Chuck voted Blair for prom queen 200 times and you can’t even text me back
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.
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Perpetually Attempting to Soar
As soon as he’d hit sixty he’d hold his hand out the window,
cupping it around the wind. He’d been assured
this is exactly how a woman’s breast feels when you put
your hand around it and apply a little pressure. Now he knew,
and he loved it. Night after night, again and again, until
the weather grew cold and he had to roll the window up.
For many years afterwards he was perpetually attempting
to soar. One winter’s night, holding his wife’s breast
in his hand, he closed his eyes and wanted to weep.
He loved her, but it was the wind he imagined now.
As he grew older, he loved the word etcetera and refused
to abbreviate it. He loved sweet white butter. He often
pretended to be playing the organ. On one of his last mornings,
he noticed the shape of his face molded in the pillow.
He shook it out, but the next morning it reappeared.
Lupita Nyong’o at the 86th Annual Academy Awards