#u turn

[one-time-i-dreamt]

I made an illegal u-turn to get on some kind of exit ramp, kind of accidentally cut someone off but they just pulled around me and sped away. A little further down the road I come upon that same person pulled over by a traffic cop, see their hand sticking out their window pointing at me, then the cop gestures for me to pull over also. I thought I was gonna get a ticket but the cop just wanted to referee while we fought to the death.

[rickmctumbleface]

[recordseveryday]

still loving the new u-turn. i’ve been stockpiling soundtracks while i waited to have a new record player that would give me a better listening experience since my old one needed servicing and i knew it was going to be upgraded. i think we’re going to bring the other one to get serviced and then up to the lake house in new hampshire so we can have great tunes year round

[back-and-totheleft]

Ten quotes

Filmmaker Oliver Stone visited the Alamo Drafthouse in Littleton on Sunday to introduce perhaps his best- and least-known films: Natural Born Killers (1994) and the largely forgotten U-Turn (1997), the latter starring Sean Penn, Jennifer Lopez, Nick Nolte, Jon Voight, Powers Boothe, Julie Hagerty (!), Claire Danes and Joaquin Phoenix. Based on a book and screenplay by John Ridley (Twelve Years a Slave), it’s about a man who is heading to Las Vegas to pay off a gambling debt until forced to stop at the broken-down desert town of Superior, Ariz.

Here are our 10 favorite things that came out of Stone’s mouth after the U-Turn screening, ranging from his thoughts on Will Ferrell as the epitome of all evil; to the shouting from Jennifer Lopez’s motel room while filming U-Turn; to the influence of the animated cat-and-mouse Tom and Jerry on his score; to the letter of recommendation he wrote for Claire Danes; to working with an insecure young actor named Donald Trump on Wall Street (“He doesn’t entertain failure”); to how our modern world has been driven to the brink of madness:

On Sean Penn: "Poor Sean. He put up with a lot. He was a replacement for Bill Paxton, who dropped out at the last second because he was freaked out by the role. Strange fellow. But Sean stepped in, and he helped us make the film – because it was really close to falling apart."

On Jennifer Lopez: "She was married at the time to a young Cuban, and the walls of that Arizona motel … man, talk about Latin temperament. There was a lot of banging and screaming. People would say, ‘I need sleep, so I can’t stay in the room next to Jennifer Lopez.’ Meanwhile, Sean Penn has got his eye on her, too, so there was this whole crazy jealousy thing going on. But Jennifer came to see me years later, after she had become J.Lo. She was another person completely now. It was after her third marriage or something. She said to me, ‘I want to go back. I want to make that kind of movie again. I just want to get real like that.’ Because she had been doing all that glittery stuff."

On whistle-blower Edward Snowden, the subject of his upcoming film, Snowden: "I am really not at liberty to say too much. Put it this way: He’s smart, he’s articulate, he cares very much, and it doesn’t matter that he’s in Russia. He could be anywhere in the world. He’s still connected by the Internet. This is a man who spends possibly 70 percent of his time on a computer. He keeps his contacts up. He participates in forums and discussions and lectures. And he is working very seriously on a constitution for the Internet, which we really need. Many, many people admire him. I find him in good spirits. I didn’t see any sign of depression. He has broadened his sense of humor. I showed him the film a couple of weeks ago (Snowden), and he responded very well."

On the current presidential race: "I am scared. But I don’t think the Republicans are the issue. Everyone wants to be stronger and stronger in terms of dealing with the world, but that’s not the right way to go about it. I believe in an international balance of power. I am concerned that Hillary Clinton is embraced by the neo-conservatives, or the liberal interventionists as I call them, because her policies, and Obama’s policies, and Bush’s policies have driven us to the edge of madness. We have created a mess in the Middle East with four interventions. Also Afghanistan and Libya. We are not effective as a military force abroad. We don’t need 800 military bases. We have to change our way of thinking. Sanders gets it, to some degree. And Trump, in his own way, actually gets it, too. He’s the only Republican who has come out and said outright: ‘Hey, that Iraq war was a stupid (bleeping) thing to do.’ And all these Republicans are shocked. The establishment is shocked. ‘How can you say that Mr. Bush screwed up?’ I mean, come on. It’s about time we wake up in this country. Let’s get real."

Working with Donald Trump in Wall Street: "He’s a smart dude. He’s funny. And yet, he’s an egomaniac and a narcissist, as you can see. I’ll never forget this: He jumped up after Take 1 of his scene with Michael Douglas and said, ‘How was I? I was great, wasn’t I?’ I said, ‘Donald, it was good, but I think you can do better.’ I got him to do nine or 10 takes, and he would jump up after every one and say the same thing. ‘How was I?’ He doesn’t entertain failure."

On U-Turn actors Joaquin Phoenix and Claire Danes: "They really did a turn in this film. This was before they became really famous. They were both such fun. It was a delight. Sean Penn’s character says, “Is everybody in this town on drugs?” And that’s the overall feeling of the movie. You have to be free and you can’t care. Claire was not hot at that point. She had done Romeo and Juliet with Leonardo DiCaprio, and he took off from that movie. She … less so. So by the time U-Turn came along, she was happy to grab it. She was going back to Yale at that point, and she wanted me to write her a letter of recommendation. I had flunked out of Yale, but I wrote it anyway. She always thanked me for that. She is a wonderful actress."

On who he looks up to: "It would be easier for you to give me a list with everyone on it and I could tell you who to take off. Most of the people would stay on it. Stanley Kubrick was a big deal for me when I was young. So was Federico Fellini. So was Jean-Luc Godard and Luis Buñuel. In my generation: Francis Ford Coppola, of course. Martin Scorsese. William Friedkin. In this generation: Alejandro Iñárritu has done a tremendous job. Birdman is an interesting philosophical story. So is The Revenant. He’s got talent. A lot of other people do, too. I think this Adam McKay, who did The Big Short, is very smart. He’s very good with dialogue, too."

On the Foley cartoon sounds in U-Turn: "The music was by Ennio Morricone, and he has a beautiful history. He not only some wrote Sergio Leone classics but also 1900, which I think is one of the most beautiful scores ever written. He’s written for so many people. I wanted him to do two things for me: One was this love theme, which I thought was tremendous. But the rest of it – he didn’t do it right. And he is not the easiest guy to get along with, if you talk to most people. He knew the game: His contract said he would never come back to the United States. So there would be no rewrites. When he delivered the score, the love theme was there. But the rest was not what I wanted. So I had to bring him back, and he was really (bleeped) off. That was a rough three days. I was trying to make him understand what I wanted, because I can’t put it into musical terms. I can only express it. I wanted the music he had done for Leone, only modernized with those reverbs and those exaggerated sounds. I call it kind of a cartoon sound. That booinnnng sound. He just didn’t seem to get it. I was desperate, so I showed him a cartoon of Tom and Jerry. I said, ‘That’s sort of what I want.’ He was so upset. He said: “You want me to write cartoon music? You brought me back to America for this?” He gave me what I wanted on a second pass, thank God. He’s still a (bleep) but … I am glad to see he got an Oscar. Not for his best music (The Hateful Eight). Probably his worst score, in fact. But he I am glad to see he got an Oscar."

On Oliver Stone’s movie recommendations: "You might boo me for this, but I was laughing my head off when I saw Zoolander 2. The critics all turned on it, They said it was dreck. But it’s very witty. Very well-written. And Will Ferrell has never been better as the incarnation of all evil. I say this seriously: You see evil in my movies, but when you see this movie, you will see evil. The way evil has become in the modern world."

Advice to a first-time filmmaker: "Get a good night’s sleep. That’s very important. Stay healthy. Eat well. It’s exhausting. I find directing is like being the host of a giant party. You are trying to put through your vision of a film, if you have one, and you are going to find there are a lot of impediments to that. It takes inner grit."

-Oliver Stone in Denver: Ten awesome quotes, Denver Center for the Performing Arts, March 7 2026

[bulgara]

U-Turn // Arda River // Bulgaria (Balkan)

[bundys-boys]

[hinamie]

morning glory

[cryptocism]

"just as I did, in 1983."

you'd never know my favourite parts of the show are the fucked up insane bits when my first instinct is to draw the cheesiest thing imaginable

[rampantrhino]

U turn - Marty mone

[shyaringan]

Head Archivist of the Magnus Institute, London

(day 1)

[inkskinned]

because sometimes there are invisible tests and invisible rules and you're just supposed to ... know the rule. someone you thought of as a friend asks you for book recommendations, so you give her a list of like 30 books, each with a brief blurb and why you like it. later, you find out she screenshotted the list and send it out to a group chat with the note: what an absolute freak can you believe this. you saw the responses: emojis where people are rolling over laughing. too much and obsessive and actually kind of creepy in the comments. you thought you'd been doing the right thing. she'd asked, right? an invisible rule: this is what happens when you get too excited.

you aren't supposed to laugh at your own jokes, so you don't, but then you're too serious. you're not supposed to be too loud, but then people say you're too quiet. you aren't supposed to get passionate about things, but then you're shy, boring. you aren't supposed to talk too much, but then people are mad when you're not good at replying.

you fold yourself into a prettier paper crane. since you never know what is "selfish" and what is "charity," you give yourself over, fully. you'd rather be empty and over-generous - you'd rather eat your own boundaries than have even one person believe that you're mean. since you don't know what the thing is that will make them hate you, you simply scrub yourself clean of any form of roughness. if you are perfect and smiling and funny, they can love you. if you are always there for them and never admit what's happening and never mention your past and never make them uncomfortable - you can make up for it. you can earn it.

don't fuck up. they're all testing you, always. they're tolerating you. whatever secret club happened, over a summer somewhere - during some activity you didn't get to attend - everyone else just... figured it out. like they got some kind of award or examination that allowed them to know how-to-be-normal. how to fit. and for the rest of your life, you've been playing catch-up. you've been trying to prove that - haha! you get it! that the joke they're telling, the people they are, the manual they got- yeah, you've totally read it.

if you can just divide yourself in two - the lovable one, and the one that is you - you can do this. you can walk the line. they can laugh and accept you. if you are always-balanced, never burdensome, a delight to have in class, champagne and glittering and never gawky or florescent or god-forbid cringe: you can get away with it.

you stare at your therapist, whom you can make jokes with, and who laughs at your jokes, because you are so fucking good at people-pleasing. you smile at her, and she asks you how you're doing, and you automatically say i'm good, thanks, how are you? while the answer swims somewhere in your little lizard brain:

how long have you been doing this now? mastering the art of your body and mind like you're piloting a puppet. has it worked? what do you mean that all you feel is... just exhausted. pick yourself up, the tightrope has no net. after all, you're cheating, somehow, but nobody seems to know you actually flunked the test. it's working!

aren't you happy yet?

[pacipinka]

*taps mic* is this thing on? Yeah okay so every vampire in the vampire chronicles is turned at critical a moment in their lives and beyond just the body they are in when they are turned, their mentality stays at that standstill for their entire immortality, Lestat was turned against his will, he was clinging onto Magnus begging him to be freed, so he’s constantly seeking freedom and only finding loneliness and thus turning back to people again and again, however he can’t STAND being told what to do, since he desires agency in his life so desperately, Armand was turned after years and years of abuse and lack of control but such a desire for genuine love, by a man he ‘loved’ so wholly who he felt was barring his love from him, he needs control in his life, he needs a ‘master’ but he does not desire it, it does not fulfill him, he is trapped in a room but the door is unlocked! Louis was mourning his brother, he felt like an utter failure and so he’s always seeking family, seeking people he can care for, he can coddle, he can prove he is good too, but he loves people who either cannot stand coddeling and need a sense of looseness to live (Lestat) or people who grow out of coddling who prove to Louis he will always fail the people he loves (Claudia), Claudias turning, in many MANY ways mirrors lestats in that it was against her will, she was stolen from her home, and in her immortality she desires freedom but unlike Lestat does not have the agency/ form to get it, she will always be small, she will always be looked down on, even by Lestat who cannot deny how much she is just like him *taps mic* ARE YOU LISTENING TO ME!! NONE OF THEM CAN BREAK THE CYCLE!!! TO BREAK IT WOULD BE TO UNDO THE VERY FIBER OF THEIR IMMORTAL SELVES!! THE CYCLE IS THE BLOOD THEY DRINK IT IS THE HEART IN THEIR CHEST AND IT ROLLS AND ROLLS DOWN THE MOUNTAINS AND VALLEYS OF THEIR LOVE FOR EACH OTHER AND IT CAN NEVER BE STOPPED BECAUSE THEY WILL NEVER STOP LOVING EACH OTHER!!!!!!!!!!!!

[recordseveryday]

snagged a custom u-turn audio today, taking it for a test spin and getting back into posting here

[back-and-totheleft]

"I had two very powerful parents. Usually one is weaker than the other - no, they were both equal and they fought to the end. So I'm the child of conflict...I wish, in some ways, that they were weaker. I do wish that they'd been more vulnerable, because I grew up under pressure to be the best, to succeed. The love of Mom was withdrawn many times. It would be there, but it would be withdrawn. As a result, it was an uncertainty. My dad was not the type of person who was a giving person in that regard: emotionally. In that era, men didn't share as much with their sons as men do in this era. I've taken [precautions]. With my own son, I'm very touchy-feely. I try to be because my dad would never [or] very rarely hold me or touch me. So there was that kind of thing of uncertainty. It's important to understand that you can be very privileged living in Manhattan but you can be very deprived." -Oliver Stone in a promotional interview for U Turn, Oct 26 1997

[heyhanibee]

adult aang studies 4 2day!!!☺️

[dateamonster]

"top ten movies about Girlhood" whose girlhood? whose girlhood? what kind of girl are these movies about? answer quickly.