It’s a funny thing about the modern world. You hear girls in the toilets of clubs saying, “Yeah, he fucked off and left me. He didn’t love me. He just couldn’t deal with love. He was too fucked up to know how to love me.” Now, how did that happen? What was it about this unlovable century that convinced us we were, despite everything, eminently lovable as a people, as a species? What made us think that anyone who fails to love us is damaged, lacking, malfunctioning in some way? And particularly if they replace us with a god, or a weeping madonna, or the face of Christ in a ciabatta roll-then we call them crazy. Deluded. Regressive. We are so convinced of the goodness of ourselves, and the goodness of our love, we cannot bear to believe that there might be something more worthy of love than us, more worthy of worship. Greeting cards routinely tell us everybody deserves love. No. Everybody deserves clean water. Not everybody deserves love all the time.
Zadie Smith, White Teeth (via descroissants)
Let someone love you just the way you are – as flawed as you might be, as unattractive as you sometimes feel, and as unaccomplished as you think you are. To believe that you must hide all the parts of you that are broken, out of fear that someone else is incapable of loving what is less than perfect, is to believe that sunlight is incapable of entering a broken window and illuminating a dark room.
Marc Hack (via alesthetique)
In the last couple of decades or so, something has happened to the American dream. I don’t quite know what it is, and it’s still not very clear in my mind. Confusion has replaced patriotism. The intellect has replaced love. If something doesn’t make money, no one is interested. Everything is for sale. Emotions are sold. Sex is sold. Everything is sex. Cars, women, clothes, your face, your hands, your shoes! Look at the ads, at television. My emotions aren’t for sale. My thoughts can’t be bought. They’re mine. I don’t want movies that sell me something. I don’t want to be told how to feel.
John Cassavetes (via descroissants)
I love the idea that one thing can be different for different people. Everything’s that way…and then there are films or writings that you could read once and then ten years later read again and get way more from. You’ve changed; the work stays the same. But suddenly it’s got way more meaning for you, depending on where you are. I like things that have a kernel of something in them. They have to be abstract. The more concrete they are, the less likely that this thing will happen. The maker has to feel it and know it in a certain way and be honest to it. Every sing decision passes through this one person, and if they judge it and do it correctly, then the work holds together for that one person, and they feel it’s honest and it’s right. And then it’s released, and from that point on there’s not one thing you can do about it. You can talk about it - try to defend it or try to do this or that. It doesn’t work. People still hate it. They hate it. It doesn’t work for them. And you’ve lost them. You’re not going to get them back. Maybe twenty years later they’ll say, “My God! I was wrong.” Or maybe, twenty years later, they’ll hate it when at first they loved it. Who knows? It’s out of your control. - David Lynch
The small man
Builds cages for everyone
While the sage,
Who has to duck his head
When the moon is low,
Keeps dropping keys all night long
Filmmaker Guillermo del Toro put all his ideas for `Pan’s Labyrinth’ in a notebook — then lost it.
The heavyset man ran down the London street, panting, chasing the taxi. When it didn’t stop, he hopped into another cab. “Follow that cab!” he yelled. Guillermo del Toro wasn’t directing this movie. He was living it. And it was turning into a horror tale.
The Mexican filmmaker keeps all of his ideas in leather notebooks. And Del Toro had just left four years of work in the back seat of a British cab. Unlike in the movies, though, Del Toro couldn’t catch the taxi. Visits to the police and the taxi company proved equally fruitless.
Del Toro’s films — “Chronos,” “The Devil’s Backbone,” “Blade II,” “Hellboy” — typically feature magical realism. Fate was about to return the storytelling favor.
The cabbie spotted the misplaced journal. Working from a scrap of stationery that didn’t even have the name of Del Toro’s hotel (just its logo), the driver returned the book two days later. An overwhelmed Del Toro promptly gave him an approximately $900 tip.
The sketches and the ideas in that misplaced journal — four years of notes on character design, ruminations about plot — were the foundation of “Pan’s Labyrinth,” a child’s fantasy set in the wake of the Spanish Civil War.
The director, who at the time wasn’t even sure he’d actually make “Pan’s Labyrinth,” took the cabbie’s act as a sign, and plunged himself into the movie.