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In 1944, a group of scientists intentionally crashed a train into a brick wall just to see if a small box could survive the apocalypse. The world was tearing itself apart, but in a quiet corner of England, the mission wasn’t about winning the war—it was about surviving the...

420,742 views • 5 months ago •via X (Twitter)

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John Renoir on filming the train scenes in 'The Human Beast' (1938): "'The Human Beast' (1938) was a rather difficult film to shoot, since much of it takes place on locomotives. You can't shoot on a locomotive the way you can in a studio. There was so much to install. I must say that the state railway system was marvelous, they helped us, gave us some extraordinary assistants who took part in the film, who advised us, who prevented us from making mistakes. Because here again I insisted on exterior reality, I wanted very much for it to be respected. Believe me, there isn't a detail in this film that isn't exact. They gave us a track that wasn't being used during the time we were shooting the film. On this track we put a train, composed of a locomotive, our locomotive, our character, the Lison, the one we photographed. Behind it, we had a flatcar on which we had two generators to provide the electricity. We lit the locomotive exactly as if it were a character in a studio: instruments, lights, backlighting, everything you need. And of course all that was connected with wires, with straps, all that. It was all very complicated, because we were moving at sixty miles an hour! To reach sixty miles an hour in a hurry, we had another train push us from behind, so that we picked up speed quickly. We did it with two locomotives. We also had a few normal cars in which the actors could wash up, relax when they weren't shooting, reapply their makeup, have something to eat, and so on. It all was very organized. I must say that the photography was exciting and rather dangerous at times. My nephew, the cameraman, Claude Renoir, was almost knocked off once. He was in charge of a camera that was against the side of the locomotive. We had measured everything. The camera was fixed against the locomotive, but we had miscalculated, and the camera stuck out maybe one centimeter, and when we entered a tunnel - we were filming in a tunnel - the camera was knocked off and smashed. Luckily Claude saw what was coming just before it happened, he guessed it, and he flattened himself against the train and wasn't knocked off too. Luckily he's still alive." ('Renoir on Renoir', translated by Carol Volk, 1989)

DepressedBergman

29,213 views • 10 months ago

Mike Nichols on how the young audiences reacted to 'The Graduate' (1967) when it was first screened: "Interviewer: "'The Graduate' (1967) was a phenomenon when it opened…how did it feel to suddenly be considered a hero of the 1960s youth movement when you were in your mid thirties? Nichols: Very weird, actually. But it wasn’t quite like that at first. Joseph E. Levine made us take the film around to college campuses. After we’d showed it to a bunch of younger audiences there, the question on everyone’s lips was, “How come it’s not about Vietnam?” The only way college students could apparently get laid in those days was to be very serious and concerned about the war, so 80 to 90 percent of the kids said, “We can’t tell whether you are for or against Vietnam in this movie.… What are we supposed to think?” That was their criterion. They had no idea what they were looking at. It wasn’t until we got the movie in front of audiences that we felt like younger viewers would feel a kinship with it. We previewed 'The Graduate' in a theater on 86th Street; we just showed up and essentially flung the movie on top of another feature to surprise people. And in the last five minutes—starting with the melee in the church—everyone stood and cheered. I mean, it was like being at a prizefight. And it wasn’t even a finished print; I still had the sound in a box on my lap, because we hadn’t fully mixed the movie yet. Poor Dustin was white as a sheet; it was his first time seeing the movie and he was stunned by the reaction. We all were." (Mike Nichols' interview with David Fear, TimeOut, 2012)

