list http://www.spout.com/ Recent community activity around Safe on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Safe/91028/default.aspx Title: Safe
Year: 1995
Director: Todd Haynes
Plot: Todd Haynes presents a revisionist take on the paranoia thriller with this story of a Southern California housewife who suddenly falls victim to an inexplicable, apparently incurable illness. Carol White (Julianne Moore) lives with her husband and son in suburban comfort until she collapses one day, for no apparent reason. Her condition worsens in the weeks that follow, as she suffers from coughing fits, exhaustion, and spontaneous nose bleeds, triggered by sources as disparate as car exhaust, cologne, and the sun. Failing to find any medical explanation for her maladies, her doctor refers her to a psychiatrist, who suggests that her physical ailments are psychosomatic -- a theory echoed by her callous and increasingly frustrated husband. At her wits' end, Carol withdraws to an expensive New Age retreat for sufferers of "20th century disease," where the community's guru (Peter Friedman) champions a dubious regimen of diet, climate control, introspection, and self-love. ~ Michael Hastings, All Movie Guide
Times Tagged: 14
Number of Lists: 7
Number of blog posts: 3
Number of discussion threads: 1
SpoutRating: 3
]]>Wed, 24 Jun 2009 23:50:26 GMTSafe1995Todd Haynes<a href="/players/P____93836/default.aspx" style='text-decoration:underline'>Todd Haynes</a> presents a revisionist take on the paranoia thriller with this story of a Southern California housewife who suddenly falls victim to an inexplicable, apparently incurable illness. Carol White (<a href="/players/P____50325/default.aspx" style='text-decoration:underline'>Julianne Moore</a>) lives with her husband and son in suburban comfort until she collapses one day, for no apparent reason. Her condition worsens in the weeks that follow, as she suffers from coughing fits, exhaustion, and spontaneous nose bleeds, triggered by sources as disparate as car exhaust, cologne, and the sun. Failing to find any medical explanation for her maladies, her doctor refers her to a psychiatrist, who suggests that her physical ailments are psychosomatic -- a theory echoed by her callous and increasingly frustrated husband. At her wits' end, Carol withdraws to an expensive New Age retreat for sufferers of "20th century disease," where the community's guru (Peter Friedman) champions a dubious regimen of diet, climate control, introspection, and self-love. ~ Michael Hastings, All Movie Guide14Tag Target (>10)7313http://www.spout.com/ProductImages/t129574ec80.jpghttp://www.spout.com/films/Safe/91028/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_June_22_The_Plague/625/42797/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 6/24/2009 7:50:26 PM
Body: Well Riss took my favorite. I can't really think of too many at the moment. 12 Monkeys was a plague right? Interview with the Vampire had a plague (smallpox or something a rather) that led to Brad Pitt and Tom Cruise making Kirsten Dunst into a vampire. The only thing I remember about Outbreak was the cute little monkey that was the cause of the disease. Safe was kinda sorta about a plague in a sense. Children of Men had its plague of sterility. I was surprised by how much I actually liked Blindness considering it wasn't really anything shocking or new for the genre.
