“I think there’s something strange about writing a script … I’ve written many, many scripts - dozens and dozens of scripts - and every time I start one, I think to myself: ‘why in the world do I think I know how to do this?’”—Brian Helgeland (BAFTA/BFI Screenwriter Lecture)
“Feeling unsure and lost is part of your path. Don’t avoid it. See what those feelings are showing you and use it. Take a breath. You’ll be okay. Even if you don’t feel okay all the time.”—Louis C.K. (via psych-facts)
“It may help to understand human affairs to be clear that most of the great triumphs and tragedies of history are caused, not by people being fundamentally good or fundamentally bad, but by people being fundamentally people.”—Neil Gaiman and Terry Pratchett, Good Omens (via feellng)
“As Arnold points out, there is an otherwise inexplicable shift in direction in the Piccadilly line passing east out of South Kensington. “In fact,” she writes, “the tunnel curves between Knightsbridge and South Kensington stations because it was impossible to drill through the mass of skeletal remains buried in Hyde Park.” I will admit that I think she means “between Knightsbridge and Hyde Park Corner”—although there is apparently a “small plague pit dating from around 1664” beneath Knightsbridge Green—but I will defer to Arnold’s research.
But to put that another way, the ground was so solidly packed with the interlocked skeletons of 17th-century victims of the Great Plague that the Tube’s 19th-century excavation teams couldn’t even hack their way through them all. The Tube thus had to swerve to the side along a subterranean detour in order to avoid this huge congested knot of skulls, ribs, legs, and arms tangled in the soil—an artificial geology made of people, caught in the throat of greater London.”—
“Of the 3 types of noir women, the femme fatale represents the most direct attack on traditional womanhood and the nuclear family. She refuses to play the role of devoted wife and loving mother that mainstream society prescribes for women. She finds marriage to be confining, loveless, sexless, and dull, and she uses all of her cunning and sexual attractiveness to gain her independence.”—Double Indemnity, 1944: “He keeps me on a leash so tight I can’t breathe.” (via addsomeventuring)
“He had Shelley’s trick of noiselessly vanishing and reappearing. We would be sitting, reading on my only sofa: I would look up and Lawrence was not only not in the room, he was not in the house, he was not in Jerusalem. He was in the train on his way to Egypt.”—Ronald Storrs on T.E. Lawrence (via weirdsociology)