Saturday 23 June 2012
TOM PETTY - WALLS
Friday 22 June 2012
You've Got One Fine Sleepless Decade: A Celebration of the 90's Rom-Com
1989 saw the release of 'WHEN HARRY MET SALLY', 'PRETTY WOMAN' and 'SAY ANYTHING'. It could be argued that none of the romantic comedies of the proceeding ten years bettered those. That being said, I have a huge affection for the rom-com's of the 90's. They had a huge impact on my love for cinema and storytelling. The criticism of the genre is that it's predictable and always stays the same. This is a concept which I would like to gently challenge.
I don't rank films based on their complexity or originality. I am more interested in how much I relate to them. This is probably why I have always been interested in the romantic comedies. Within the confines of an often predictable genre, there's the opportunity for fun, randomness, and big laughs, with the occasional life-lesson thrown in.
'NEVER BEEN KISSED' was released in 1999; and was one of the final films of its kind. The typical yet enjoyable rom-coms that had come in the previous few years, such as 'YOU'VE GOT MAIL' and 'ONE FINE DAY' were being replaced by edgier material such as 'CHASING AMY' and 'AMERICAN PIE'. While traditionalists would perhaps bemoan the different style of material, it was undoubtedly necessary. 'NEVER BEEN KISSED' aside, the other romantic offerings of that year were the likes of the weak 'FORCES OF NATURE' and the atrocious 'THE BACHELOR'.
In the U.K, one screenwriter was becoming the definitive romantic voice of his generation. 'FOUR WEDDINGS & A FUNERAL' and 'NOTTING HILL' are two of the most watched and loved romantic comedies of all time, and with good reason. When people dislike a genre, it's usually because they know what to expect. The rom-com, at its very worst; is cliche-filled and predictable. You can't relate to the characters because you're screaming at the screen, "this is too obvious!" or "that would never happen!" That's why Richard Curtis' arrival on the scene was great. The rom-com now had something it has seldom had in modern times; a great writer. When I think of his films, I tend to remember them as being cheesy and romantic. But when you sit down and watch them, you realise the most important thing about them is that they're HILARIOUS. Hugh Grant was one of the most important things to happen to the genre in this period, because he was someone we could relate to. His fumbling nature was human, we could connect.
If there are three films that typify the 90's rom-com, they would be 'ONE FINE DAY', 'YOU'VE GOT MAIL' and 'AS GOOD AS IT GETS'. They are not necessarily the best, and certainly not the coolest, but that's never the job of the rom-com. Films that got greater critical acclaim, such as 'JERRY MAGUIRE' and 'BEFORE SUNRISE' are deserving in their own right, but don't sit as neatly into the rom-com box as the aforementioned flicks.
What made 'ONE FINE DAY' so appealing was the charisma of its leads. Michelle Pfeiffer and George Clooney are two of the top actors in the industry. Pfeiffer was at the peak of her career - but Clooney was still proving himself. He had the popularity from 'E.R.' but this was four years before 'O BROTHER, WHERE ART THOU?' -- he was still finding his way up the ladder and the film proved a good platform for his distinct talent. Pfeiffer and Clooney were able to find that rare and elusive thing: chemistry. Remarkable, considering that most of their screen-time was apart.
A more obvious example of capitalising on star-power was Nora Ephron's two films 'SLEEPLESS IN SEATTLE' and 'YOU'VE GOT MAIL'. Tom Hanks and Meg Ryan, together; were box-office gold. 'SLEEPLESS IN SEATTLE' resonated with audiences the world over, and still does to this day. Why? It's hard to say. That's the thing about romantic comedies, some of them just hit. It'd be naive to attribute it solely to the writing, or the strength of the actors. Romantic Comedy is about dealing with matters of the heart. Just like in life --- most of the time these matters will be struck down as being cheesy or ridiculous-- but occasionally, if we're open enough, they get through to us. 'SLEEPLESS IN SEATTLE' is one of the most viewed films on television of all time. The formula was repeated again four years later with 'YOU'VE GOT MAIL', one of the first films to deal with finding love over the internet. The film is a personal favourite of mine. Is it one of the greatest films of all time? Of course not. But for many people who love rom-coms, it stands tall.