]]>Wed, 24 Jun 2009 23:50:26 GMTmercurialWeekly Theme6/24/2009 7:50:26 PMWell Riss took my favorite. I can't really think of too many at the moment. 12 Monkeys was a plague right? Interview with the Vampire had a plague (smallpox or something a rather) that led to Brad Pitt and Tom Cruise making Kirsten Dunst into a vampire. The only thing I remember about Outbreak was the cute little monkey that was the cause of the disease. Safe was kinda sorta about a plague in a sense. Children of Men had its plague of sterility. I was surprised by how much I actually liked Blindness considering it wasn't really anything shocking or new for the genre. http://www.spout.com/blogs/thefilmpanelnotetaker/archive/2007/10/24/21147.aspx Post By: thefilmpanelnotetaker
Post To: thefilmpanelnotetaker Blog
Post Date: 10/24/2007 4:01:12 PM
Body: 45th New York Film FestivalHBO Directors Dialogue: Todd HaynesOctober 6, 2007Todd Haynes in New York Film Fesival's Green Room for I'm Not There. Photo Credit: C.J.ContinoSaturday at the New York Film Festival, Village Voice film critic J. Hoberman conducted an HBO Directors Dialogues with filmmaker Todd Haynes whose new film, I???m Not There, premiered at the festival a few days earlier. I was at the premiere and took notes at the Q&A, and thought it would be a good complement to take additional notes at the Directors Dialogue to get further insights from Haynes on his directing styles and choices for I???m Not There and his other bodies of work. What follows are highlights of the discussion and questions and answers from the audience.Hoberman opened by saying ???the greatest pleasure a film journalist can have is to come across a movie you never heard of from someone unknown and to have the privilege to write about it first 20 years ago.??? The film refers to was Haynes??? 1987 super 8mm movie Superstar: The Karen Carpenter Story. Hoberman called it a completely brilliant and original movie. He then went through the laundry list of Haynes??? other film including Poison (1991), Safe (1995), Velvet Goldmine (1998), Far From Heaven (2002), and finally I???m Not There (2007). Hoberman pointed out that most of these films have multiple stories and address certain pop culture text. In each case, there is a certainty of irony. He asks Haynes if these films were made with love, and what he???s a fan of.Haynes responded that he???s an intense, wild fan of movies, music, and even of Hoberman???s work, referring back to Hoberman???s original review of Superstar, a film that would never have been shown commercially. This review launched Haynes??? career. Many theatrical venues wanted to show the film.Hoberman moves the discussion over to Haynes interest in Bob Dylan.Haynes recollected his high school days. He attended Oakwood, an artsy school in Los Angeles that had a radical, mythical history founded by progressive actors in the 1950s. It was in this environment, he first encountered Dylan???s music. After graduating in 1979, he moved to the East Coast for college at Brown University, where he studied semiotics, and became interested in glam and punk rock. It was not till the end of his 30s (he had begun his film career already) when he got back into Dylan. He finished making Velvet Goldmine and took a few years off. Most of his friends were starting their lives already, having families. He didn???t have any of those things in his life. Something was missing. He wanted to enrich himself. Since he was a creative person, he had the opportunity to externalize his troubles, and was very grateful for it. At the time, he was interested in 1950s melodramas (ala Douglas Sirk) and wanted to work again with Julianne Moore (who he worked previously with on Safe).At the end of the 1990s, Haynes drove across country to Portland, Oregon, to live with his sister. He listened to tapes of Dylan in the car. Half way there, he bought some more folk music to listen to . When he got to Portland, he read a bunch of Dylan biographies. It became inevitable that his obsession would result in making something creative.Hoberman mentions that Haynes started writing the screenplay for I???m Not There in 2000. During this time, Dylan published an anthology, ???s documentary, No Direction Home: Bob Dylan came out, and Twyla Tharp???s ballet based on Dylan???s songs, The Times They Are A-Changin???, played on Broadway. But Haynes focuses most of the film on Dylan???s life in the 1960s up until the 70s, the end of the Vietnam War.Haynes said he couldn???t commit to Dylan???s entire life. He wanted to focus on the core elements and roots of his origins in the 60s era. That was enough. Dylan ultimately created his own escape at the end of the 60s until he had his motorcycle accident in 1966. Then he went to Woodstock and raised a family. In many ways, he never really came back. Dylan???s access and visibility have been under his own terms ever since. That???s what the whole last story with Richard Gere???s Dylan character, Billy, is all about. Billy is the most metaphorical character.Given how protective Dylan is, Hoberman asked Haynes how he got permission to use Dylan???s music in the film and what Dylan thought of the film.Haynes said he???s not sure Dylan has seen it yet. He sent the DVD to Dylan???s son Jesse, because he knew that Dylan didn???t want to come to any public screenings. Before even making the film, Haynes called up producer Christine Vachon. He was very bashful about it, because he knew it would be hard to get Dylan???s permission to use the songs. There was no way he could make the movie without the music. Prior to making the film, Haynes met with Jesse, who is also a filmmaker, in Los Angeles. It???s so hard to be the kid of a famous person. One thing Dylan has been able to do all along is keep his family protected.At that point in the script (which was then titled I???m Not There: Suppositions On a Film Concerning Dylan), Haynes had seven Dylan characters, one of which eventually got absorbed into the Woody character, making the final amount six. Dylan had been opposed to every dramatic version of his life before, until that moment. If there was ever something Dylan wanted done about his life, it would have to be something this open and unconventional.Audience Q&AQ: Do you see parallels between I???m Not There and Velvet Goldmine? Did you get David Bowie???s blessing for Velvet Goldmine?TH: Artists are always changing themselves. The first person you might think of is David Bowie. I wanted the rights to Bowie???s songs, but he wasn???t interested in having his story on film. Bowie???s version of self-transformation was about dressing up and applying make up. Androgyny. I???m Not There and Velvet Goldmine are very different films. Different music genres and traditions. Velvet Goldmine is a British story, whereas I???m Not There is American story.Q: Why do you choose Cate Blanchett for the role of Jude in I???m Not There?TH: I was obsessed about different actresses in their age range. I looked at pictures of actresses and put them in Dylan???s hair. Saw Cate on stage in Heda Gabler in Brooklyn. Saw her scale and proportions. She???s beautiful. On a physical level, I was stunned by her proportions.Q: How do you work with such a large body of music?TH: It was an embarrassment of riches. The selection of cinematic references started in the script stage. Music would be telling the story, built into the film???s concept. For example, the song ???Ballad of a Thin Man??? had such an important historical meaning. It expressed the inside/outside dichotomy. Another song, ???Goin??? to Acapulco,??? was a personal favorite. It???s absurdly melodramatic.Q: You started the script in 2000 with seven Dylan characters. What are other changes were made?TH: I did stop everything on the script when going into production on Far From Heaven in 2001, which occupied me completely till about 2003, but at that point, I had gotten the rights from Dylan to use the music. Then started researching and starting over from scratch. The process of being a pure fan was changed. The missing seventh character was called Charlie, a Chaplin-esque figure.Q: Did you study of semiotics at Brown influence your filmmaking?TH: It has. The semiotics courses are now part of the modern culture and media departments. Semiotics studies post-culturalism. It???s a post-humanist look at pop culture and media. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you.
]]>Wed, 24 Oct 2007 20:01:12 GMTthefilmpanelnotetakerthefilmpanelnotetaker Blog10/24/2007 4:01:12 PM45th New York Film FestivalHBO Directors Dialogue: Todd HaynesOctober 6, 2007Todd Haynes in New York Film Fesival's Green Room for I'm Not There. Photo Credit: C.J.ContinoSaturday at the New York Film Festival, Village Voice film critic J. Hoberman conducted an HBO Directors Dialogues with filmmaker Todd Haynes whose new film, I???m Not There, premiered at the festival a few days earlier. I was at the premiere and took notes at the Q&A, and thought it would be a good complement to take additional notes at the Directors Dialogue to get further insights from Haynes on his directing styles and choices for I???m Not There and his other bodies of work. What follows are highlights of the discussion and questions and answers from the audience.Hoberman opened by saying ???the greatest pleasure a film journalist can have is to come across a movie you never heard of from someone unknown and to have the privilege to write about it first 20 years ago.??? The film refers to was Haynes??? 1987 super 8mm movie Superstar: The Karen Carpenter Story. Hoberman called it a completely brilliant and original movie. He then went through the laundry list of Haynes??? other film including Poison (1991), Safe (1995), Velvet Goldmine (1998), Far From Heaven (2002), and finally I???m Not There (2007). Hoberman pointed out that most of these films have multiple stories and address certain pop culture text. In each case, there is a certainty of irony. He asks Haynes if these films were made with love, and what he???s a fan of.Haynes responded that he???s an intense, wild fan of movies, music, and even of Hoberman???s work, referring back to Hoberman???s original review of Superstar, a film that would never have been shown commercially. This review launched Haynes??? career. Many theatrical venues wanted to show the film.Hoberman moves the discussion over to Haynes interest in Bob Dylan.Haynes recollected his high school days. He attended Oakwood, an artsy school in Los Angeles that had a radical, mythical history founded by progressive actors in the 1950s. It was in this environment, he first encountered Dylan???s music. After graduating in 1979, he moved to the East Coast for college at Brown University, where he studied semiotics, and became interested in glam and punk rock. It was not till the end of his 30s (he had begun his film career already) when he got back into Dylan. He finished making Velvet Goldmine and took a few years off. Most of his friends were starting their lives already, having families. He didn???t have any of those things in his life. Something was missing. He wanted to enrich himself. Since he was a creative person, he had the opportunity to externalize his troubles, and was very grateful for it. At the time, he was interested in 1950s melodramas (ala Douglas Sirk) and wanted to work again with Julianne Moore (who he worked previously with on Safe).At the end of the 1990s, Haynes drove across country to Portland, Oregon, to live with his sister. He listened to tapes of Dylan in the car. Half way there, he bought some more folk music to listen to . When he got to Portland, he read a bunch of Dylan biographies. It became inevitable that his obsession would result in making something creative.Hoberman mentions that Haynes started writing the screenplay for I???m Not There in 2000. During this time, Dylan published an anthology, ???s documentary, No Direction Home: Bob Dylan came out, and Twyla Tharp???s ballet based on Dylan???s songs, The Times They Are A-Changin???, played on Broadway. But Haynes focuses most of the film on Dylan???s life in the 1960s up until the 70s, the end of the Vietnam War.Haynes said he couldn???t commit to Dylan???s entire life. He wanted to focus on the core elements and roots of his origins in the 60s era. That was enough. Dylan ultimately created his own escape at the end of the 60s until he had his motorcycle accident in 1966. Then he went to Woodstock and raised a family. In many ways, he never really came back. Dylan???s access and visibility have been under his own terms ever since. That???s what the whole last story with Richard Gere???s Dylan character, Billy, is all about. Billy is the most metaphorical character.Given how protective Dylan is, Hoberman asked Haynes how he got permission to use Dylan???s music in the film and what Dylan thought of the film.Haynes said he???s not sure Dylan has seen it yet. He sent the DVD to Dylan???s son Jesse, because he knew that Dylan didn???t want to come to any public screenings. Before even making the film, Haynes called up producer Christine Vachon. He was very bashful about it, because he knew it would be hard to get Dylan???s permission to use the songs. There was no way he could make the movie without the music. Prior to making the film, Haynes met with Jesse, who is also a filmmaker, in Los Angeles. It???s so hard to be the kid of a famous person. One thing Dylan has been able to do all along is keep his family protected.At that point in the script (which was then titled I???m Not There: Suppositions On a Film Concerning Dylan), Haynes had seven Dylan characters, one of which eventually got absorbed into the Woody character, making the final amount six. Dylan had been opposed to every dramatic version of his life before, until that moment. If there was ever something Dylan wanted done about his life, it would have to be something this open and unconventional.Audience Q&AQ: Do you see parallels between I???m Not There and Velvet Goldmine? Did you get David Bowie???s blessing for Velvet Goldmine?TH: Artists are always changing themselves. The first person you might think of is David Bowie. I wanted the rights to Bowie???s songs, but he wasn???t interested in having his story on film. Bowie???s version of self-transformation was about dressing up and applying make up. Androgyny. I???m Not There and Velvet Goldmine are very different films. Different music genres and traditions. Velvet Goldmine is a British story, whereas I???m Not There is American story.Q: Why do you choose Cate Blanchett for the role of Jude in I???m Not There?TH: I was obsessed about different actresses in their age range. I looked at pictures of actresses and put them in Dylan???s hair. Saw Cate on stage in Heda Gabler in Brooklyn. Saw her scale and proportions. She???s beautiful. On a physical level, I was stunned by her proportions.Q: How do you work with such a large body of music?TH: It was an embarrassment of riches. The selection of cinematic references started in the script stage. Music would be telling the story, built into the film???s concept. For example, the song ???Ballad of a Thin Man??? had such an important historical meaning. It expressed the inside/outside dichotomy. Another song, ???Goin??? to Acapulco,??? was a personal favorite. It???s absurdly melodramatic.Q: You started the script in 2000 with seven Dylan characters. What are other changes were made?TH: I did stop everything on the script when going into production on Far From Heaven in 2001, which occupied me completely till about 2003, but at that point, I had gotten the rights from Dylan to use the music. Then started researching and starting over from scratch. The process of being a pure fan was changed. The missing seventh character was called Charlie, a Chaplin-esque figure.Q: Did you study of semiotics at Brown influence your filmmaking?TH: It has. The semiotics courses are now part of the modern culture and media departments. Semiotics studies post-culturalism. It???s a post-humanist look at pop culture and media. Originally posted on:The Film Panel Notetaker - Miss a panel discussion? Don't worry! We took notes for you. http://www.spout.com/blogs/halfangelangeline/archive/2007/2/26/5781.aspx Post By: HalfAngelAngeline
Post To: HalfAngelAngeline Blog
Post Date: 2/26/2007 2:32:16 AM
Body: A continous yawn is the best thing that ever came from watching this drivel. When the most action packed moment is Julianne Moore coughing pathetically, buckle up, you know you're ready for a bumpy ride-Todd Hayne's style. I've gotten a more riveting performance from a glass of lukewarm milk.
]]>Mon, 26 Feb 2007 07:32:16 GMTHalfAngelAngelineHalfAngelAngeline Blog2/26/2007 2:32:16 AMA continous yawn is the best thing that ever came from watching this drivel. When the most action packed moment is Julianne Moore coughing pathetically, buckle up, you know you&#39;re ready for a bumpy ride-Todd Hayne&#39;s style. I&#39;ve gotten a more riveting performance from a glass of lukewarm milk. http://www.spout.com/blogs/puhnner/archive/2007/2/7/5298.aspx Post By: Puhnner
Post To: Puhnner Blog
Post Date: 2/7/2007 10:34:00 AM
Body: Don’t count on the All Movie Guide to give you any hope explaining the film or this post either for that matter. I appreciate the films of David Cronenberg. I enjoy the meditation on his subject matter, his sense of the science/society bond and the sense in the films of attendant, unexpected consequences run mad and life annihilating. I found this film, while exploring similar man-made environmental issues much quieter, not as physically sickening ( but enough so nevertheless ), the cinematography much better (very interesting use of long-shots in the early part ), but these differences with/from Cronenberg's films did nothing to lessen the similar dread I felt throughout this film ( and all of Cronenberg’s ) and at the film’s conclusion. The beginning of the end came for me, a little after the film began, the return home from a forced convivial dinner with ‘friends’, a quick hop into the sack, and on to the scene of Carol's husband (I prefer to see him hanging, supported on his tippy-toes, with The Terminator 2’s Robert Patrick morphed into Jenette Goldstein’s pokey sword arm thing through the last grasped and gulped milk container and out the rear of his neck ) pumping away on her, she looking off into space, completely disassociated, gone, not having or seeming to want any part of it...but from that moment on it seems, she becomes very associated with her life, as it unravels to that horrible sequestered end, with her looking into the mirror, an emaciated, bloated, ghost, repeating a mantra of ‘love for herself’, because nothing else works for her malaise. Is Haynes toying with our beliefs???; suggesting that Carol just might be imagining her sickness (after all, the rest of us are just fine, what the hell is with her??? Is she faking??? She has to be, because we cannot feel ‘it’. ), letting her and her sickness, after the doctor's reassurances, become a fringe/New Age belief/concern one moment, then moving in closer and letting the reality of hers and those of the other ‘unfortunates' daily existences make it a truth and the truth for Carol and finally for all of us??? He paints the woe, the physical destruction of her health and then, I think, the woe of the world ( the Gaia ) with the spewing blue/black smoke from the truck ahead of her while she drives somewhere and then she must stop to choke it all out or in, and his use of sights and sounds. I really enjoyed the sounds, the ambient background of the machinery of civilization, effective like in David Lynch's Eraserhead, Blue Velvet. Here though, I think, the drone you hear in the background, is tolling for Carol and for us all, and it seems our death knell, our Requiem Mass. Perhaps, it seems, we just do not know it yet, but Carol certainly 'do'. She and the others are at the far end of the bell curve, the most highly sensitive range to the environmental poison; (they are the canary in the mine for us all ) In the background swirling above and around: Jets flying above spewing out contrails (Here is an interesting post from the Rigorous Intuition Site:http://rigorousintuition.blogspot.com/2006/05/manifestations_13.htmlReferencing Morgellons Disease; that some have linked to Jet Contrails; note the reference to ‘Delusional Parasitosis’ in the post and how this fits the simple, unknowing view of Carol ). The traffic, the dust swirling, the destructive pollution everywhere, all inescapable (except, secured inside your own private clean room???), the clad and protected figure walking about the grounds of her Treatment Center ( by the way, the treatment center, although it was in 'Albuquerque' certainly the shots were not and it is too bad, real scenery here would have been more effective evocative to show the isolation and hardness ). This seems like a real disaster movie to me, but at the moment, only to Carol and the others who exist like her, the hypersensitive, but not just yet, for the rest of us. To experience her nightmare, we just have to wait to get the appropriate dose of our own poison. Right now, our tolerance may be only just a little bit higher than hers ( but how much higher??? Are we Safe? ). We can ask ourselves how long do we have to wait to before we all become Carol, and how long before we get on with changing, correcting, and eliminating this mess for us all and those who will exist in the future.
]]>Wed, 07 Feb 2007 15:34:00 GMTPuhnnerPuhnner Blog2/7/2007 10:34:00 AMDon&rsquo;t count on the All Movie Guide to give you any hope explaining the film or this post either for that matter. I appreciate the films of David Cronenberg. I enjoy the meditation on his subject matter, his sense of the science/society bond and the sense in the films of attendant, unexpected consequences run mad and life annihilating. I found this film, while exploring similar man-made environmental issues much quieter, not as physically sickening ( but enough so nevertheless ), the cinematography much better (very interesting use of long-shots in the early part ), but these differences with/from Cronenberg&#39;s films did nothing to lessen the similar dread I felt throughout this film ( and all of Cronenberg&rsquo;s ) and at the film&rsquo;s conclusion. The beginning of the end came for me, a little after the film began, the return home from a forced convivial dinner with &lsquo;friends&rsquo;, a quick hop into the sack, and on to the scene of Carol&#39;s husband (I prefer to see him hanging, supported on his tippy-toes, with The Terminator 2&rsquo;s Robert Patrick morphed into Jenette Goldstein&rsquo;s pokey sword arm thing through the last grasped and gulped milk container and out the rear of his neck ) pumping away on her, she looking off into space, completely disassociated, gone, not having or seeming to want any part of it...but from that moment on it seems, she becomes very associated with her life, as it unravels to that horrible sequestered end, with her looking into the mirror, an emaciated, bloated, ghost, repeating a mantra of &lsquo;love for herself&rsquo;, because nothing else works for her malaise. Is Haynes toying with our beliefs???; suggesting that Carol just might be imagining her sickness (after all, the rest of us are just fine, what the hell is with her??? Is she faking??? She has to be, because we cannot feel &lsquo;it&rsquo;. ), letting her and her sickness, after the doctor&#39;s reassurances, become a fringe/New Age belief/concern one moment, then moving in closer and letting the reality of hers and those of the other &lsquo;unfortunates&#39; daily existences make it a truth and the truth for Carol and finally for all of us??? He