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Quotes From Here And There

Albert Einstein
Any intelligent fool can make things bigger, more complex, and more violent. It takes a touch of genius - and a lot of courage - to move in the opposite direction.
Dylan Thomas
I fell in love – that is the only expression I can think of – at once, and am still at the mercy of words, though sometimes now, knowing a little of their behavior very well, I think I can influence them slightly and have even learned to beat them now and then, which they appear to enjoy.
Eddie Cantor
It takes twenty years to become an overnight success.
Edward Abbey
May your trails be crooked, winding, lonesome, dangerous, leading to the most amazing view. May your mountains rise into and above the clouds.
e e cummings
To be nobody but yourself in a world which is doing its best night and day to make you like everybody else means to fight the hardest battle any human being can fight and never stop fighting.
Eyler Coates
We've all heard that a million monkeys banging on a million typewriters will eventually produce a masterpiece. Now, thanks to the Internet, we know this is not true.
Friedrich Nietzsche
Without music, life would be a mistake.
Gustave Flaubert
The one way of tolerating existence is to lose oneself in literature as in a perpetual orgy.
Going to the Opera is like making love; we get bored but we come back.
Johann Wolfgang von Goethe
If I love you, what business is it of yours?
John Steinbeck
Only through imitation do we develop toward originality.
Lady Mary Wortley Montagu
There is no remedy so easy as books, which if they do not give cheerfulness, at least restore quiet to the most troubled mind.
Leonard Cohen
Ring the bells that still can ring;
Forget your perfect offering.
There is a crack in everything;
That's how the light gets in.
Montaigne
The greatest thing in the world is to know how to belong to oneself.
Paul Sweeney
You know you've read a good book when you turn the last page and feel a little as if you have lost a friend.
Peter Altenberg
I never dreamed of being Shakespeare or Goethe, and I never expected to hold the great mirror of truth up before the world; I dreamed only of being a little pocket mirror, the sort that a woman can carry in her purse; one that reflects small blemishes, and some great beauties, when held close enough to the heart.
Robert Frost
In three words, I can sum up everything I've learned about life: it goes on.
There's no money in poetry, but then there's no poetry in money.
Satchel Paige
Work like you don't need the money. Love like you've never been hurt. Dance like nobody's watching.
Thomas Mann
A writer is somebody for whom writing is more difficult than it is for other people.
V S Naipaul
The writer has only to listen very carefully and with a clear heart to what people say to him, and ask the next question, and the next.

My Personal Library


Experimental Cinema For The Cinéastes - The Loss Of Solitude

The third session of Experimental Cinema screenings (and my second), Gallery Beyond showcased the last four of Avant-Garde movies they had chosen to screen. I say chosen to screen because the Avant-Garde Collection (from which the movies are being shown) is a much wider collection comprising many more movies than time would have allowed them to show.

The four movies screened were:

  • Regen (Rain) (Netherlands, 1929) directed by Joris Ivens, 14 minutes: This is a movie every Bombayite would love to watch, especially if you’ve grown up watching the rain and what gentle poetry it can create on the streets and in the minds of men. If you can catch this short film anytime, please do so. It is a lovely evocation of rain in Amsterdam and how people react to it. Perhaps the most lyrical of all Avant-Garde movies, it is for the best that it is a silent movie. The gentle strumming of the guitar throughout the movie is the only sound the movie has. It is the director’s best documentary before he moved on to doing political documentaries. It is now my favorite documentary; when you have watched it, it will be yours too.
  • H2O (US, 1929) directed by Ralph Steiner, 12 minutes: This movie demonstrates what light can do with surfaces, especially with water. An intensive exploration of the play between light and water, it soon delves into abstractions leaving the consciousness of the existence of water behind. Recommended only if you love the sort of cinema that academics can argue and debate over.
  • Even - As You And I (US, 1937) directed by Roger Barlow, Harry Hay, and LeRoy Robbins, 12 minutes: A story of how three directors, fed up with the traditional boy meets girl plot, decide to create a surreal movie for a competition. A funny take on surrealism, it shows the three directors shooting the movie from every angle, even inside drains and on electricity poles. Finally when they are done with the movie, the deadline for the contest has already passed. The movie ends with them seeing the ad for another competition of surreal cinema.
  • Ballet Méchanique (France, 1924) directed by Fernand Leger, 11 minutes: The only movie which I did not like, perhaps for lack of knowledge. It shows different objects in repetitive motion and from different perspectives. I have to agree that this was perhaps the most experimental of the experimental genre.

After the four movies one of which was a spoof of surreal cinema, an anthology of surreal cinema was screened. Then two of Luis Bunuel’s movies - Un Chien Andalou and L’Age D’Or both of which were absolutely likeable classics. I’d not planned to sit through them but saw them anyway.

However, there was a noisy crowd to watch the movies with cells ringing and whispers doing the rounds and the shifting of chairs and the moving of people and one guy even suppressing his laughter at his simple comprehension of the complexity of L’Age D’Or, unlike my first time when the screening hall was perfectly calm and silent and it was fun watching the great movies.

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