As I'm writing about all of these films, I keep thinking about Woody Allen. It's impossible to write about this genre without referring to him. He's not often referred to as being a 'rom com' guy, but I don't think there'd be a Nora Ephron without him. It's interesting to look at what Woody Allen was doing during this time - especially as he wrote and directed one of the funniest and most underrated rom-coms of the decade, 'EVERYONE SAYS I LOVE YOU'. The film was a musical, with a fantastic cast which included Alan Alda, Goldie Hawn, Drew Barrymore and Edward Norton. It's a hilarious and very warm film; probably the sweetest motion picture that Mr Allen has ever made. If you are a fan of this genre, you have to see it. And Woody's scenes with Julia Roberts are comedic gold.
One of the biggest challenges that constantly faces the genre, is that filmmakers and even actors rarely take it seriously. They see it as a passage they need to get through on the way to more meaningful subject matters. I always find this disappointing because these are the films that people carry with them the most. When people remember Jimmy Stewart, they don't think about the Westerns, they think about 'IT'S A WONDERFUL LIFE and 'THE SHOP AROUND THE CORNER'. The same for Jack Lemmon, we don't think about 'GLENGARRY GLEN ROSS', we remember 'THE APARTMENT'. That's why James L. Brooks is so refreshing. Not only is he one of the all-time great film directors, but he is a master of the rom-com genre. His influence, especially in the ten years I am focusing on, deserves much credit. Not only did he direct 'AS GOOD AS IT GETS', he also produced 'JERRY MAGUIRE' (as well as 'SAY ANYTHING in 1989'). 'AS GOOD AS IT GETS' was able to cross over from being seen merely as a 'rom-com' to something more palatable to cinematic audiences due to the expertly written and performed character of Melvin Udall, played by Jack Nicholson in one of the best performances of his career. That was matched by Helen Hunt, who was spellbinding as the troubled waitress and mother, Carol Connelly.
It's also worth noting the hugely watchable film 'THE AMERICAN PRESIDENT', directed by 'WHEN HARRY MET SALLY' helmer Rob Reiner. The film didn't suit everyone, but it's one of my favourite films. It was penned by the great Aaron Sorkin --- and carries all the seeds of his later TV masterpiece, 'THE WEST WING'.
By the end of the 90's, the romantic comedy genre had gone through many highs and lows. Tom Hanks and Meg Ryan starred together in two great romantic comedies, both directed by Nora Ephron. And Richard Curtis' unique writing style gave us Hugh Grant and helped hugely reinvigorate the British film industry. It was also a great time for independent cinema. After his breakthrough movies 'CLERKS' and 'MALLRATS', 'CHASING AMY' was an iconic Kevin Smith film which completely ripped apart everything we expect from a rom-com and gave it a fresh new angle. Just a year before that, Richard Linklater released the sublime 'BEFORE SUNRISE', which stripped away all of the typical conflicts that transpire in the genre and instead had two characters walking around a city talking and falling in love. It was refreshing and heartening to see- and is one of the best films of the 90's, of any genre.
For me, the last solid rom-com of the 90's was 'NEVER BEEN KISSED'. And I'm not saying it's necessarily a great film, but it stuck to the formula and was surprisingly well-crafted. Drew Barrymore's character, Josie Geller, is a reporter who is sent back to high school as an undercover reporter. She falls back into her old habits of being studious and a hard-worker, and therefore, a bullied geek. Her superiors demand that she become popular, so she can get a real scoop. She overcomes her own limitations and becomes exactly that, popular. But of course, that isn't what she needs --- we have to wait until the end of the movie when she finally goes back to being herself, the studious geek, but with more awareness. Now she can see the popular and good looking people for what they are. She finds herself and writes an honest and moving article in a way she has never done before. And as a result, she gets the guy.
The film nailed the formula perfectly. But sadly, the formula was getting tired -- and the rom-com was ready for a change. 'AMERICAN PIE' took the gross-out route. And although many people just see it as the dick-in-the-pie film, it actually carries within it a lot of heartfelt, romantic moments. Meanwhile, 1999 also saw the release of the cult-hit '10 THINGS I HATE ABOUT YOU'. Although a re-imagining of old ideas and concepts, it's surprisingly fresh, open, and honest; in a way that would come to define the comedies of the following decade. But the optimism and old-fashioned feel-good nature of 'ONE FINE DAY' and 'SLEEPLESS IN SEATTLE' was on its way out.
