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Final (out of focus) shot of Jocelyn Moorehouse’s 1991 movie Proof
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Here’s to gaining some perspective on consumerism and childish wants in the company of one Tyler Durden.
I see in Fight Club the strongest and smartest men who’ve ever lived. I see all this potential. And I see it squandered. Goddamn it, an entire generation pumping gas. Waiting tables. Slaves with white collars. Advertising has us chasing cars and clothes. Working jobs we hate so we can buy shit we don’t need.
We’re the middle children of history, man. No purpose or place. We have no Great War. No Great Depression. Our great war is a spiritual war. Our great depression is our lives. We’ve all been raised on televison to believe that one day we’d all be millionaires and movie gods and rock stars. But we won’t. We’re slowly learning that fact. And we’re very, very pissed off.
(Fight Club)
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Misfit: a person who is not suited or is unable to adjust to the circumstances of his or her particular situation.
[Click on the thumbnail for a larger view]
)My answer to D’s usual “Coragem” ("Courage") learned from a penguin and meant to cultivate…
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…what got me here.
(With a little help from Dave Matthews Band this time around, whose great lyrics brought on some teary-eyed nostalgia)
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There’s nothing particularly fabulous about Amélie Poulain’s destiny or her life for that matter. For starters, she’s almost painfully shy. She grows as the subject of scrutiny. The scrutiny of a writer, of a filmmaker, of an actress, of an audience. She grows to be larger-than-life on the big screen (just as we alternately grow and shrink in life as the subjects of self-scrutiny, self-centeredness and an endless trail of actions and reactions.) She is sort of timeless too. She’s part contemporary, part a throwback to a different era altogether. Vivid enough up close to color the world around her as a painter would a canvas. And… she’s all about little things. She’s in essence a little thing herself.
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It’s impossibly simple - what we want. It fits perfectly inside the picture we draw for ourselves up in the attic of our minds, the one no one has access to without our say and one that may very well not make much sense at all. But hard-headedness dictates that it fits - yes, it does. And it’s… well, impossibly simple. Charcoal on paper. Black on white.
When asked whether she wanted out - out of the country, out of the picture perfect 50’s suburban life she had been leading with husband Frank, April Wheeler (played by Kate Winslet in Revolutionary Road) corrects the thought behind the question by retorting ‘I wanted in. I just wanted us to live again.’
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