"You cost me a good character for my book. But thanks for saving the author’s ass."

In Munsterbusch, every room in every building was contested. As we were cleaning up the town, a solitary sniper opened fire from the upstairs window of a large private home. I don’t know what the hell I was thinking about at the time, but I didn’t take cover fast enough. One of those Nazi bullets missed my ear by an inch. […] One of our sharpshooters instantly fired and brought down the sniper on his first shot. We ran into the house and up the stairs, only to find a voluptuous woman lying on the floor, buck naked, her hand still on her rifle. She was wet from the bath we’d interrupted. Blood was pouring out of the bullet hole in her chest, and scathing curses came from the delicate lips on her beautiful mouth. She died with hate in her eyes for the American invaders of the Fatherland.

'We should never have shot a girl. It's downright un-American,' said a young soldier, his voice trembling.

'It's her or you,' said our sergeant. 'Take your pick.' Then, turning to me, he barked: 'You were daydreaming, Fuller. She almost got you.'

I was furious with myself because I’d been so unprofessional. I was even madder at our sharpshooter. Why couldn’t he have just wounded the sex goddess? That way we could have interrogated her. I wanted to know why such a beautiful gal wanted to die for Hitler.

'You cost me a good character for my book,' I said to the marksman. 'But thanks for saving the author's ass.'

Samuel Fuller, A Third Face

I decided to fix my typewriter. Then, I discovered I didn’t need to. Then, I decided to type something. This was the first thing I thought of. I decided to fix my typewriter. Then, I discovered I didn’t need to. Then, I decided to type something. This was the first thing I thought of.

I decided to fix my typewriter. Then, I discovered I didn’t need to. Then, I decided to type something. This was the first thing I thought of.


“[F]acts are a very inferior form of fiction.”

— Virginia Woolf, “How Should One Read a Book?”, The Second Common Reader (edited by Andrew McNeillie)

“And that is how corporate personhood became enshrined in American law.
Because a clerk put it in a caption, which was then treated like a precedent, because the money power was everywhere in the government in those days. Jack Beatty writes, in no little amazement:
Why did the chief justice issue his dictum? Why did he leave it up to Davis to include it in the headnotes? After Waite told him that the Court ‘avoided’ the issue of corporate personhood, why did Davis include it? Why, indeed, did he begin his head-note with it? The opinion made plain that the Court did not decide the corporate personality issue and the subsidiary equal protection issue.
And it just sat there in the law like undigested beef for more than a century. Hugo Black took a whack at it in 1938, and so did William O. Douglas in 1949. But there it stayed, a baroque and ludicrous concept, until the current Supreme Court activated it and turned it loose on our politics.”

"I’ve gone to credit consultants (one of them actually said ‘Well, you could move to Mexico but, they’d probably find you.’) I can’t afford a lawyer or an accountant (I have a job, I’m WAY too far over the poverty line to get state help )… and honestly, what pro-bono lawyer wants to take on a giant student loan company? Come on." (via Obama’s Student Loan Plan Guide)

“The taxpayers are putting up the money and absorbing the losses, but the shareholders are making out like bandits. Bloomberg recently reported that in fiscal year 2009, the University of Phoenix reaped nearly $3.8 billion in revenue, and 86% of it came from the U.S. Department of Education.”

The first thing Jean-Luc Godard does is light up a cigar. The nervous-looking event organizer jumps on stage and announces that – because of strict non-smoking enforcement in all of France – Mr. Godard will be the only one allowed to smoke. Because he’s Jean-Luc Godard. The room breaks up in collective laughter. There is another equally amusing announcement: Mr. Godard will be on stage for as long as people wish. For as long as there will be questions for him. No limits. (via In the Presence of Jean-Luc Godard (part 1) | Woman with a Movie Camera)

Real Equality At the end of the discussion, after the moderator has announced that the evening has concluded, Godard takes the microphone again and makes one final statement. He talks about a scene that he wanted to put in Film Socialisme, but eventually left out. He wanted the little boy to say, “Why do ‘equality’ and ‘shit’ rhyme?” But this would have gone too far, he thought. Too bad. Godard goes on to explain, “Whether you are Nicolas Sarkozy or Madame Bettencourt, rich or poor, there is one unique moment in people’s lives that serves as a great equalizer. It’s not when we talk or hear or eat or love. It’s when we have a bowel movement. It’s the moment when we are all sitting on a throne. Equality is right then and there. And we find something that is tragedy and democracy. Real equality. But if that’s the only place where it happens, it’s quite tragic.” (via In the Presence of Jean-Luc Godard (part 2) | Woman with a Movie Camera)