...truth in wine and children

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BLACK BOX VOTING

"You know who my model is, by the way -- Jessica Lynch. The Pentagon tried to use her. Bill O’Reilly tried to use her. And what is this woman? After the end of the day, she picks her head up and says: You know, we should have never gone. It made no sense. They lied to us. They lied about me. They lied about Jessica Lynch.

"I’m not just trying to be coy here, I think, but I’ve seen it from decades of reporting -- it’s a great quality in America that you find in the hollow of West Virginia. People say you know, truth has a vitality. Truth is important. Truth prevents error. And these errors that you’re talking about come from their lies. And that’s really the main argument of why the ends don’t justify the means -- because good democratic means lead you to better ends."

If you put your hands on this oar with me,
they will never harm another, and they will come to find
they hold everything you want.

If you put your hands on this oar with me, they would no longer
lift anything to your
mouth that might wound your precious land
that sacred earth that is your body.

If you put your soul against this oar with me,
the power that made the universe will enter your sinew
from a source not outside your limbs, but from a holy realm
that lives in us.

Exuberant is existence, time a husk.
When the moment cracks open, ecstasy leaps out and devours space;
love goes mad with the blessings, like my words give.

Why lay yourself on the torturer's rack of the past and the future?
The mind that tries to shape tomorrow beyond its capacities
will find no rest.

Be kind to yourself, dear to our innocent follies.
Forget any sounds or touch you knew that did not help you dance.
You will come to see that all evolves us.
~ Rumi ~

the script to ADAPTATION!!!

Love this amazing movie... like igby and donnie darko and so much else on the horizon, it evidences a surge, a bloom in consciousness. Sunrise on the shadow: don't give up on us yet!

So amazing to see the changes from script to the final movie. And the summary is as Donald says so simply and literally, (as if) missing the point --the bit about how the paper ball turns into the flower... 'it's a metaphor, stupid' the playwright says in full exasperation. Which says everything... the mystery, the magic: how does meaning, insight, gotcha, AH-ha burst into our souls? Just keep asking, and watch... watch the magician's hands.

I love the twin as the unconscious. And shake mah haid and holler in pain and can't-believe-it belly-laugh at the advice he takes from McKee (we can't fight it) to finish the movie that you then see unfold before your eyes... ( Damn! Didn't that paper ball turn into a flower? )

INT. BAR - NIGHT Kaufman and McKee sit at a table with beers. Kaufman reads from his copy of The Orchid Thief.

KAUFMAN

... We followed it like a beacon all the way to the road.

Kaufman closes the book. There's a pause.

MCKEE

Then what happens?

KAUFMAN

That's the book. I wanted to present it simply, without big character arcs or sensationalizing the story. I wanted to show flowers as God's miracles. I wanted to show that Orlean never saw the blooming ghost orchid. It's about disappointment.

MCKEE

I see. That's not a movie. You must go back and put in the drama.

KAUFMAN

(pause)

I've got pages of false starts and wrong approaches. I'm way past my deadline. I can't go back.

MCKEE

Ah, the everpresent deadline. Yes, I was doing a Kojak once and... it was hell.

McKee sips his beer, eyes Kaufman.

MCKEE (cont'd)

Tell you a secret. The last act makes the film. You can have an uninvolving, tedious movie, but wow them at the end, and you've got a hit. Find an ending. Use what you've learned this weekend. Give them that and you'll be fine.

Tears form in Kaufman's eyes.

KAUFMAN

You promise?

McKee smiles. Kaufman hugs him.