Recordó una frase  de G.K. Chesterton: «Cuando el dramaturgo sube al escenario, el drama ha terminado». Bueno, dejemos que termine. ¿Quién lo quiere? Hiede. Su mente volvió a la posibilidad de que Dios fuera un ser de poder limitado. ¿Por qué no? Semejante respuesta era sencilla y directa. Y, sin embargo, Kinderman no podía evitar resistirse a ella con toda su fuerza. ¿Dios, un patán? ¿Un putz? No era posible. El salto en su mente de Dios a la perfección no tenía transición. Era una identidad sin movimiento. El detective sacudió la cabeza. Creía que el concepto de un Dios que fuera menos que todopoderoso era tan aterrador como la no existencia de Dios. Quizá más todavía. La muerte era un final, por lo menos, sin un Dios. Pero, ¿quién sabía lo que podría hacer un Dios imperfecto ? Si era menos que todopoderoso, ¿por qué no podría ser también menos que todo bueno, como el Dios vano, caprichoso y cruel de Job? Con toda la eternidad a Su disposición, ¿qué nuevas torturas malignas no podría imaginar?

William Peter Blatty, Legión.

Sweet Jesus…

Academy Awards producer and former studio chief Joe Roth had this idea to start the show the year after The Passion of the Christ was released: “I say, bring Billy Crystal out in a loincloth, carried on a cross through the Academy.”

Sobre Roth, de la Wikipedia:

Roth was born in New York, New York, the son of Lawrence Roth, a foreman at a plastics plant and Frances Roth. Roth is of Jewish heritage. In 1959, Roth’s father volunteered his son to be a plaintiff in the ACLU’s effort to abolish mandatory prayer in public schools. The case, filed in New York, wound its way through the system, finally reaching the U.S. Supreme Court in 1962. The Court ruled that such prayer was unconstitutional under the First Amendment, in the landmark case of Engel v. Vitale.

La cita original, de Joe Eszterhas en The devil’s guide to Hollywood.

If you want to win an Oscar, fight the good fight.

A Holocaust-related film was, for many years, a good bet to be nominated for an Oscar; in later years, it was a film about civil rights and black empowerment.

Today’s hot Oscar subjects are gay rights and gay empowerment.

An Oscar-winning producer said to me, “The Holocaust battle has been won. We’re winning on women’s empowerment, too. The best indication of that is the record number of copies sold of Hillary’s book. The real door-to-door political street fighting is about gay rights and gay marriage now. Those are the movies the Academy wants to reward, and there are a lot of shrewd people in this town who always figure out what the Academy wants to reward, before they sit down and go to work.”

If you write this script, you’re probably a sure bet for an Oscar.

The script is about a saintly black man with a newly discovered mental illness who was abused by white foster parents as a child, a who has surgery now to become the woman he’s always wanted to be, so she can help other black children abused by white foster parents.

In the first half of the movie, he’s played by Denzel Washington. In the second half, the starring role is played by Halle Berry.

The both win Oscars—for Best Actor and Best Actress, respectively—as does Michael Moore for Best Director.

Or, if you want to win an Oscar, try writing about…

A saintly heroic woman, a saintly heroic gay man or woman, a saintly heroic black man or woman, a victimized woman, a gay man or woman, a black man or woman… who frees him or her, or himself and herself from victimization and empowers any of the above gender/color combos, as well as anyone with autism, Tourette’s, or, best of all, a bizarre new neurological disorder that only Oliver Sachs knows about.

Sugiere Joe Eszterhas en The devil’s guide to Hollywood.