Among the maxims on Lord Naoshige's wall, there was this one: "Matters of great concern should be treated lightly." Master Ittei commented, "Matters of small concern should be treated seriously."

The Way of the Samurai is found in death. Meditation on inevitable death should be performed daily. Every day when one's body and mind are at peace, one should meditate upon being ripped apart by arrows, rifles, spears and swords, being carried away by surging waves, being thrown into the midst of a great fire, being struck by lightning, being shaken to death by a great earthquake, falling from thousand-foot cliffs, dying of disease or committing seppuku at the death of one's master. And every day without fail one should consider himself as dead. This is the substance of the way of the samurai...

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Jarocin Festival was one of the biggest and most important rock music festivals in the 1980s Europe, by far the biggest festival of alternative music in the Warsaw Pact countries.

Founded in 1980, had been based on the earlier Wielkopolskie Rytmy Mlodych (Greater Poland’s Rhythms of the Youth), which had been organized in Jarocin since 1971. In 1980, due to Walter Chelstowski’s initiative, its name was changed to Ogolnopolski Przeglad Muzyki Mlodej Generacji w Jarocinie (All-Polish Review of Music of Young Generation in Jarocin) and subsequently, musicians and bands from the whole country were invited. Later on, its name was changed again - to Festiwal Muzykow Rockowych (Rock Musicians’ Festival)...

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Jim: What turns you on?

Pam: I don't know. Experience. Freedom. Love... Now. Peyote's like love. When it's given it's blessed. When it's sold it's damned. I like peyote. I like acid, it's easier to get. I like the spiritual voyage. The first time I did acid I saw God. I did. I had a friend who was Christ. And he was Judas too. I suddenly knew the secret of everything - that we're all one, the universe is one. And that everything is beautiful.

Jim: Is it? I don't know. I think you're alive by confronting death - by experiencing pain.

Pam: I think you're alive by recognizing beauty - seeing truth because when you discover truth you discover what love is... we're all saying the same thing. It's "love me and I'll love you."

Jim: It's only through death that you know life. Jesus, medicine men heal people by sacrificing their own life.

Pam: Do you love death?

Jim: I think life hurts a lot more than death. When you die the pain is over...

 

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Clementine: Joel, I'm not a concept. Too many guys think I'm a concept or I complete them or I'm going to make them alive, but I'm just a fucked up girl who is looking for my own peace of mind. Don't assign me yours.

Joel: I remember that speech really well.

Clementine: I had you pegged, didn't I?

Joel: You had the whole human race pegged.

Clementine: Probably.

Joel: I still thought you were going to save me. Even after that.

Clementine: I know...

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The power of Judi Dench's accusatory stare - Ms. Dench could bring Anne Robinson of ''Weakest Link'' to her knees and still have enough energy to take on John Ashcroft - makes her the heir to Glenda Jackson's icy glare. Understanding the drama inherent in portraying the loss of that power, the director Sir Richard Eyre captures Ms. Dench's chilblain gaze slowly diminishing in the moldy, minor-key melodrama ''Iris.'' She stars as the literary force Iris Murdoch, as her appetite for language and pleasure collapses under Alzheimer's disease...

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Plagued by debt, tormented by writer’s block and in desperate need of a new hit, promising new playwright Will Shakespeare finds his muse in the form of passionate young noblewoman, Viola De Lesseps. Their forbidden love soon draws everyone, including Queen Elizabeth herself, into the drama and inspires Will to write the greatest love story of all time, Romeo and Juliet...

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Now Sid, don't you blame the movies, movies don't create psychos, movies make psychos more creative!

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His voice was soft and very slow
As he quoted The Raven from Edgar Allen Poe:


“...and my soul from out that shadow
that lies floating on the floor
shall be lifted?
Nevermore…”

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Just as scientists might be frowned on for attempting to reanimate the dead, so revisiting old haunts and highs is thought to be A Bad Idea for filmmakers.

Reversed momentum reeks of creative stagnation and soft nostalgia, the argument goes; worse still, it can expose the gap between the talent someone was and the reduced version they’ve become.

Luckily, Tim Burton must have binned that memo.

His re-imaginings of other people’s projects often disappoint; his stop-motion rethink of his own 1984 coming-of-age short is, on the other hand, a confounding delight and worthy winner of the 2012 London Film Festival’s opening slot.

Warm, witty, purely pleasurable and unusually personal for a studio film, it doesn’t just reacquaint Burton with the material, monsters and movies that made him: it reacquaints us with the Burton who seemed such a crazy-haired bag of goth-lite giggles and outsider-geek love a decade or so back...

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Roger Ebert reviews on December 27, 1973:

The movie is set in Chicago of the 1930s, and many of the outdoor scenes were shot here (including an effective platform shot at Union Station). We see a big, confused, lusty, brawling city where the big guys with the muscle are somehow always losing to the guys with the confidence angles. Robert Shaw never figures out what hit him. Shaw is a high-stakes gambler who first gets hooked during a poker game between New York and Chicago on the 20th Century Limited. Newman and Redford spot him, mark him and begin to manipulate him. He never figures out they even know each other, and that's part of the charm: they have to play a lot of scenes for him as complete strangers, as Redford casually lets drop that he knows the location of the biggest wire room in Chicago. The idea, Redford explains, is to allow Shaw to win big on a fixed horse race in order to...

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