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James Schlesinger, former director of the CIA and former Secretary of both Defense and Energy, agrees. "We lack a sense of history," he declares. "These things do not just happen in the morning and then disappear at night. We cannot continue to live in this world as if there were no yesterday and will be no tomorrow...

Author: /time Magazine | Title: THE PRESIDENCY by HUGH SIDEY: Looking Back to Look Ahead | 10/6/1980 | See Source »

...pushing himself so hard? Waits' every waking hour (beginning around noon) is devoted to his music, a book, a movie idea. "There's a certain reward," he says. "A very personal reward from all this. But I don't know, sometimes I just want to disappear. Poof! 'Excuse me while I disappear.' Deadlines, schedules, obligations, responsibilities. Sometimes the work just kinda drills. But then something comes along and boom boom -- everything's okay. So what are you going to do? Marry the girl...

Author: By Stephen X. Rea, | Title: The Tom Waits Cross-Country Marathon Interview | 9/18/1980 | See Source »

...around the corner. "Let's face it," he says, "right now people are coming to see the Unknown Comic and not Murray Langston, but that should change soon." Then, having given his prediction, Murray Langston walks up a flight of stairs, across the long hotel lobby and seems to disappear in the crowd...

Author: By Bill Braunstein, | Title: THE UNKNOWN COMIC | 9/18/1980 | See Source »

These are flaws of excess, however, not misdirection, and as the cast adjusts to the new location they may disappear. Either way, this production has an abundance of invention, mirroring Shakespeare's that insures its success. Making fun of the playwright is a dangerous game for directors; it runs the risk of suggesting to audiences that there's no value to the play, and no point in staging it. But Belgrader manages to ridicule Shakespeare's implements with the same stroke that affirms his comic genius...

Author: By Scott A. Rosenberg, | Title: Some Aversions to Pastoral | 9/17/1980 | See Source »

...notion associating Hitler's victims with overcast skies. Fuller's vision is probably truer. He never shies away from color, and enjoys cutting from a crisp shot of blue sky and gold sand to the dull greys and greens of the infantryman's daily existence. Yet the colors never disappear; when there are no more flowers or there is no more blood, Fuller closes in on Lee Marvin's face, a rough-hewn palette of balanched hair, amber skin and watery eyes...

Author: By David Frankel, | Title: The Fine Art of Survival | 9/15/1980 | See Source »

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