My Top 8 ADVENTURELAND Moments
8. SATIN LIVES.
James has just started working at 'Adventureland'. This probably isn't a stand out scene for many people -- I mean, not a lot happens, it's just a bunch of young people hanging around outside after work -- but it really resonates with me. Reminds me of being younger and working shitty jobs; and the only thing that makes it bearable is hanging around outside after work and laughing and talking. It's little moments like this which make it a special movie.
Also the subtle way that Em & James connect in this scene -- it's so real!
7. LISA P IS BACK & "Tops".
Maybe it's the music. The Rolling Stones - Tops, one of my favourite songs. Don't you just LOVE that song!? And Lisa P comes around the corner -- that's another thing that makes the crappy job bearable, the hot girls! Without them how would you survive? And again; it's dumb-subtle things that make me love this movie. Like in this scene; there's just something pathetic and lonely about the characters. They're in their lame 'Games Games Games' t-shirts, working jobs they hate, watching their youth passing by.
6. PALE BLUE EYES.
They're listening to James' 'bummer songs mix tape'; and the track is 'Pale Blue Eyes'; they look miserable as hell! But what a moment. James is looking at Em, trying to figure her out. That's all you ever do when you're that age; look at people and try figure them out. It's clear that Em is going through something. James is in love, no denying it. "Can we go somewhere?" he asks, "yeah," she responds. So they park up under the bridge and get out of the car.
James has the tiniest moment to think about it, then bolts after her-- he's so fast off the mark that the camera struggles to keep up -- it's a wonderful moment, so real. He goes for the kiss. She's taken aback. Great moment.
The scene after is great, too; Joel is completely jealous -- it's not so much what he says, it's the tone of his voice and the look in his eye. Those small and quiet awkward jealousies -- you remember them? I mean, I still get them now; but when you're younger, they're so painful and shape half of your existence!
I love how Martin Starr (who played Joel) acted those moments. I asked Greg Mottola about it recently, he said: "That was something that I talked about with Martin Starr, but never really made explicit in the writing. That's the kind of texture of life that I remember, as opposed to turning it into melodrama."
5. MEN ARE PRIDEFUL CREATURES.
James and Lisa P are getting high. They're having deep conversations, but they're not making much sense, because they're so HIGH! And they're sitting somewhere out in the back of the Adventureland park. The sun is disappearing as it turns into night; and it's just one of those amazing moments that you can't plan --- finding a quiet little spot, having a conversation and watching the world go by.
Again, it's just a subtle thing -- no drama, no action, no tension -- it's just a moment. How often do you get those moments in movies? How often do you get them in life? In films, you get them occasionally in 'Adventureland', or 'Before Sunrise', or maybe a Cameron Crowe movie. But when else? I crave them. As for life; these moments get harder and harder to come across - everyone is so locked in to their devices, to their schedules. Throwing away the plans and indulging in THE MOMENT is one of the best things about life --- and that is exactly----- EXACTLY what this movie is about.
4. UNSATISFIED.
James is heading to New York. He arrives on a bus, and the streets are rainswept. It would be miserable if you allowed it to be miserable, but James is FREE, and he's living LIFE! You see that subtle smile on his face? It's like 'YEAH, I'm in NEW YORK!' --- I get that EXACT look, that precise feeling -- and the funny thing is that, when I arrive in New York, there's every chance I'm listening to 'Unsatisfied' by The Replacements in my headphones, which is what makes this moment resonate with me even more.
3. THE HAT IS GLUED ON?
Joel gets hit in the face. James stands up for him and punches the guy. Then he realises, holy shit, this guy is much bigger than me! A chase pursues and James eventually makes it back to the main office -- where his bosses are doing some paperwork. Bobby (Bill Hader) knows exactly what to do. It's one of those pure movie moments, absolute magic. Highly unrealistic; but because it's a flick, you go with it. He picks up his baseball bat and heads outside to take on the thugs. "Just give me one good reason! You don't know what I'm capable of!" Then he heads back to the office, as if nothing happened.
2. JUST LIKE HEAVEN.
Bumper cars! They're smiling! They're young! The camera-work is dizzying, and The Cure's 'Just Like Heaven' sounds triumphant! This scene just takes me directly back to every single moment of my life that's ever been FUN!
