The price of a memory, is the memory of the sorrow it brings.
Smokin weed on the star projectors, I guess we'll never know what Harvard gets us
There is a sort of enthusiasm in all projectors, absolutely necessary for their affairs, which makes them proof against the most fatiguing delays, the most mortifying disappointments, the most shocking insults; and, what is severer than all, the presumptuous judgement of the ignorant upon their designs.
Taxing is an easy business. Any projector can contrive new compositions, any bungler can add to the old.
Cinema is the culmination of the obsessive, mechanistic male drive in western culture. The movie projector is an Apollonian straight-shooter, demonstrating the link between aggression and art. Every pictorial framing is a ritual limitation, a barred precinct.
When you do The Work, you see who you are by seeing who you think other people are. Eventually you come to see that everything outside you is a reflection of your own thinking. You are the storyteller, the projector of all stories, and the world is the projected image of your thoughts.
I'm supportive of women, absolutely, and it's so gratifying to have girls come up and say, 'I'm really inspired by your guitar playing.' I mean no disrespect to the sisterhood, but musically I feel more drawn to things like Dirty Projectors, the National and Grizzly Bear.
Taxing is an easy business. Any projector can contrive new impositions; any bungler can add to the old; but is it altogether wise to have no other bounds to your impositions than the patience of those who are to bear them?
Images flicker, each one bringing its own sorrow or its own smile. Sometimes both. At the very worst, an impenetrable and sightless black and at best, a happiness so bright that it hurts the eyes to see, coming and going on some unseen projector perpetually turned by an invisible hand. One, then another. The hollow click of the shutter. Now stop. Freeze this frame. Pluck it down and hold it close and be damned by what you see. Henri always said: the price of a memory is the memory if the sorrow it brings.
Who doesn't have a dark place somewhere inside him that comes out sometimes when he's looking in a mirror? Dark and light, we are all made out of shadows like the shapes on a motion-picture screen. A lot of people think that the function of the projector is to throw light on the screen, just as the function of the story-teller is to stop fooling around and simply tell what happened, but the dark places must be there too, because without the dark places there would be no image and the figure on the screen would not exist.
I always just forced myself to do crazy things in public. In college I would push an overhead projector across campus with my pants just low enough to show my butt. Then my friend would incite the crowd to be like, 'Look at that idiot!' That's how I got over being shy.
When I was a kid, before there were VCRt, my parents had a movie projector, and we'd watch Frankenstein and Dracula. I just always though that stuff was cool - creepy comics and monsters and horrific stuff. Music lends itself to that whole theme.
The reality is in this head. Mine. I'm the projector at the planetarium, all the closed little universe visible in the circle of that stage is coming out of my mouth, eyes, and sometimes other orifices also.
When I was young, I was really, really obsessed with Gena Rowlands and John Cassavetes. Because my mom was a projectionist in college, she was somehow able to get a real projector. And she had some connections, so she would get real prints, and we'd put up a sheet. The first movies I saw were To Kill a Mockingbird [1962], Gigi [1958], A Woman Under the Influence [1974]. Then when I was old enough to be able to rent movies, I went through a very big Cassavetes phase.
Stop yelling at the movie, you ain’t never gonna change it like that. Go change the movie in the projector. You are the projector.
The projectors in the theater practically shut down with boredom.
There's something about looking at Super 8 films that is so evocative. You could argue it's the resolution of the film somehow because they aren't crystal clear and perfect,so there is a kind of gauzy layer between you and what you see. You could argue it's the silence of them. You could say it's the sound of the projector that creates a moodiness. But there's something about looking at analog movies that's infinitely more powerful than digital.
Malice is of the boomerang character, and is apt to turn upon the projector.
I'm big on having a blistering pace. That's one of the hallmarks of what I do, and that's not easy. I never blow up cars and things like that, so it's something else that keeps the suspense flowing. I try not to write a chapter that isn't going to turn on the movie projector in your head.
The projector will soon disappear. The camera, not really. OK, it depends... it depends on change.
or simply:
