Beautifully shot, impeccably paced, it was a clear, unrelenting look at the National Trust, its friends and enemies, and it makes you want to burn your passport and beg the Luftwaffe to have another go.
In a world of fixed future, life is an infinite corridor of rooms, one room lit at each moment, the next room dark but prepared. We walk from room to room, look into the room that is lit, the present moment, then walk on. We do not know the rooms ahead, but we know we cannot change them. We are spectators of our lives.
There is no 'the truth','a truth' - truth is not one thing, or even a system. It is an increasing complexity. the pattern of the carpet is a surface. When we look closely, or when we become weavers, we learn of the tiny multiple threads unseen in the overall pattern, the knots on the underside of the carpet
What seems to us as bitter trials are often blessings in disguise [in the future. But only if we set out to make this true and anticipate it so we look for the blessings until we find them].
In the early '90s I was floating somewhere between the Brat Pack/Andrew McCarthy/James Spader/Pretty In Pink kind of stuff and the alterna-pop look, crossed with a very distinct grunge sensibility.
After 9/11, we had to look at the world differently. After 9/11, we had to recognize that when we saw a threat, we must take it seriously before it comes to hurt us. In the old days we'd see a threat, and we could deal with it if we felt like it or not. But 9/11 changed it all.
In the beginning there was only a small amount of injustice abroad in the world, but everyone who came afterwards added their portion, always thinking it was very small and unimportant, and look where we have ended up today.