A continuación, ciertas frases que cuando las lei/escuché hicieron algo más que pasar de largo:
Haruki Murakami - Tokyo Blues (book)
[…]Y pensaba en Kizuki. <<¡Vaya, Kizuki! Al final has conseguido a Naoko, ¿eh? Al principio ella fue tuya. Quizás es allí donde ella debía ir. Pero, en este mundo imperfecto de los vivos, he hecho todo lo posible por ella. He intentado empezar una nueva vida con ella. En fin… Tú ganas. Te la cedo. Ella te ha elegido. Se ha ahorcado en lo más profundo de un bosque tan oscuro como su mente. Kizuki, hace tiempo arrastraste una parte de mí hacia el mundo de los muertos. Y ahora es Naoko quien arrastra otra parte. A veces me siento como el portero de un museo. Un museo vacío, desierto, que ya nadie visita. Y yo lo custorio exclusivamente para mí.>>
Ryan Adams - Enlgish Girls Approximately (Love is Hell Pt. 2 album)
Kiss me on the lips when my heart just laughed it off. Words may move, but there never moving fast enough. Celebrate the differences, I celebrate the songs you sing. Just three words, my love: you meant everything.
Sin City (comic)
The wind rises, electric. She’s soft and warm and almost weightless. Her perfume is a sweet promise that brings tears to my eyes. I tell her that everything will be all right. That I’ll save her from whatever she’s scared of and take her far, far away. I tell her I love her. [ silenced gunshot ] The silencer makes a whisper of the gunshot. I hold her close until she’s gone. I’ll never know what she was running from. I’ll cash her check in the morning
Skin - As long as that’s true (Fleshwounds album)
Tell me you used me to climb above our pour souls (standing) in line
Stay (movie)
Do you know the Tristan Rêveur quote about bad art? It’s “bad art is more tragically beautiful than good art ’cause it documents human failure.
Swordfish (movie)
You know what the problem with Hollywood is? They make shit. Unbelievable, unremarkable shit. Now I’m not some grungy wannabe filmmaker that’s searching for existentialism through a haze of bong smoke or something. No, it’s easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as “prose”. No, I’m talking about the lack of realism. Realism; not a pervasive element in today’s modern American cinematic vision. Take Dog Day Afternoon, for example. Arguably Pacino’s best work, short of Scarface and Godfather Part 1, of course. Masterpiece of directing, easily Lumet’s best. The cinematography, the acting, the screenplay, all top-notch. But… they didn’t push the envelope. Now what if in Dog Day, Sonny REALLY wanted to get away with it? What if - now here’s the tricky part - what if he started killing hostages right away? No mercy, no quarter. “Meet our demands or the pretty blonde in the bellbottoms gets it the back of the head.” Bam, splat! What, still no bus? Come on! How many innocent victims splattered across a window would it take to have the city reverse its policy on hostage situations? And this is 1976; there’s no CNN, there’s no CNBC, there’s no internet! Now fast forward to today, present time, same situation. How quickly would the modern media make a frenzy over this? In a matter of hours, it’d be biggest story from Boston to Budapest! Ten hostages die, twenty, thirty; bam bam, right after another, all caught in high-def, computer-enhanced, color corrected. You can practically taste the brain matter. All for what? A bus, a plane? A couple of million dollars that’s federally insured? I don’t think so. Just a thought. I mean, it’s not within the realm of conventional cinema… but what if?
The Godfather - Part II (movie)
There are many things my father taught me here in this room. He taught me: keep your friends close, but your enemies closer.
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