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    <title data-ignore-plain-text>💎MY FAVOURITE THINGS💎 || I Love You More Than You&rsquo;ll Ever Know</title>
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      <p class="" style="color:inherit;font-size:1em;line-height:1.618em;font-weight:normal;margin-top:0;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">My apologies for the week’s delay. I’ve been dragging my feet after driving back from Byron Bay, a trip that celebrated my lady’s birthday together with a confirmation green-light for my PhD (two more years and I’ll be an undeserving Doctor!) There is something so important about escaping to your happy place, finding solace from the daily grind. And while time away helps to puts our choices in perspective, it also helps us to prepare for the road to come. </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?t=29s&amp;v=YuP8g_GQIgI" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>The Nightingale </strong>🎥</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">To say that this film found its way under my skin is an understatement. In fact <strong>Jennifer Kent</strong>’s latest film, set in 1820s Tasmania, has brought the history books to life and helped me to appreciate the pain and suffering that came with the consummation of this stolen land. I was ignorant to the fact that the state, once known as Van Diemen’s Land, was Australia’s largest penal colony and its most brutal. Kent imbues so much honesty into the story of an Irish convict, a young woman (<strong>Aisling Franciosi</strong> is incredible!) who seeks vengeance for the brutal murder of her family at the hands of English oppressors. While I was saddened to read that the film failed to perform at the box office, I will continue to encourage friends and strangers to seek it out. Kent’s unsparing examination of the crimes and genocide against the Indigenous people of my homeland reinforces the power of the cinematic medium and its ability to bring the past hurtling back into our present moment. A must watch.&nbsp;</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?v=PKz-IgeTMzY" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>POTUS Impressions </strong>🖥</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">I got turned onto <strong>Sarah Cooper</strong>’s satirical clips by way of <strong>Jacqui Lewis</strong> — my meditation teacher and founder of <strong>The Broad Place</strong>— who showed Billie and I some of Cooper’s recent posts over breakfast. <a href="https://www.youtube.com/watch?v=iA_bFYuNUYw" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;">After watching Cooper on<strong> Jimmy Fallon</strong></a>, I’m even more impressed at the comedian’s ability to turn lockdown lemons into creative lemonade. As Cooper shares, the advent of Quarantine forced the Jamaican native to get creative from the confines of her apartment. With the incessant daily updates from POTUS as part of his inane COVID taskforce, a lightbulb soon sparked with her output going viral by way of <strong>TikTok</strong>. Cooper’s impressions of the 45th President are poignant, especially when translated through the female gaze, and shine a light on the profuse bullshit emanating from the leader of the free world. It’s also given me hope for the future of satire.</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?v=iOKk79bzSdM" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>All The Right Moves </strong>🎥</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">I don’t remember how I came across <strong>All The Right Moves</strong> but am grateful for tucking into this 1983 sports drama. Set in a Pennsylvanian wasteland, it follows the life of a young defensive back (a very young <strong>Tom Cruise</strong>) and his journey to escaping his steel town by way of a football scholarship. There is something so potent about this coming of ager, especially when you consider the world in which it’s set. One can only image what the town of Ampipe, built and named in honour of a corporate monolith, would look like today. The film is helmed by <strong>Michael Chapman</strong>, one of the finest cinematographers from the 1970s with films like <strong>Hal Ashby</strong>’s <strong>The Last Detail</strong>, <strong>Martin Scorsese</strong>’s <strong>Taxi Driver</strong> and <strong>Philip Kaufman</strong>’s <strong>The Wanderers</strong>. The celebrated DP delivers a curious look at small-town America in his directorial debut and captures Cruise’s charisma in all the right ways.</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://medium.com/authority-magazine/filmmaker-james-pillion-how-to-learn-to-finally-love-yourself-97c9d7d8c16d" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>How to Learn to Finally Love Yourself </strong>🖥</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">I’d completely forgotten about an article I submitted to <strong>Medium</strong> early last year, and which was only published a couple weeks ago. Re-reading through was surprisingly enjoyable and left me smiling in all the right ways. It helped me to retrace my footsteps over the past five years, to accept the rollercoaster that has led me to this present moment and the choices that helped to heal over my open wounds. It’s no easy thing to admit when we’re broken and even more difficult to do anything about it. Yet when we have the wherewithal to put ourselves under the microscope, we open ourselves up to a whole new way of receiving and accepting the world around us. So if you can get past the header you might just find something useful to take with you.