I will eat your house..
im a worthless piece of shit im a worthless piece of shit im a worthless piece of shit im a worthless piece of shit im a worthless piece of shit im a worthless piece of shit im a worthless piece of shit im a worthless piece of shit
I wanted to make her really directed and ambitious and big and totally flinging herself at the wrong thing. But she had this drive that manifests in anger or extreme love or extreme mistakes. I feel like the movie shows—it’s kind one of the tragedies of maturity but also one of the things I think is necessary for it—you almost feel her reeling herself in by the end, she becomes more self-contained. And there’s a sadness because there’s this spilling out of everything she’s doing and feeling. And going for that stuff has its own beauty, and to reel it all back in and keep it inside is necessary, but also kind of sad.
“He is painfully shy,” emphasises Johnny Marr. “You’ve got to understand that. We all look out for Morrissey. It’s a very brotherly feeling. When we first rehearsed, I’d have done anything for him. And as a person Morrissey is really capable of a truly loving relationship. Every day he’s so open, so romantic and sensitive to other people’s emotions.” – Johnny Marr, 1985
I feel really inescapably sad rn because I’m so lonely I’m so empty and even my Things make me sad because what’s the point of knowing everything about vampire weekend or caring a lot about third wave feminism if there’s no one to share it with like I’ve got 2 and a half more years of this shit what if I never find my Wes or my Aaron or my Reid what if there’s something wrong with me don’t call me a contra don’t call me a contra