February 2012
“Fear can hold you prisoner. Hope can set you free.”
—[The Shawshank Redemption]
Johnny Depp's Infinitum Nihil options forthcoming memoir by West Memphis Three's Damien Echols →
wm3org.typepad.com
The actor and his producing partner Christi Dembrowski and their Infinitum Nihil production shingle have yet another interesting project in development. They’ve optioned film rights to the soon-to-be-published and as-yet-untitled book by Damien Echols which reveals his experiences on death row after his wrongful conviction and subsequent wrongful 18-year imprisonment.
The memoir will be published in September 2012 by Blue Rider Press, an imprint of Penguin Books. The injustice of the West Memphis Three story drew badly needed support from the entertainment community’s Peter Jackson, Eddie Vedder, Natalie Maines, Henry Rollins, and of course Depp.
Listen
The Boy Least Likely To - You’re the One That I Want
[Originally by John Travolta and Olivia Newton-John]
Milk (2008)
- Scott Smith: You want to be "normal" as bad as any of us. More than any of us... Those are kids in there. You're asking them to lose their families.
- Harvey Milk: If their families won't love them for who they are, who they really are, then they should lose them.
Stanchezza
(Oggi ho invidiato perfino i pazienti sotto morfina della terapia intensiva.)
“It’s hard to choose a favorite among so many great tracks, but “The Greatest Love of All” is one of the best, most powerful songs ever written about self-preservation, dignity. Its universal message crosses all boundaries and instills one with the hope that it’s not too late to better ourselves. Since, Elizabeth, it’s impossible in this world we live in to empathize with others, we can always empathize with ourselves.
It’s an important message, crucial really. And it’s beautifully stated on the album.” —[Patrick Bateman, American Psycho]
It’s an important message, crucial really. And it’s beautifully stated on the album.” —[Patrick Bateman, American Psycho]
Best of frenemies →
guardian.co.uk
Tom Stoppard’s Rosencrantz and Guildenstern
Stoppard famously sets Rosencrantz and Guildenstern Are Dead in the interstices of Hamlet, elevating two supporting characters from Shakespeare’s play into leads. His focus is on how the pair occupy themselves when they are offstage in the parent play, which appears to be by aimless banter and mock-philosophical arguments. But there’s an existential twist: Stoppard’s characters seem to be aware that they are unimportant fictional characters, each casting aspersions on the other’s comparative degree of reality, each claiming that the other doesn’t really exist. Such acts of frenmity grant them what little sense of reality they have in a world which seems, to them, to be absurd and out-of-control.
Perhaps, Perhaps, Perhaps
Cake
Cake - Perhaps, Perhaps, Perhaps
Groundhog Day (1993)
- Phil: What would you do if you were stuck in one place and every day was exactly the same, and nothing that you did mattered?
- Ralph: That about sums it up for me.
