I loved the whole interview, but I was truly won over by her response to "The Amityville Horror" ("What a piece of shit!") and "I usually have fun in bad situations, because things make me laugh that don't make other people laugh. I'm a little bit sick."

I, too, would like to see a Zefferelli/Hussey/McCartney "Romeo and Juliet." If only somebody could fly around Earth fast enough to reverse its rotation and rewind history.

If so, I will definitely haul ass to it.

I can't wait to put the album on and let it play out over dinner. The cricket sounds will perfectly complement the tedium and awkward silences of a romantic evening with me.

http://www.dvdbeaver.com/fi…

Just to clarify a bit regarding the end of "Ulysses," I really only meant the little "I thought well as well him as another" barb that snags Molly's stream of consciousness. Otherwise, I wouldn't want to compare the two, although the "Nighttown" atmosphere of EWS is the only thing I like about the movie. I agree…

I like Shelley Duvall, but I think Kubrick's treatment of her was bad for her performance, and her performance was bad for the movie. Instead of some Dreyer-Falconetti ego annihilation, Kubrick just exacerbated her adolescent petulance. I'd rather watch her in something like "3 Women."

I associate the tone of the ending with that of James Joyce's "Ulysses," particularly the part of Molly Bloom's rapturous rush of consciousness that includes the phrase "I thought well as well him as another." It's hopeful, sure, but in a complicated, back-to-reality way that undercuts the romance of a cliched happy…

In the novel, Jack Torrance is a decent but flawed man, and the hotel works its roots into one of his flaws and wrenches it open. I love the movie, but I love it as a fairy tale, whereas the book is a full-on tragedy.

Speaking of head innuendo, there's always Sebadoh's "Skull," with its refrain of "Gently take my skull for a ride." Apparently those emo guys are too lazy to "put their neck into it."

I associate the downward trajectory of '90s female singer-songwriters with the self-destruction of Liz Phair, who once sang things like "I'll fuck you and your girlfriend too" and who now creates original music for "90210."

I don't want to dwell on this much further, but I do think it's sleazy whenever there's greater interest in the pursuit of a "situation" rather than a relationship (even a casual one), when there's more interest in a sexual scenario than in the person or people involved. Most of the hookups people seek on things like…

Lame as it may sound, I really don't have anyone to whom I can vent or brag about stuff like this, so indulge me just a little.

Sorry about the recent, frequent glumness. I have to admit, I've been less inclined to chime in with occasional wisecracks when there are already three or four pages of comments by the time I'm able to get around to reading anything here, and I'm therefore more prone to posting things that have been weighing heavily…

I forgot a whole bunch of "essential" (to me, anyhow) songs, but, Crowded House nerd that I am, I feel compelled to mention "Message To My Girl" by Split Enz-era Neil Finn, preferably a later live recording with Finn solo at a piano.

If you see Kay, tell her "I'll see you in tea." (I'm sorry; I had a bizarrely strong impulse to allude to a dirty James Joyce pun. Carry on.)

I unashamedly love The Cure at their poppiest. "Just Like Heaven," "Pictures of You," and "Catch" are probably my three favorite Cure songs.

"Time After Time" is indeed a great song. And I'd marry any girl who included "Goonies 'R' Good Enough" on a mix tape.

Ooh. I forgot Leonard Cohen on my list. I'd definitely include "Take This Longing."

She was 29, and had been with her girlfriend since she was 17. It's intimidating enough to compete with the lesbian love of a girl's life, much less one who tragically died.