![]() ![]() ![]() Is there any wisdom in putting out your eyes or cutting off your hands? Is it possible to extract from these extravagant sayings the smallest grain of common sense? Why? Because it is better that one of our members should perish than the whole body should be cast into hell. If thy right hand offend thee, cut it off. If they right eye offend thee, pluck it out. The world would go back to the caves and dens of savagery. ![]() Without this forethought there could be no progress, no civilization. We plan and work for the future, for our children, for the unborn generations to come. To plow, to sow, to cultivate, to harvest, is to take thought for the morrow. Is there the least sense in that belief? Does God take care of anybody? Can we live without taking thought for the morrow? The idea that God would take care of us as he did of sparrows and lilies. Not to resist evil is absurd to love your enemies is impossible. Hatred in the hearts of others does not breed love in ours. Is this possible? Did any human being ever love his enemies? Did Christ love his, when he denounced them as whited sepulchers, hypocrites and vipers? We cannot love those who hate us. Government becomes impossible, and the world is at the mercy of criminals. No man has the right to protect himself, his property, his wife and children. Vice becomes the master of the world, and the good become the victims of the infamous. Is there any philosophy, any wisdom in this? Christ takes from goodness, from virtue, from the truth, the right of self-defense. “So I had this huge swell of pride.Millions assert that the philosophy of Christ is perfect – that he was the wisest that ever uttered speech. “Like, I think, a lot of people that worked on the film, and of my generation and other generations, it would have been lovely if this film existed 15 years ago,” Hanson says. When Hanson first saw the finished film, he teared up at Alex and Henry jamming, carefree, at karaoke in Austin, Alex’s hometown-a scene he hadn’t even been involved in making. “So people can focus on really what this story is saying and the importance of a film like this without thinking, ‘Oh, hang on, the toast is completely the wrong shape.’”īefore he was his husband, Hanson’s then-boyfriend had read and loved Red, White & Royal Blue. “You don't want anything that would distract negatively from the story and the message of the film,” Hanson says. Hanson worked with each of them to ensure that people weren’t dipping too low in a curtsy, pulling out their skirts like a ballet dancer, or bowing Japanese-style from the waist, rather than British-style from the neck. The royal wedding cake scene, for instance, involves a milieu of high-society extras milling around and interacting with the film’s royal family. In the main sex scene, set in a Parisian hotel, López aimed to fuse the physical and the emotional. Here it walks another fine line, this one between lustful attraction and a tender, blossoming love-especially important in queer content, which hasn’t historically seen much of the latter. (In the past, intimacy coordinators were often brought on last-minute, “almost like firefighting,” Hunt says, but joining early let him do his best work.) Intimacy coordinator Robbie Taylor Hunt was brought on during pre-production to break down the script, flag any intimate content, and talk to the director and actors about their boundaries and how to make scenes feel comfortable. Red, White & Royal Blue’s attention to detail allows it to commit to the fantasy. In many ways, it may have unburdened us from the need to engage with the real world.” Creating the tender beating heart of Red, White & Royal Blue And our own stories reflected our uniqueness and they reflected sometimes our loneliness and it reflected our solitude, but it also reflected our very unique way of seeing the world. “So we started to just make our own stories. For the longest time, queer people couldn’t participate in the world around them, López says.
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