“It begins with the king as a boy, having to spend the night alone in the forest to prove his courage so he can become king. Now while he is spending the night alone he’s visited by a sacred vision. Out of the fire appears the Holy Grail, symbol of God’s divine grace. And a voice said to the boy, “You shall be keeper of the grail so that it may heal the hearts of men.” But the boy was blinded by greater visions of a life filled with power and glory and beauty. And in this state of radical amazement he felt for a brief moment not like a boy, but invincible, like God, so he reached into the fire to take the grail, and the grail vanished, leaving him with his hand in the fire to be terribly wounded. Now as this boy grew older, his wound grew deeper. Until one day, life for him lost its reason. He had no faith in any man, not even himself. He couldn’t love or feel loved. He was sick with experience. He began to die. One day a fool wandered into the castle and found the king alone. And being a fool, he was simple minded, he didn’t see a king. He only saw a man alone and in pain. And he asked the king, “What ails you friend?” The king replied, “I’m thirsty. I need some water to cool my throat”. So the fool took a cup from beside his bed, filled it with water and handed it to the king. As the king began to drink, he realized his wound was healed. He looked in his hands and there was the holy grail, that which he sought all of his life. And he turned to the fool and said with amazement, “How can you find that which my brightest and bravest could not?” And the fool replied, “I don’t know. I only knew that you were thirsty.””—Robin Williams as Parry in “The Fisher King”, 1991
Nile Rodgers: «On New Year’s Eve, 1977, we were invited to meet with Grace Jones at Studio 54. She wanted to interview us about recording her next album. At that time, our music was fairly popular — “Dance, Dance, Dance" was a big hit and "Everybody Dance”, although more underground, was doing very well, too — but Grace Jones didn’t leave our name at the door and the doorman wouldn’t let us in. Our music might be playing inside, but the place was packed for New Year’s Eve and this was early in our career. Anyway, my apartment happened to be one block away, so Bernard and I went there to sort of quell our sorrows. We grabbed a couple of bottles of champagne from the corner liquor store and then went back to my place, plugged in our instruments and started jamming.
You see, music was not only our livelihood, it was also our entertainment and recreation. And since we were feeling bad, we played music to make us feel good. We started jamming on the now-famous riff — Bernard and I were particularly good at making up riffs and jamming together. We were really into jamming and we’d often start writing songs that way, sometimes drawing on ideas that were floating around. In this case, however, the riff was super, super simple, so it didn’t have to be pre-planned. It was just something that happened. I had always liked the [Cream] song “Sunshine of your Love”, and I wanted to do a sort of riff song for Chic, although not a complete linear riff — that wouldn’t be like Chic — so I incorporated a little linear lick and we started singing, “Fuck off!" [Repeats the lick.] "Aaaaahh, fuck off!"
We were so pissed off at what had happened. I mean, it was Studio 54, it was New Year’s Eve, it was Grace Jones, and we were wearing the most expensive outfits that we had — back then, in the late ’70s, our suits must have cost us a couple of thousand bucks each, and our really fancy shoes had got soaked trudging through the snow. So "Fuck Off" was a protest song, and we actually thought it was pretty good.»
“Sally watches her daughter and worries.
She knows what happens when you bottle up your sorrow, she knows what she’s done to herself, the walls she’s built, the tower she’s made, stone by stone.
But they’re walls of grief, and the tower is drenched in a thousand tears, and that’s no protection; it will all fall to the ground with one touch.”—[Alice Hoffman, Practical Magic]
Grossman:Writing allows me to explore situations that are impossible for me to explore in my life. And yet they are very active parts in me. Emotionally I am an extreme person, and writing makes it possible for me to go on.
Jonathan Shainin:What do you mean by extreme?
Grossman:Intense, not afraid of extremity in other people, intrigued by the interior lives of other people, especially in the suppressed places. I’m always questioning what I observe. All the time I see the cracks, wherever I look—even before what happened to me. It’s a way of seeing, and I cannot say I chose it, but I surrendered to it quite happily because I think it’s an accurate view of the fragility of life. Anything that is calm and safe seems to me like an illusion.
Dozens of audio documentation about the life and art of Andy Warhol, recorded 1962-1987. The archive includes many rare interviews, phone conversations with Brigid Berlin and Viva, a lecture by David Cronenberg on Warhol, a tour through the various audio tapes Warhol made during his lifetime, a reading by Bob Colacello of his memoir in The Factory, Holy Terror and a conceptual interview piece where the artist erased every word Warhol said except his iconc “uh, yes” and “uh, no.”
“There are countless ingredients that make up the human body and mind, like all the components that make up me as an individual with my own personality. Sure I have a face and voice to distinguish myself from others, but my thoughts and memories are unique only to me, and I carry a sense of my own destiny. Each of those things are just a small part of it. I collect information to use in my own way. All of that blends to create a mixture that forms me and gives rise to my conscience.
I feel confined, only free to expand myself within boundaries.”—Ghost in the Shell
Ellis:At first I thought it sounded ridiculous. Then I thought, Why not? It might be fun. Unfortunately, there’s no tragic material to work with. They’re all very well off and very nice and they live in castles. They’re married to beautiful women. No one died of a drug overdose. I guess it would be a “rise, barely fall, and then rise again” biopic. But I grew up with their music and something about it resonated with me.
Jon-Jon Goulian:It certainly sounds like more fun to work on than a Joy Division biopic.
Ellis:Yeah, and definitely more fun than writing a script about the suicides of Theresa Duncan and Jeremy Blake, which I just finished, or a TV series about murderous romantic obsession that I created for HBO — very intense, personal projects. But I love the shark movie and I love Duran Duran, and those projects might not seem “serious” for a novelist to engage in, but I’ve realized that as you get older you just don’t give as much of a shit as you did when you were younger and feeling your way through society and caring about what people think about you.
"Tom Hiddleston is Adam, Tilda Swinton is Eve and Jim Jarmusch is a genius.
This is a director that tells us all we need to know without doubting our intelligence. He allows us to fall into the depths of the film without worrying about a perfectly neat beginning, middle and end. He even stops his characters from following tedious and predictable patterns, because after all, they’re too old for that.
This is a movie for film lovers and pop culture enthusiasts. It is a vampire film that takes advantage of its time span; cultural references dating back hundreds of years can be found at every corner. Only Lovers Left Alive does not focus on blood and gore, it is not a thriller nor a horror, it doesn’t even truly focus on the world of vampires.
Instead, Jarmusch studies the eternal, he explores the quiet, perhaps boring, every day life of a modern, intelligent and ancient being who has, quite literally, seen it all.”
“How foolish of me to believe that it would be that easy. I had confused the appearances of trees and automobiles and people with reality itself, and believed that a photograph of these appearances to be a photograph of it. It is a melancholy truth that I will never be able to photograph it and can only fail.
I am a reflection photographing other reflections within a reflection.
To photograph reality is to photograph nothing.”—Duane Michals