1. DON'T DREAM IT'S OVER.
I didn't even like this song before I saw the movie, I always found it annoying! Now it's one of my favourites. How to describe why I like it? It's near impossible. Like in so much of this movie, nothing happens; it's just a feeling, a moment; a slice of life.
James, Em & Joel are hanging out -- it's thanksgiving; and then the fireworks start just as the Crowded House song 'Don't Dream It's Over' is beginning -- and there's Joel again, looking on jealously. Ouch! I know that look, I lived that. And then there's James and Em, looking up at the sky and then, for that small moment, the whole universe makes sense. I know that feeling, too!
Ohhhh man, I just relate to it! It resonates! Reminds me of myself, my youth, those moments that meant so much but are now consigned to history, just like the era this movie is set in. What did it all mean? How much of it do you carry with you? How likely are we to find these connections again?
It's an age thing. One day you're in the moment every single darn second, and then before you know it, you're grown up and numb.
This scene is magic. And I'm doing a terrible job of explaining why, it's just some kind of alchemy. A director who trusted himself enough to make it about the little things; and actors who are comfortable enough to just live the moment, to make it about the tiny glances.
James has just started working at 'Adventureland'. This probably isn't a stand out scene for many people -- I mean, not a lot happens, it's just a bunch of young people hanging around outside after work -- but it really resonates with me. Reminds me of being younger and working shitty jobs; and the only thing that makes it bearable is hanging around outside after work and laughing and talking. It's little moments like this which make it a special movie.
Also the subtle way that Em & James connect in this scene -- it's so real!
7. LISA P IS BACK & "Tops".
Maybe it's the music. The Rolling Stones - Tops, one of my favourite songs. Don't you just LOVE that song!? And Lisa P comes around the corner -- that's another thing that makes the crappy job bearable, the hot girls! Without them how would you survive? And again; it's dumb-subtle things that make me love this movie. Like in this scene; there's just something pathetic and lonely about the characters. They're in their lame 'Games Games Games' t-shirts, working jobs they hate, watching their youth passing by.
6. PALE BLUE EYES.
They're listening to James' 'bummer songs mix tape'; and the track is 'Pale Blue Eyes'; they look miserable as hell! But what a moment. James is looking at Em, trying to figure her out. That's all you ever do when you're that age; look at people and try figure them out. It's clear that Em is going through something. James is in love, no denying it. "Can we go somewhere?" he asks, "yeah," she responds. So they park up under the bridge and get out of the car.
James has the tiniest moment to think about it, then bolts after her-- he's so fast off the mark that the camera struggles to keep up -- it's a wonderful moment, so real. He goes for the kiss. She's taken aback. Great moment.
The scene after is great, too; Joel is completely jealous -- it's not so much what he says, it's the tone of his voice and the look in his eye. Those small and quiet awkward jealousies -- you remember them? I mean, I still get them now; but when you're younger, they're so painful and shape half of your existence!
I love how Martin Starr (who played Joel) acted those moments. I asked Greg Mottola about it recently, he said: "That was something that I talked about with Martin Starr, but never really made explicit in the writing. That's the kind of texture of life that I remember, as opposed to turning it into melodrama."
5. MEN ARE PRIDEFUL CREATURES.
James and Lisa P are getting high. They're having deep conversations, but they're not making much sense, because they're so HIGH! And they're sitting somewhere out in the back of the Adventureland park. The sun is disappearing as it turns into night; and it's just one of those amazing moments that you can't plan --- finding a quiet little spot, having a conversation and watching the world go by.
Again, it's just a subtle thing -- no drama, no action, no tension -- it's just a moment. How often do you get those moments in movies? How often do you get them in life? In films, you get them occasionally in 'Adventureland', or 'Before Sunrise', or maybe a Cameron Crowe movie. But when else? I crave them. As for life; these moments get harder and harder to come across - everyone is so locked in to their devices, to their schedules. Throwing away the plans and indulging in THE MOMENT is one of the best things about life --- and that is exactly----- EXACTLY what this movie is about.
4. UNSATISFIED.
James is heading to New York. He arrives on a bus, and the streets are rainswept. It would be miserable if you allowed it to be miserable, but James is FREE, and he's living LIFE! You see that subtle smile on his face? It's like 'YEAH, I'm in NEW YORK!' --- I get that EXACT look, that precise feeling -- and the funny thing is that, when I arrive in New York, there's every chance I'm listening to 'Unsatisfied' by The Replacements in my headphones, which is what makes this moment resonate with me even more.
3. THE HAT IS GLUED ON?
Joel gets hit in the face. James stands up for him and punches the guy. Then he realises, holy shit, this guy is much bigger than me! A chase pursues and James eventually makes it back to the main office -- where his bosses are doing some paperwork. Bobby (Bill Hader) knows exactly what to do. It's one of those pure movie moments, absolute magic. Highly unrealistic; but because it's a flick, you go with it. He picks up his baseball bat and heads outside to take on the thugs. "Just give me one good reason! You don't know what I'm capable of!" Then he heads back to the office, as if nothing happened.
2. JUST LIKE HEAVEN.
Bumper cars! They're smiling! They're young! The camera-work is dizzying, and The Cure's 'Just Like Heaven' sounds triumphant! This scene just takes me directly back to every single moment of my life that's ever been FUN!
1. DON'T DREAM IT'S OVER.
I didn't even like this song before I saw the movie, I always found it annoying! Now it's one of my favourites. How to describe why I like it? It's near impossible. Like in so much of this movie, nothing happens; it's just a feeling, a moment; a slice of life.
James, Em & Joel are hanging out -- it's thanksgiving; and then the fireworks start just as the Crowded House song 'Don't Dream It's Over' is beginning -- and there's Joel again, looking on jealously. Ouch! I know that look, I lived that. And then there's James and Em, looking up at the sky and then, for that small moment, the whole universe makes sense. I know that feeling, too!
Ohhhh man, I just relate to it! It resonates! Reminds me of myself, my youth, those moments that meant so much but are now consigned to history, just like the era this movie is set in. What did it all mean? How much of it do you carry with you? How likely are we to find these connections again?
It's an age thing. One day you're in the moment every single darn second, and then before you know it, you're grown up and numb.
This scene is magic. And I'm doing a terrible job of explaining why, it's just some kind of alchemy. A director who trusted himself enough to make it about the little things; and actors who are comfortable enough to just live the moment, to make it about the tiny glances.
Between What's Flesh and What's Fantasy: The Effect of Film and TV on my Relationships
I have always been inclined to watch the more down to earth, 'realistic' films. Not that such a thing exists, but that's always been where my interest lies. I'm interested in human relationships. And of course, when you love a TV show or film, you tend to say "I relate to that". You see yourself in C.C Baxter or Ross Geller or Annie Hall, and it means something to you.
The characters on the screen get resolution. They figure things out inside of two hours. You begin to get used to seeing relationships resolved in this way. And that leads us to my central problem when it comes to my relationships, especially with women.
I over-romanticise them. See them as more than they are.
I have always seen life as being like a movie. Struggles and conflicts with an over-arching theme, where we all come together in the end. This view is often how I've conceptualised my relationships, and I'm now realising how nonsensical it is. It hit me a few weeks ago, on the train. I'd convinced myself that a beautiful woman on the carriage was interested in me. And then it dawned on me, that I think this nearly every day, and convince myself that these intriguing looking women on the tube are attracted to me, when in reality they haven't noticed me. I realised this is a pattern I have repeated in my head for years and years. You could say it's healthy daydreaming, or a way to pass time on the commute, but it's not. And there's always the disappointment of course when they leave the train and it dawns on you that they're completely unaware of your existence.
Then there's the women I do actually know. And I guess because most of the friends I make these days tend to be in my industry, a lot of them are beautiful actresses. I over-romanticise these relationships to hilarious effect. I like to believe I often have a 'special' relationship with people. That somehow things mean more between us than perhaps they do with other people.
In these past few weeks I have been taking myself to task on these nonsensical pathological thought processes; digging deeper into the inner workings of my mind, especially regarding relationships. It's my ego, liking to see me as special in some way, like the people in my life have some special bond to me.
I always loved 'Dawson's Creek' and 'Ally McBeal'. I still do. In the Creek, hearts would break and people would hurt, but at the end of the episode they'd walk down to the lake and share their feelings and true intentions, to the sound of lovely piano music. In McBeal, John Cage or Billy Thomas would come back to the office at night to check in on Ally, and together they'd share a profound moment, where life made total sense.
I have been chasing these moments all of my adult life, but they don't exist, because they aren't real.
And they stop me doing the work! Stop me paying attention to what's really happening in front of me with other human beings. I float along in a fantasy land believing, despite my disconnect with a person, that deep down we get each other, or need each other.
