Quote of the Day postsSaturday June 07, 2014
Miss Me Yet? Part V
“That night, on 9/11, Rumsfeld came over and the others, and the president finally got back, and we had a meeting. And Rumsfeld said, 'You know, we’ve got to do Iraq,' and everyone looked at him—at least I looked at him and Powell looked at him—like, 'What the hell are you talking about?' And he said—I’ll never forget this—'There just aren’t enough targets in Afghanistan. We need to bomb something else to prove that we’re big and strong and not going to be pushed around by these kind of attacks.'
”And I made the point certainly that night, and I think Powell acknowledged it, that Iraq had nothing to do with 9/11. That didn’t seem to faze Rumsfeld in the least.
“It shouldn’t have come as a surprise. It really didn’t, because from the first weeks of the administration they were talking about Iraq. I just found it a little disgusting that they were talking about it while the bodies were still burning in the Pentagon and at the World Trade Center.”
-- Richard Clarke, National Coordinator for Security and Counter-Terrorism, from Vanity Fair's”An Oral History of the Bush Administration“
I'd heard this story before, and wondered why Errol Morris didn't bring it up in his Rumsfeld documentary, ”The Unknown Known,“ released earlier this year. By the way, compare the above attitude with this quote from the 1944 film ”Wilson."
Art as Incomplete Communication
In another excerpt from Scott Eyman's “John Wayne: The Life and Legend,” here's Ron Howard on the main lesson he learned making “The Shootist,” Wayne's last film, with Wayne:
“The only thing Duke told me about acting was something he said John Ford had taught him—not to take an emotion to its furthest extreme. Always leave the audience a percentage of the emotion to complete for themselves.”
Cf. with Norman Mailer in 1964:
Art obviously depends upon incomplete communication. A work which is altogether explicit is not art, the audience cannot respond with their own creative act of the imagination, that small leap of the faculties which leaves one an increment more exceptional than when one began.
Feel free to add your own quote on the topic below.
Why the film wasn't called 'The Straight Shootist.'
Quote of the Day
“I mention [the grousing of World War II soldiers] not just because of the day, but also because many of the indecent charlatans of our political class are making quite a meal out of e-mails that Bowe Bergdahl sent home to his parents in which he sounded disillusioned with America's mission in Afghanistan. Good god, is that where we're at now? A soldier's grousing is now a window into his 'treason,' which is presently being manufactured for domestic political consumption by a rabid exaltation of chickenhawks, and some military people who really ought to know better than to be used as cannon fodder by the ratfucking squad? I shudder to think what these mountebanks could have fashioned out of what the soldiers in the jungle who appeared in Michael Herr's 'Dispatches' said about Vietnam.
-- Charles P. Pierce, Esquire, ”The Bergdahl Chronicles: The Bitchening."
The New York Times editorial board, in this regard, is fed up with the hypocrisy of the GOP, too.
Miss Me Yet? Part IV
“Christine Todd Whitman, the E.P.A. administrator, was one of several people in the Cabinet, along with Treasury Secretary Paul O’Neill, who strongly supported a proactive position on climate change. And she was, I think, in Europe telling European governments that the U.S. position was to regulate carbon dioxide. And when she got back home, she had an interaction with the president in which she was very brusquely told that that was off the table. The turning point, essentially, was that Cheney grabbed hold of this issue and took down the whole notion of regulating CO2.”
-- Rick Piltz, senior associate, U.S. Climate Change Science Program, from Vanity Fair's ”An Oral History of the Bush Administration"
Quote of the Day
“When Gore Vidal declared in an old television debate with William F. Buckley Jr. that 5 percent of Americans had 20 percent of the income and the bottom 20 percent had 5 percent, he was raising an alarm. That observation may be the most shocking moment in 'Gore Vidal: The United States of Amnesia,' Nicholas Wrathall’s admiring documentary portrait of Vidal, who died in 2012 at 86. ... By the standards of today, when income inequality has widened exponentially and the middle class is shrinking, statistics that infuriated Vidal sound like the answer to a socialist’s prayer.”
-- Stepehen Holden in his review of “Gore Vidal: The United States of Amnesia,” in The New York Times, May 22, 2014
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