The Shining by Me
— Mosab Abu Toha, et al, from "Ceasefire Cento," published by Vox Populi
Childhood made everything feel like it lingered. The time it took for hot chocolate to cool down was eternal. Christmas day took weeks. The two-hour drive to my grandparents' house took us to a new world. It's all too fast now.
This post is picking up notes around Christmas, and I think it's because this is NEVER more true than Christmas. When you're a kid, an occasion takes up so much of your life that you just live in it. Now, Christmas really is just one day.
seven mimir
Zuko, being a fire bender, is the warmest so naturally, he is a pillow.
back from the “dead” to reshare this xoxo
The Year in Review: The Art of Living
This year my third book of comics was published by @abramsbooks. It’s an exploration of mindfulness, overthinking, and all the mental states in between. A big part of my creative process is locking myself in a quiet room to be alone with my thoughts, so this page is always relevant!
Vladimir Nabokov, from a letter to his wife Véra (24 March 1937)
fandom kids these days really be out here pretending like fandom wasnt invented by housewives that were super into star trek
This Dimitri is straight out of a Russian novel
his character really is more of a prince by sheer default then nearly any actual disney prince out there and you may all fight me on this - he excudes that decent slavic sadness™ centrified all the way
“People inspire you or they drain you. Pick them wisely.”
—
I answer for no one.
“You cannot control what happens to you, but you can control your attitude towards what happens to you. And in that, you will be mastering change rather than allowing it to master you.”
— (via purplebuddhaquotes)
“The one thing you can control is how you treat yourself. And that one thing can change everything.”
— (via purplebuddhaquotes)
“It’s so nice when toxic people stop talking to you. It’s like the trash took itself out.”
—
I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.
“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”
Is that like the “pillow words” that separate phrases in Japanese poetry?
“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”
Which helps explain why Miyazaki’s films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.
“The people who make the movies are scared of silence, so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. They might go up and get some popcorn.
But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions–that you never let go of those.
— Roger Ebert in conversation with Hiyao Miyazaki