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You are such a dork,” I exclaim as my fingers flit over the multitude of images and videos of Will Smith. Pinned quotes and sayings are highlighted, and I chuckle when I recognize a few. “Oh. My. God. Did you actually learn these on purpose?” He reels me into his arms and kisses the top of my head. “Will I be cementing my dork status if I answer affirmatively?” “Absolutely.” I look up into his beautiful eyes. “But I only love you more for it.

for a brief moment it is his fate, and nothing else, that is frozen into immobility on the stage. The moment of the minor figure. Both before and after this he remains the same, the man who reels off those smart lines, one of which has acquired an immortal status in Norwegian literature: ‘If you take the life-lie away from an average person, you take away his happiness as well.

So let me get this straight,” Ysabel asked. “You lost five prisoners, have no idea how or when, have no video footage due to some malfunction, and you can’t even make one chained up soul talk?” “When you put it that way, it sounds bad.” Ysabel stepped up to the warden and although she remained shorter than him by almost a foot, she seemed to grow somehow in presence. “What’s bad is if you let any more prisoners escape, the Devil won’t have to fire you because I’ll come down here myself, carve your body parts off one at a time and feed them to the hounds. Incompetence is unacceptable and I will not tolerate it.” “Yes, ma’am.” Remy laughed as Crax reeled back from her, a dazed look on his face. He was still chuckling as they exited the rusted gates. “What is so damned funny?” she asked through gritted teeth. “You. I mean, you couldn’t even hold your own against Pedro last night and yet you’re threatening the warden of Hell’s Prison. That takes balls.” He received no warning, just a flick of her hand and he went flying, his impromptu airborne status halted by a crag of rock. And not a smooth one. -Ysabel, Crax, & Remy

I look around and see many shelters and services for survivors of domestic violence, but no large-scale movement to end male violence. I see many batterer intervention programs, but few men involved in challenging sexism. The loss of vision that narrowed the focus of men's work reflects a change that occurred in other parts of the movement to end violence, as activists who set out to change the institutions perpetrating violence settled into service jobs helping people cope. [...] Social service work addresses the needs of individuals reeling from the personal and devastating impact of institutional systems of exploitation and violence. Social change work challenges the root causes of the exploitation and violence. In my travels throughout the United States, I talk with many service providers, more and more of whom are saying to me, "We could continue doing what we are doing for another hundred years and the levels of violence would not change. I meet more and more people who are running programs for batterers who say ,"We are only dealing with a minute number of the men who are violent and are having little impact on the systems which perpetuate male violence." [...] While there is some overlap between social service provision and social change work, the two do not necessarily go readily together. In our violent world, the needs and numbers of survivors are never ending, and the tasks of funding, staffing, and developing resources for our organizations to meet those needs are difficult, poorly supported, and even actively undermined by those with power and wealth in our society. Although some groups are both working for social change and providing social services, there are many more groups providing social services that are not working for social change. In fact, many social service agencies may be intentionally or inadvertently working to maintain the status quo. After all, the non-profit industrial complex (NPIC) wouldn't exist without a lot of people in desperate straits. The NPIC provides jobs; it provides opportunities for professional development. It enables those who do the work to feel good about what we do and about our ability to help individuals survive in the system. It gives a patina of caring and concern to the ruling class which funds the work.

Working on a shoestring, which in my case is more often a matter of circumstance than of choice, never appeared to me as a cornerstone for aesthetics, and Dogme-type stuff just bores me. So it’s rather in order to bring some comfort to young filmmakers in need that I mention these few technical details: The material for La Jetee was created with a Pentax 24x36, and the only “cinema” part (the blinking of the eyes) with an Arriflex 35mm film camera, borrowed for one hour. Sans Soleil was entirely shot with a 16mm Beaulieu silent film camera (not one sync take within the whole film), with 100-foot reels – 2'44" autonomy! –and a small cassette recorder (not even a Walkman; they didn’t exist yet). The only “sophisticated” device – given the time – was the spectre image synthesizer, also borrowed for a few days. This is to say that the basic tools for these two films were literally available to anyone. No silly boasting here, just the conviction that today, with the advent of computer and small DV cameras (unintentional homage to Dziga Vertov), would-be directors need no longer submit their fate to the unpredictability of producers or the arthritis of televisions, and that by following their whims or passions, they perhaps see one day their tinkering elevated to DVD status by honorable men.

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