paints the woe, the physical destruction of her health and then, I think, the woe of the world ( the Gaia ) with the spewing blue/black smoke from the truck ahead of her while she drives somewhere and then she must stop to choke it all out or in, and his use of sights and sounds. I really enjoyed the sounds, the ambient background of the machinery of civilization, effective like in David Lynch&#39;s Eraserhead, Blue Velvet. Here though, I think, the drone you hear in the background, is tolling for Carol and for us all, and it seems our death knell, our Requiem Mass. Perhaps, it seems, we just do not know it yet, but Carol certainly &#39;do&#39;. She and the others are at the far end of the bell curve, the most highly sensitive range to the environmental poison; (they are the canary in the mine for us all ) In the background swirling above and around: Jets flying above spewing out contrails (Here is an interesting post from the Rigorous Intuition Site:http://rigorousintuition.blogspot.com/2006/05/manifestations_13.htmlReferencing Morgellons Disease; that some have linked to Jet Contrails; note the reference to &lsquo;Delusional Parasitosis&rsquo; in the post and how this fits the simple, unknowing view of Carol ). The traffic, the dust swirling, the destructive pollution everywhere, all inescapable (except, secured inside your own private clean room???), the clad and protected figure walking about the grounds of her Treatment Center ( by the way, the treatment center, although it was in &#39;Albuquerque&#39; certainly the shots were not and it is too bad, real scenery here would have been more effective evocative to show the isolation and hardness ). This seems like a real disaster movie to me, but at the moment, only to Carol and the others who exist like her, the hypersensitive, but not just yet, for the rest of us. To experience her nightmare, we just have to wait to get the appropriate dose of our own poison. Right now, our tolerance may be only just a little bit higher than hers ( but how much higher??? Are we Safe? ). We can ask ourselves how long do we have to wait to before we all become Carol, and how long before we get on with changing, correcting, and eliminating this mess for us all and those who will exist in the future. http://www.spout.com/members/0/tags/brilliant/MemberTagFilms.aspxbrilliant
Number of films tagged: 179

Number of people who tagged: 137

Number of times used: 285

]]>Tue, 03 Nov 2009 17:28:43 GMT179137285Tag http://www.spout.com/members/0/tags/psychological/MemberTagFilms.aspxpsychological
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]]>Fri, 21 Aug 2009 20:37:13 GMT484174Tag http://www.spout.com/members/0/tags/fear/MemberTagFilms.aspxfear
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]]>Tue, 03 Nov 2009 17:28:42 GMT4613190Tag http://www.spout.com/members/0/tags/confusion/MemberTagFilms.aspxconfusion
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]]>Wed, 11 Nov 2009 20:51:57 GMT25882070Tag http://www.spout.com/members/0/tags/suburbs/MemberTagFilms.aspxsuburbs
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]]>Wed, 29 Apr 2009 13:03:11 GMT2241827Tag http://www.spout.com/members/0/tags/disease/MemberTagFilms.aspxdisease
Number of films tagged: 630

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]]>Mon, 03 Aug 2009 18:39:54 GMT6301426Tag http://www.spout.com/members/0/tags/husbandandwife/MemberTagFilms.aspxhusbandandwife
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]]>Thu, 09 Jul 2009 13:13:22 GMT7671023Tag http://www.spout.com/members/0/tags/environment/MemberTagFilms.aspxenvironment
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]]>Sun, 20 Dec 2009 01:16:34 GMT16816Tag http://www.spout.com/members/0/tags/sickness/MemberTagFilms.aspxsickness
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]]>Sat, 11 Jul 2009 05:50:02 GMT777Tag http://www.spout.com/members/0/tags/pollution/MemberTagFilms.aspxpollution
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]]>Tue, 28 Apr 2009 13:07:10 GMT12955Tag http://www.spout.com/members/0/tags/yuppies/MemberTagFilms.aspxyuppies
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]]>Thu, 12 Feb 2009 22:34:14 GMT8257Tag http://www.spout.com/members/0/tags/retreat/MemberTagFilms.aspxretreat
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]]>Thu, 22 May 2008 04:42:40 GMT333Tag http://www.spout.com/members/0/tags/Self-loathing/MemberTagFilms.aspxSelf-loathing
Number of films tagged: 3

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Number of times used: 3

]]>Tue, 06 Oct 2009 03:08:42 GMT333Tag http://www.spout.com/members/0/tags/psychosomatic/MemberTagFilms.aspxpsychosomatic
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]]>Sat, 24 May 2008 23:05:11 GMT712Tag