it does so by mechanical means: levitations, swivelling heads, vomit being spewed in people’s faces. A viewer can become glumly anesthetized by the brackish color and the senseless ugliness of the conception. Neither the producer-writer, William Peter Blatty, nor the director, William Friedkin, shows any feeling for the little girl’s helplessness and suffering, or for her mother’s. It would be sheer insanity to take children. With Linda Blair, Ellen Burstyn, Max von Sydow, and Jason Miller. A huge box-office success. Warners. color (See Reeling.)

the passenger’s seat. I nodded. “She knows better than to ask anything. She’s watching a movie right now and has promised to lock up everything before she goes to bed. She’s got a pistol with her in the living room and one in her bedroom.” “You don’t think anyone’s going to bother her at your place, do you?” Ida Belle asked. “It would be stupid to,” I said. “But Sinful has coughed up a big share of stupid.” “That’s true enough,” Ida Belle said. “The bigger question is what about Carter?” Gertie asked. “Are things still tense between the two of you?” “It’s gotten a little better,” I said. “But then, we’ve hardly seen each other, so that’s kinda the default.

You let me handle Galaxy and anyone else who tries to give us shit. Here’s what you’re missing,” he says, grabbing my hand. “I’m the boss. Galaxy may have funded this movie, but it’s mine, and I hold all the cards, and they’ll do whatever the fuck I want.

The truth, which should be apparent to anyone with a vaguely cynical soul, is that 3-D will always be the past, and is only being rammed down our throats as something excitingly ‘new’ right now because it is much harder to pirate 3-D films than good old flat ones. Big Hollywood studios want you to believe in 3-D because they want to carry on believing in their own bank accounts. It has nothing to do with ‘the future’ of cinema, merely the future of film finance.

Those of a future generation will one day look back on printed books with the same benign and befuddled expressions that we use when we look at floppy disks or those colossal IBM mainframes with spinning reels of tape that you see in the background of the villain’s lair in James Bond movies. Books are bulky, and an individual book doesn’t hold much data compared to what an e-reader can hold.

news reels were presented in the cinema before every movie.

Upon transitioning, each and every one of us will acquire an experiential understanding of the impact our actions and inactions had on others. When I explain life reviews, I don’t want to give the impression that it’s a one-time screening of a movie reel of flashbacks

Was he joking? Would he really have shot Kinski? ‘I said it very quietly so he understood that it was not a joke. But the story then took on a life of its own, until today you can read that I directed him only at gunpoint from behind the camera! That’s baloney. It never happened like that. When I talked to him, I did not have a gun in my hands. However, I did have a gun …

He wore a coat to blend in, but, in truth, he could have been stark naked and it wouldn't have mattered. Just another change Gray had wrought, along with 20/20 vision and an inability to get drunk. 'You would prefer to be uncomfortable? What nonsense.' 'I don't want to be uncomfortable. I want to be normal.' Flickers of black-and-white images, just on the edge of his consciousness, like an old movie reel that had jumped its pockets. Fragments of memories from Gray's previous hosts, their color and texture leeched away by death. 'No mortal ever believes he is normal. Based on my experience, this normal of yours does not actually exist.' Maybe if he couldn't have Gray exorcised, they could go into the self-help business together. Have a talk show. 'I don't guess you ran around in Sigmund Freud's corpse for a while?' 'I do not believe so.' Just as well. Gray's only diagnosis would be 'mortal foolishness' anyway.

When I got back to the set, nobody ever brought it up again, but I know that one of the producers filed the event away in his brain and when it came time to make the third turtle movie, he used this as ammunition to keep me out. Which is totally cool, because that movie sucked anyway.