The Answer to Life, the Universe and Everything

“I am selfish, private and easily bored. Will this be a problem?”
Nick Cave & the Bad Seeds – Straight to You (81 plays)

pollyjharvey:

Song of the Day:

Straight to You - Nick Cave and the Bad Seeds (Henry’s Dream)

Heaven has denied us it’s kingdom
The saints are drunk howling at the moon
The chariots of angels are colliding
Well, I’ll run, babe, but I’ll come running
Straight to you
For I am captured
Straight to you
For I am captured
One more time

(via hermenngottlieb)

there is no battlefield, and no mirror, but somehow
you’re fighting and somehow, you’re facing yourself.
and sometimes you don’t even realize it, but it’s in the
way that you can’t find it in yourself to get out of bed,
it’s in the way that instead of the anger you feel inside
your head you cry, it’s in the way that maybe no food
is better, and maybe whiskey can go down easier than
water. somehow there’s a field and somehow there’s
you on one end, defenseless, bleeding, limping, dying,
and there’s you on the other end, heaving in anger and
carrying guns. and your bleeding limping self is alone
and all you can see is a grave that your own self started
digging when you were eleven years old. put the dirt
back in the grave and plant flowers that bloom whenever
you cry. realize that what you’re facing, in the end, is
still yourself, that within you you have that unmoving
strong power to be such a force. your mind is loud at
you but instead be loud with it. you’re wonderful, and
beautiful, and going to get through this. war stories are
the hardest to talk about, and the ones where you
face yourself never get a page in the history books.
make sure the right side, the right you, wins.

—to a friend (gems) [25oct2013] (via cinnamonveins)

(via ofbyzantium)

  • Fincher: For the most part, people are either embarrassed or feel it's not their place or their right to impose their sense of how it should be on other people. I've never had that issue.
  • Details: You seem to have had a vision and a professional strategy from the very start.
  • Fincher: I have no plan. I just have interests. Look, I had three movies fall apart in the last two years! And by the way, I don't ever feel like, "Fuck them!" I always feel like if they don't come together, they don't come together for a reason. You can't force a good seduction. You just can't. It either works or it doesn't. And you do not want to be in a two-year relationship with a movie studio that—
  • Affleck: That you don't love.
  • Fincher: That you don't want to fuck. You can't make movies in spite of the people who are paying for them or in spite of the people who are there to put asses in the seats.
Cages. Consider a birdcage. If you look very closely at just one wire in the cage, you cannot see the other wires. If your conception of what is before you is determined by this myopic focus, you could look at that one wire, up and down the length of it, and be unable to see why a bird would not just fly around the wire any time it wanted to go somewhere. Furthermore, even if, one day at a time, you myopically inspected each wire, you still could not see why a bird would gave trouble going past the wires to get anywhere. There is no physical property of any one wire, nothing that the closest scrutiny could discover, that will reveal how a bird could be inhibited or harmed by it except in the most accidental way. It is only when you step back, stop looking at the wires one by one, microscopically, and take a macroscopic view of the whole cage, that you can see why the bird does not go anywhere; and then you will see it in a moment. It will require no great subtlety of mental powers. It is perfectly obvious that the bird is surrounded by a network of systematically related barriers, no one of which would be the least hindrance to its flight, but which, by their relations to each other, are as confining as the solid walls of a dungeon.
It is now possible to grasp one of the reasons why oppression can be hard to see and recognize: one can study the elements of an oppressive structure with great care and some good will without seeing the structure as a whole, and hence without seeing or being able to understand that one is looking at a cage and that there are people there who are caged, whose motion and mobility are restricted, whose lives are shaped and reduced.

—Marilyn Frye, Oppression

  • Details: How are you different as directors?
  • Fincher: He wraps a lot earlier than I do.
  • Affleck: I just go home by lunch. I gauge a day by how early I go home. No, I mean, I don't put myself really on a par with David in terms of "I'm this, he's that."
  • Details: What was your takeaway from watching David work?
  • Affleck: The biggest thing I learned from David, really, is that he has a kind of insistence on "This is what I want to do, this is how we're going to do it." Because this business has a lot of people saying no—like, "This is going to be too hard" or "This is too expensive" or "No one's going to want to see that" or "We can't have it this way." And I have tended, to my embarrassment, in the past to go, "Oh, you think? Really? We can't do that? I guess we can't do that." And David can push through by force of will what he wants. And I know that the next movie I do, it's going to be colored much more by "Well, this is what I want to do, so we're going to find a way to do it."
  • Details: You'll be an asshole the next time.
  • Affleck: Yeah, I'll be more of a prick. "He was a nice guy till he worked with Fincher."