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            Terry Gilliam’s quixotic quests and much more͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;͏‌&nbsp;
        
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    <a class="brand-logo-link" href="https://www.jamespillion.com/" style="color:#e73e3e !important;"><img class="brand-logo" src="https://images.squarespace-cdn.com/content/5d6e5bd5387da8000162b6a2/1568966833012-U8W1VBIL6OAZHKEJRX6V/JP_logo_site_lrg.png?format=750w" height="37" alt="James Pillion" style="font-size:.8333333333333334em;display:block;border:0;text-decoration:none;line-height:0;font-weight:normal;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;color:#000;height:auto;max-height:37px;max-width:100%;width:auto;margin-left:0px;"></a>
    
  

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      <h4 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.2em;mso-line-height-alt:1.2em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:.02em;"><strong>“To be deemed to be OK, to be part of the culture, that's the kiss of death. When I'm pushing against something it helps me define what I believe. I've always been led to see what's beyond, what's round the corner. The world tries to say that this is what it is, and don't go any further, because out there are monsters. But I want to see what they are. So when I talk about the others in the group not having done more, that's because I really admire them, and I get angry when I see those with extraordinary talents not using them.” — </strong></h4><p style="color:inherit;font-size:1em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;text-align:right;line-height:1.618em;margin-bottom:0px;" class="">— TERRY GILLIAM</p>
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<table role="presentation" width="100%" cellpadding="0" cellspacing="0" border="0" bgcolor="transparent" class="text-section section-content">
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      <p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-top:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">There’s nothing like periods of prolonged solitary time for true self-reflection. But it’s another thing altogether to spend quality time in the company of others. In the past month, I was humbled to participate in my first Men’s Circle which strangely enough gave me the confidence to accept an invitation to a poetry night at a friend’s place. As I read aloud <strong>Charles Bukowski</strong>’s <a href="https://weeklyeclectic.wordpress.com/2012/08/13/bukowski-mondays-white-dog/" rel="nofollow" style="color:#e73e3e !important;"><strong>White Dog</strong></a>, a new favourite, my voice began to crack as the poem’s words took on new meaning amongst this roomful of strangers. Nothing compares to self-discovery in good company.  </p><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">Whether you’re bundled up in winter PJs or mopping your brow in a premature heatwave, you’re never alone with <a href="https://open.spotify.com/playlist/1ee3g9r8vB7WJpugNXNwCR?si=8feb24f8c58a44a9" rel="nofollow" style="color:#e73e3e !important;">my June playlist</a> 💫 </p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;line-height:1.25em;font-size:1.44em;mso-line-height-alt:1.44em;margin-top:0;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;"><a href="https://www.youtube.com/watch?ab_channel=RottenTomatoesTrailers&amp;v=yiiRZJUTT2k" rel="nofollow" style="color:#e73e3e !important;"><strong>The Man Who Killed Don Quixote </strong></a>🎥</h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><strong>Terry Gilliam</strong>’s <strong>Tetragrammaton</strong> <a href="https://open.spotify.com/episode/2lpXqGUnJP7gU0IR2KGs22?si=d267c7d0fb86420a" rel="nofollow" style="color:#e73e3e !important;">chit-chat</a> with <strong>Rick Rubin</strong> lit a fire under me to sit down with <a href="https://www.youtube.com/watch?ab_channel=RottenTomatoesTrailers&amp;v=yiiRZJUTT2k" rel="nofollow" style="color:#e73e3e !important;"><strong>The Man Who Killed Don Quixote</strong></a>. Much like <strong>Miguel de Cervantes’ Don Quixote</strong>, Gilliam possesses a stubborn unwillingness to swallow the truth. Which is what makes his quixotic quest all the more compelling. Watching the visionary director bend the truth into his own image makes <a href="https://www.youtube.com/watch?v=uJ7agw_QhE8" rel="nofollow" style="color:#e73e3e !important;"><strong>He Dreams of Giants</strong></a>, a documentary follow up to <strong>Lost in La Mancha</strong>, more titillating than the film itself. While Gilliam’s 20 minute ovation at Cannes speaks more to his 20 year battle to adapt the literary classic, its message has spread through me like a Windows 2000 computer virus. </p><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">Never let life trample over how you see the world. </p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;font-size:1.44em;mso-line-height-alt:1.44em;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;line-height:1.25em;margin-top:0px;margin-bottom:0.5em;"><a href="https://www.youtube.com/watch?v=ZHjc0cu9CgU" rel="nofollow" style="color:#e73e3e !important;"><strong>Kenny </strong>📹</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">When this 2006 Aussie documentary first splashed down, I never caught on that it was a mockumentary. Which is high praise to <strong>Shane</strong> and <strong>Clayton</strong> <strong>Jacobson</strong>, the sibling brothers behind the 2006 runaway hit. <strong>Kenny Smyth</strong>, the film’s protagonist (played to perfection by <strong>Shane Jacobson</strong>), is as fair dinkum as they come, an Aussie plumber trying to make lemonade out of some bitter life lemons. You just want to reach through the screen and give the poor bloke a cuddle. As I wiped away tears of joy, I was reminded that the best kind of art lowers our emotional drawbridge, bringing us a little closer to ourselves. A true blue riot of a comedy. You can free stream <a href="https://watch.plex.tv/watch/movie/kenny?utm_content=5d776839999c64001ec30213&amp;utm_medium=deeplink&amp;utm_source=justWatch-v2-catalog" rel="nofollow" style="color:#e73e3e !important;">here</a>.&nbsp;</p><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><a href="https://watch.plex.tv/watch/movie/kenny?utm_content=5d776839999c64001ec30213&amp;utm_medium=deeplink&amp;utm_source=justWatch-v2-catalog" rel="nofollow" style="color:#e73e3e !important;"><strong>“There is a smell in here that’s going to outlast religion.” — Kenny Smyth</strong></a></p>
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      <h3 style="color:inherit;margin:1.414em 0 .5em;font-weight:400;font-size:1.44em;mso-line-height-alt:1.44em;font-family:Palatino, Palladio, Baskerville, 'Nimbus Roman No9 L', Garamond, 'Century Schoolbook', serif;letter-spacing:0em;line-height:1.25em;margin-top:0px;margin-bottom:0.5em;"><a href="https://en.wikipedia.org/wiki/George_Sand" rel="nofollow" style="color:#e73e3e !important;"><strong>Aurore Dupin Dudevant </strong>👤</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;margin:0 0 1.25em 0;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><a href="https://en.wikipedia.org/wiki/George_Sand" rel="nofollow" style="color:#e73e3e !important;"><strong>Amantine Lucile Aurore Dupin de Francueil</strong></a> came to my attention by way of <strong>Robert Greene</strong>’s <strong>The 48 Laws of Power</strong>, her story aptly illustrated under Law 25 on how to <em>Recreate Yourself</em>. Dudevant was a true artist, putting it all on the line in service to becoming a writer of critical and commercial acclaim. To discover that she achieved both, enjoying a renown that eclipsed both <strong>Victor Hugo</strong> and <strong>Honore de Balzac</strong> in her time is impressive. That she pulled it off in the men’s fashion of the day (sans permit), rubbing shoulders with the rich and powerful as <strong>George Sand</strong>, <a href="https://en.wikipedia.org/wiki/George_Sand" rel="nofollow" style="color:#e73e3e !important;">her pen name</a>, is true cojones.</p>
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