I have been caught out numerous times when it comes to love. I add up all the numbers and see connection and meaning in places where it doesn't exist. I believe in this old world romance, which in the reality of the moment exists only in my brain. Rather than have true, in the moment relationships, I dream them up; fractured and lost from what's really happening in front of us, I instead live out a romanticised version that I created in my head, which is nothing more than a repeated pattern, an ingrained delusion.
The characters on the screen get resolution. They figure things out inside of two hours. You begin to get used to seeing relationships resolved in this way. And that leads us to my central problem when it comes to my relationships, especially with women.
I over-romanticise them. See them as more than they are.
I have always seen life as being like a movie. Struggles and conflicts with an over-arching theme, where we all come together in the end. This view is often how I've conceptualised my relationships, and I'm now realising how nonsensical it is. It hit me a few weeks ago, on the train. I'd convinced myself that a beautiful woman on the carriage was interested in me. And then it dawned on me, that I think this nearly every day, and convince myself that these intriguing looking women on the tube are attracted to me, when in reality they haven't noticed me. I realised this is a pattern I have repeated in my head for years and years. You could say it's healthy daydreaming, or a way to pass time on the commute, but it's not. And there's always the disappointment of course when they leave the train and it dawns on you that they're completely unaware of your existence.
Then there's the women I do actually know. And I guess because most of the friends I make these days tend to be in my industry, a lot of them are beautiful actresses. I over-romanticise these relationships to hilarious effect. I like to believe I often have a 'special' relationship with people. That somehow things mean more between us than perhaps they do with other people.
In these past few weeks I have been taking myself to task on these nonsensical pathological thought processes; digging deeper into the inner workings of my mind, especially regarding relationships. It's my ego, liking to see me as special in some way, like the people in my life have some special bond to me.
I always loved 'Dawson's Creek' and 'Ally McBeal'. I still do. In the Creek, hearts would break and people would hurt, but at the end of the episode they'd walk down to the lake and share their feelings and true intentions, to the sound of lovely piano music. In McBeal, John Cage or Billy Thomas would come back to the office at night to check in on Ally, and together they'd share a profound moment, where life made total sense.
I have been chasing these moments all of my adult life, but they don't exist, because they aren't real.
And they stop me doing the work! Stop me paying attention to what's really happening in front of me with other human beings. I float along in a fantasy land believing, despite my disconnect with a person, that deep down we get each other, or need each other.
I have been caught out numerous times when it comes to love. I add up all the numbers and see connection and meaning in places where it doesn't exist. I believe in this old world romance, which in the reality of the moment exists only in my brain. Rather than have true, in the moment relationships, I dream them up; fractured and lost from what's really happening in front of us, I instead live out a romanticised version that I created in my head, which is nothing more than a repeated pattern, an ingrained delusion.
Thursday 21 June 2012
Brain Craze
Write something!
But I have nothing to say right now.
There must be something! Write about the film you just watched. Write about the changing face of film distribution. Write that short story about two people who meet by chance in a cinema.
I keep trying to write them, but there's no juice right now!
A good writer writes every day.
I need to refuel sometimes!
You are not as successful as you should be, you don't get successful unless you write the amazing material!
You also don't get successful if you burn out by constantly churning things out!
So you want rest?
I want rest.
But you're always resting!
No I'm not. You're always in my head, you never let me chill!
Then go rest. Go for a walk in the field. Go do it now. Go get some nature and find it inspiring then turn it into a story and a screenplay and get a new agent and start production.
You're not making me feel rested.
There are great writers who never rested! There were great writers in concentration camps! People just write write write; yet you need time to rest? To think of ideas? You're pathetic.... WRITE WRITE WRITE!
Who are you? Are you my boss? My muse? Or just a mental disorder?
I am the you that wants you to succeed! I am what drives you. DO SOME WRITING NOW!
NO YOU DO NOT INSPIRE ME YOU JUST PRESSURE ME AND SOMETIMES I NEED TO JUST DRINK A CAN OF COKE AND SAY "WHAT THE FUCK".
So you think I'm pointless?
No, I just think you channel your messages in the wrong way. I need an inner support system, I need to be heard! I need my inner child to come alive! I need to be able to feel my way through ideas. I need to be able to have a thought without you ripping it apart to force ideas from it.
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