AN AMERICAN WEREWOLF IN PARIS — 1997, dir. Anthony Waller

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AN AMERICAN WEREWOLF IN PARIS — 1997, dir. Anthony Waller

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And this post here shows there are a couple of different replies there were of course hundreds of replies. I even replied which I will now put here but besides making a joke about the famous quote, it was also Bloomsday
This is the late Julian Beck. He was dying of cancer when Poltergeist 2 was filmed. It was his final role before he passed. He was an interesting person. He & his partner Judith founded The Living Theatre, an NYC experimental theatre company that was a big influence on legends like Jim Morrison
But why should we have to be useful and for what reason? Who divided the world into useless and useful, and by what right? Does a thistle have no right to life, or a Mouse that eats the grain in a warehouse? What about Bees and Drones, weeds and roses? Whose intellect can have had the audacity to judge who is better, and who worse? A large tree, crooked and full of holes, survives for centuries without being cut down, because nothing could possibly be made out of it. This example should raise the spirits of people like us. Everyone knows the profit to be reaped from the useful, but nobody knows the benefit to be gained from the useless.
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Drive Your Plow Over the Bones of the Dead (Olga Tokarczuk)
The public funeral. From the right: Yasunari Kawabata (who, before his own suicide in the spring of 1972, spoke of being visited by the specter of Yukio Mishima); the widow, Yōko Mishima (“I had thought he might do something but that it would be next year”); his father, Azusa Hiraoka (“I was not particularly surprised. My brain rejected the information”); and his mother, Shizué Hiraoka, who had seen him for the last time the night before (“I watched him leaving and I couldn’t help thinking how tired he looked, how stooped was his back”).

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Suffer rosa, Maxi Magnano
The calling, Francis DiFronzo
The Lost Boys photos from Paul Davis
Dagsson
Waiting for the light to change, Carl Bretzke

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The moonlight ain’t so great, Ivan Marchuk
Mark Rothko, Untitled (Green, Blue, Green on Blue), 1968
Acrylic on paper mounted on canvas
Estate of Charles Evans
© 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), Courtesy of The Mark Rothko Foundation
Predator (1987)
It is quite believable though however not yet Saturday, Lukas Vasilikos
A recent New Scientist cartoon

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“But somehow—you’ll understand—one hates talking […] about anything one really thinks. These things go much better into ink.”
— Charles Hamilton Sorley to his parents (27 January 1913)
Rififi was an impeccable movie with maybe the greatest heist scene I've ever seen put to film. But what my mind keeps thinking about is this amazing coffee carafe
Also, in a film teeming with great fits, this guy's was far and away my favorite