A Quote by Misha Green
When I read Matt Ruff's book, that was my first encounter with learning about sundown towns, and I was like 'What?' Like, you can't make this up. If I wrote this horror movie talking about sundown towns where you can't be black after dark in America, people be like, 'OK, we get the metaphor,' and it's like, no, that's real. It's not a metaphor.
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'District 9' was a singular anti-Apartheid metaphor, and 'Elysium' is a more general metaphor about immigration and how the First World and Third World meet. But the thing that I like the most about the metaphor is that it can be scaled to suit almost any scenario.
I would like to say that whites jumped right behind Malcolm X. They’re makin’ a book about him, it’s required readin’ in all colleges now, and they’re makin’ a movie about him, and projectin’ him as the leader and if you read his book and see the movie that’s comin’ out, it’ll make you hate Elijah Mohammed and the Muslims. Mainly, this is done to turn the black people against the real leader and I’d like to say that this is the way white people rule.
Now, that’s my boy you’re talking about, and I don’t want to get crossed up with you, Sasha. But you keep that tone and attitude about him, and we will.” – Sundown “Sorry. I forget you and Ash are weird enough to actually like him. No accounting for taste.” – Sasha
The word "metaphor" means carrying something from one place to another . . . and it is when you describe something by using a word for something that it isn't. This means that the word "metaphor" is a metaphor. I think it should be called a lie because a pig is not like a day and people people do not have skeletons in their cupboards. And when I try and make a picture of the phrase in my head it just confuses me because imagining and apple in someone's eye doesn't have anything to do with liking someone a lot and it makes you forget what the person was talking about.
Look who's calling the cauldron black." "Kettle. It’s a kettle. Get your metaphors right." "That wasn’t a metaphor. It was a, you know..." He stared off into space, blinking. "One of those things that’s symbolic of another thing. But isn’t the same thing. Just like it." "You mean a metaphor?" "No! It’s like a story...like...a proverb! That’s it." "I’m pretty sure that wasn’t a proverb. Maybe it was an analogy." "I don’t think so.
The quality of life of European cities and towns of almost any size make life in America look not just like a joke, but a sick joke, a horror movie. But I'd rather stay involved and do what I can to make this a better place than move to the south of France and enjoy the good life.
Speaking of friends…why did our new coyote buddies run from you?” – Sundown “I’m that badass.” – Sasha “Seriously.” – Sundown “O ye of little faith. You doubt my rep? My skills?” – Sasha “And your brains.” – Sundown
They [Fairy Tales] are talking about real emotions, telling true stories, through the medium of metaphor. People used to understand metaphor better than I think we do now. But these stories are so potent, they refuse to die.
I wrote an essay too, and mine started something like, "When I was asked to contribute to this book, I said, 'I could do a piece on [Larry] Kramer as a pain in the ass, but I suppose you have too many of those, as it is.'" And Sarah's began something like, "When I read about America's angriest AIDS activist, I can't believe they are talking about my sweet Uncle Larry."
They hammered on the outer gate and called, but there was at first no answer; and then to their surprise someone blew a horn, and the lights in the windows went out. A voice shouted in the dark: 'Who's that? Be off! You can't come in. Can't you read the notice: No admittance between sundown and sunrise?' 'Of course we can't read the notice in the dark,' Sam shouted back. 'And if hobbits of the Shire are to be kept out in the wet on a night like this, I'll tear down your notice when I find it.
Musically, there's a movement called the flatted fifth that's really evil-sounding. It was outlawed by the Catholic Church during the Middle Ages. That movement is what gives you a real evil sound that conjures up dark, fantastic images. It's like an audio horror movie. It personifies what a horror movie is about.
And there's so much extra material. I mean, I've certainly read as you asked about do I read reviews and stuff, like people are like none of the jokes in the trailers are like in the movie. And it's like and we have whole sequences and scenes that weren't in the movie.
I'm really into ghost towns. I've driven cross-country the past few summers, and I would stop at some ghost towns along the way. They're like a microcosm of America as a whole.
I like torture. Torture is photogenic. If you make horror movies, you always have to think what's photogenic and what's not. If you stay home with the candlelight and you read a book, Rilke, or whatever, or Sigmund Freud, it's boring. But if you watch Udo Kier in a horror film and people are hunting me and trying to kill me, and there's my love interest with big breasts and beautiful hair, and I believe in her and they kill me at the end, that's more interesting. We're talking about films here. We're not talking about writing stories.
When I re-read the Odyssey, it felt like I was reading PD James or Minette Walters - you feel that you are sharing in something that hundreds of millions of people have read with love, and I think that this is worth holding onto. It is not a matter of canonical texts or elitism, which the universities are trying to make us wary about. It is about shared language and metaphor and experience and imagery and that is all good.
There are these little towns outside of L.A. Once you get an hour and a half, two hours out, you get into these little, tiny towns that are almost like stuck in time.
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