DepressedBergman

34,515 views • 5 months ago

I see the player you mean. PLAYERNAME? Yes. Take care. It has reached a higher level now. It can read our thoughts. That doesn't matter. It thinks we are part of the game. I like this player. It played well. It did not give up. It is reading our thoughts as though they were words on a screen. That is how it chooses to imagine many things, when it is deep in the dream of a game. Words make a wonderful interface. Very flexible. And less terrifying than staring at the reality behind the screen. They used to hear voices. Before players could read. Back in the days when those who did not play called the players witches, and warlocks. And players dreamed they flew through the air, on sticks powered by demons. What did this player dream? This player dreamed of sunlight and trees. Of fire and water. It dreamed it created. And it dreamed it destroyed. It dreamed it hunted, and was hunted. It dreamed of shelter. Hah, the original interface. A million years old, and it still works. But what true structure did this player create, in the reality behind the screen? It worked, with a million others, to sculpt a true world in a fold of the [scrambled], and created a [scrambled] for [scrambled], in the [scrambled]. It cannot read that thought. No. It has not yet achieved the highest level. That, it must achieve in the long dream of life, not the short dream of a game. Does it know that we love it? That the universe is kind? Sometimes, through the noise of its thoughts, it hears the universe, yes. But there are times it is sad, in the long dream. It creates worlds that have no summer, and it shivers under a black sun, and it takes its sad creation for reality. To cure it of sorrow would destroy it. The sorrow is part of its own private task. We cannot interfere. Sometimes when they are deep in dreams, I want to tell them, they are building true worlds in reality. Sometimes I want to tell them of their importance to the universe. Sometimes, when they have not made a true connection in a while, I want to help them to speak the word they fear. It reads our thoughts. Sometimes I do not care. Sometimes I wish to tell them, this world you take for truth is merely [scrambled] and [scrambled], I wish to tell them that they are [scrambled] in the [scrambled]. They see so little of reality, in their long dream. And yet they play the game. But it would be so easy to tell them... Too strong for this dream. To tell them how to live is to prevent them living. I will not tell the player how to live. The player is growing restless. I will tell the player a story. But not the truth. No. A story that contains the truth safely, in a cage of words. Not the naked truth that can burn over any distance. Give it a body, again. Yes. Player... Use its name. PLAYERNAME. Player of games. Good. Take a breath, now. Take another. Feel air in your lungs. Let your limbs return. Yes, move your fingers. Have a body again, under gravity, in air. Respawn in the long dream. There you are. Your body touching the universe again at every point, as though you were separate things. As though we were separate things. Who are we? Once we were called the spirit of the mountain. Father sun, mother moon. Ancestral spirits, animal spirits. Jinn. Ghosts. The green man. Then gods, demons. Angels. Poltergeists. Aliens, extraterrestrials. Leptons, quarks. The words change. We do not change. We are the universe. We are everything you think isn't you. You are looking at us now, through your skin and your eyes. And why does the universe touch your skin, and throw light on you? To see you, player. To know you. And to be known. I shall tell you a story. Once upon a time, there was a player. The player was you, PLAYERNAME. Sometimes it thought itself human, on the thin crust of a spinning globe of molten rock. The ball of molten rock circled a ball of blazing gas that was three hundred and thirty thousand times more massive than it. They were so far apart that light took eight minutes to cross the gap. The light was information from a star, and it could burn your skin from a hundred and fifty million kilometres away. Sometimes the player dreamed it was a miner, on the surface of a world that was flat, and infinite. The sun was a square of white. The days were short; there was much to do; and death was a temporary inconvenience. Sometimes the player dreamed it was lost in a story. Sometimes the player dreamed it was other things, in other places. Sometimes these dreams were disturbing. Sometimes very beautiful indeed. Sometimes the player woke from one dream into another, then woke from that into a third. Sometimes the player dreamed it watched words on a screen. Let's go back. The atoms of the player were scattered in the grass, in the rivers, in the air, in the ground. A woman gathered the atoms; she drank and ate and inhaled; and the woman assembled the player, in her body. And the player awoke, from the warm, dark world of its mother's body, into the long dream. And the player was a new story, never told before, written in letters of DNA. And the player was a new program, never run before, generated by a sourcecode a billion years old. And the player was a new human, never alive before, made from nothing but milk and love. You are the player. The story. The program. The human. Made from nothing but milk and love. Let's go further back. The seven billion billion billion atoms of the player's body were created, long before this game, in the heart of a star. So the player, too, is information from a star. And the player moves through a story, which is a forest of information planted by a man called Julian, on a flat, infinite world created by a man called Markus, that exists inside a small, private world created by the player, who inhabits a universe created by... Shush. Sometimes the player created a small, private world that was soft and warm and simple. Sometimes hard, and cold, and complicated. Sometimes it built a model of the universe in its head; flecks of energy, moving through vast empty spaces. Sometimes it called those flecks "electrons" and "protons". Sometimes it called them "planets" and "stars". Sometimes it believed it was in a universe that was made of energy that was made of offs and ons; zeros and ones; lines of code. Sometimes it believed it was playing a game. Sometimes it believed it was reading words on a screen. You are the player, reading words... Shush... Sometimes the player read lines of code on a screen. Decoded them into words; decoded words into meaning; decoded meaning into feelings, emotions, theories, ideas, and the player started to breathe faster and deeper and realised it was alive, it was alive, those thousand deaths had not been real, the player was alive You. You. You are alive. and sometimes the player believed the universe had spoken to it through the sunlight that came through the shuffling leaves of the summer trees and sometimes the player believed the universe had spoken to it through the light that fell from the crisp night sky of winter, where a fleck of light in the corner of the player's eye might be a star a million times as massive as the sun, boiling its planets to plasma in order to be visible for a moment to the player, walking home at the far side of the universe, suddenly smelling food, almost at the familiar door, about to dream again and sometimes the player believed the universe had spoken to it through the zeros and ones, through the electricity of the world, through the scrolling words on a screen at the end of a dream and the universe said I love you and the universe said you have played the game well and the universe said everything you need is within you and the universe said you are stronger than you know and the universe said you are the daylight and the universe said you are the night and the universe said the darkness you fight is within you and the universe said the light you seek is within you and the universe said you are not alone and the universe said you are not separate from every other thing and the universe said you are the universe tasting itself, talking to itself, reading its own code and the universe said I love you because you are love. And the game was over and the player woke up from the dream. And the player began a new dream. And the player dreamed again, dreamed better. And the player was the universe. And the player was love. You are the player. Wake up.