</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?v=Y46Sw1BUHPs" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>St Elmo’s Fire </strong>🎥</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">In the wake of the late great <strong>Joel Schumacher </strong>passing on last week I found myself streaming his 1985 coming of age dramedy of the iTunes store. I’d never seen this film, which I’d always equated as falling within the <strong>John Hughes </strong>universe (<strong>Sixteen Candles</strong> and <strong>Pretty in Pink</strong>)<strong> </strong>but was blown away by the underlying message. Following a group of uber wealthy university kids from the DC suburbs, it offers a curious look at their lives as they face the prospects of adulthood and responsibility. I was captivated by Schumacher’s portrayal of their underlying relationships and found his choice of casting — <strong>Emilio Estevez</strong>, <strong>Rob Lowe</strong> and <strong>Ally Sheedy</strong> are superb — to be right on the money. <strong>Carl Kurlander,</strong> the film’s co-writer, <a href="https://deadline.com/2020/07/st-elmos-fire-35th-anniversary-cowriter-carl-kurlander-remembers-joel-schumacher-brat-pack-80s-movie-1202976362/" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;">celebrates the thirty-fifth anniversary of the film’s release with this touching tribute</a>, explaining that he was once Schumacher’s assistant and got his big break when his boss optioned and adapted his spec script into a studio hit.</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.nytimes.com/2020/07/06/movies/ennio-morricone-dead.html?searchResultPosition=1" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>Ennio Morricone </strong>👤</a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;">It’s hard to express just what the musical output of <strong>Ennio Morricone</strong> has meant to me as a filmmaker (and more importantly a film-geek). I still remember coming across a greatest hits of the Italian composer at the age of sixteen and coveting the CD’s contents for many years to come. There’s something so special about discovering certain treasures at a formative age. <strong>Sergio Leone</strong>’s Spaghetti Westerns, specifically his Dollars trilogy in the mid nineteen-sixties, was one of those defining moments. And while the visual language in those films still stands as a testament to the power of filmmaking, they owe so much to the definitive sound of Morricone’s orchestrations. Films like <a href="https://www.youtube.com/watch?v=OP5UchXF9YM" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>Terrence Malick</strong>’s <strong>Days of Heaven</strong></a>, <a href="https://www.youtube.com/watch?v=0fda0ziav7E" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>Brian De Palma</strong>’s <strong>The Untouchables</strong></a><strong> </strong>and <a href="https://www.youtube.com/watch?v=DxiMIK5_zQI" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>Barry Levinson</strong>’s <strong>Bugsy</strong></a> (woof!) are indebted to his ineffable touch. You can immerse yourself in this playlist from the late maestro <a href="https://open.spotify.com/playlist/0oPWWmsnI7h7m2z5bErXrh?si=8C8l4xcqTnCdfKTJoOMLRQ" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;">here</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://open.spotify.com/album/7p4bOcnSI5mPGmLLnkGdDz?si=IgZtjuxlR3CnIC4-Lc65hA" target="" rel="nofollow noopener noreferrer" style="color:#e73e3e !important;"><strong>Heart &amp; Soul🎙</strong></a></h3><p class="" style="color:inherit;font-size:1em;line-height:1.618em;font-weight:normal;margin-bottom:0;font-family:'DejaVu Sans Condensed', 'Liberation Sans', 'Nimbus Sans L', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><strong>Al Kooper</strong>’s memoir, <strong>Backstabbing Bastards and Backstage Passes</strong>, turned me onto the indelible voice of <strong>Lorraine Ellison</strong> and this heartfelt 1966 LP. While many of the orchestrations have failed to stand the test of time, Ellison’s voice cuts through and tugs at the heartstrings. Ellison (née <strong>Marybelle Luraine Ellison</strong>) was born in Philadelphia and started out as a gospel singer before transitioning to R&amp;B in the mid sixties. Listening to Ellison breathe life into this album, produced by <strong>Jerry Ragovoy</strong>, is something to behold, her voice cutting through with impassioned force. And while the Pennsylvanian native failed to stand as tall as celebrated contemporaries like <strong>Aretha Franklin</strong> or <strong>Esther Phillips</strong>, her output serves as a testament to her indelible charisma. &nbsp;</p>
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