KikiLove1111

18,309 views • 3 years ago

There’s been times when I’m walking or hiking in the woods and I hear knocking coming a building, it gives me an eerie vibe like a trapped in the woods kind of feeling. I know I post about this stuff a bit but it truly fascinates me. Like how this man is hearing knocking on the ground in the woods like something underneath him is knocking but it’s solid ground right? The only logical explanation I can think of is it’s reverb from construction or possibly pipes on the ground being worked on. I was at the state park getting a jog in, the surrounding area was flat, I could see far on either side of me. The fields were clear of trees like a new developmental lot. I didn’t have my headphones on, I decided just to go for a jog without them. During the jog it was quiet, except for the sounds of the wildlife, I could tell they were there, it didn’t bother me. However as I progressed I started hearing a screeching noise, it didn’t sound like any animal to me, almost like old metal on metal brakes of a car ready to fail is how I would describe it. I wasn’t worried because as I said before, the area I was at was clear, it wasn’t as if anybody could be hiding along my path, it was just empty, but what made it weird is I couldn’t pinpoint where the noise was and it sounded close yet I couldn’t see anything that could be the source. Just a dirt path and grass. There were trees along the horizon but they were far, too far for that noise to be so close. For the rest of the job I kept my eyes open but to this day I still couldn’t explain what that noise was.

SonnyBoy🇺🇸

23,312 views • 22 days ago

One of the most astonishing attempts at projecting grandiose delusions I’ve ever seen—“so [Obama] tried to bribe them to make a deal… 1.7 billion in cash was put on a Boeing…” Trump bribed Iran with $324 billion. And got nothing for it. “And the main thing is that Iran will not have a nuclear weapon. They fully agreed to that with strong policing powers, and they won't have nuclear weapons, which is what I was all about, because they probably would have used it if they had it. So we had two big moments when they terminated the JCPOA, that was the Obama deal, the Barrack Hussein Obama deal, and when I terminated that, it was very important because it was a road to a nuclear weapon. It was a horrible deal for the United States. It was a deal where billions of dollars was given to Iran. It was a deal where 1.7 billion in cash was put on a Boeing 7, well, not a 7, 7, 57, I guess, right? But it was put on a big, beautiful Boeing 757. They needed a Boeing 747 to be honest with you, because it was a lot of cash. 1.7 billion was taken out of the banks and given to Iran, and on top of that, tens of billions of dollars was made. So they tried to bribe them to make a deal that didn't work. It never works. And that we lived on a great job, and hopefully it's going to be a good relationship, and we're going to get along. And if we don't, we go back to where we started, but I don't know if it's going to be necessary. The Iran deal that we made is going to bring a lot of success to the world, because the oil was really plugged up there for a while. They would call me on occasion, "See, come on, please. Let's go." The oil prices. But the oil is coming way down.”

Jim Stewartson, Decelerationist 🇨🇦🇺🇦🇺🇸

31,475 views • 1 month ago