“I think Donkey Punch is an extreme thriller or an extreme reality-based thriller. The whole point of the film is it's grounded in reality.”

[Exclusive interview with Oliver Blackburn, Total Film, http://www.totalfilm.com/trailers/donkey-punch-exclusive-interview-with-oliver-blackburn, 2011, Future Publishing Limited, 23 February 2012]

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Olly Blackburn 18
Film director and screenwriter

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Olly Blackburn photo

“Donkey Punch is a very extreme, real-world thriller – it’s about characters and events that are based in reality and it pushes them into very dark and extreme situations where they have to do things that they would never have imagined. The film shows all this quite realistically and doesn’t pull its punches.”

Olly Blackburn Film director and screenwriter

[Bloody Disgusting, Interview Donkey Punch: Writer/Directory Olly Blackburn, Mr. Disgusting, http://www.bloody-disgusting.com/interview/441, 23 February 2012, 2011, Bloody-Disgusting LLC]

Juliette Binoche photo

“In films we see extremes, because it’s where you have turning points.”

Juliette Binoche (1964) French actress

As quoted in "Emotional Intelligence" by James Mottram, in The Sunday Herald (8 January 2006)
Context: I think the characters I play go through tunnels, like in Three Colours : Blue, for example, where she’s lost everything... In The English Patient, she loses her best friend; this patient is dying in front of her – there’s no hope, so she’s going to start from the bottom. In films we see extremes, because it’s where you have turning points. Before I thought there was a common denominator between my films — as if all my characters were sisters – but I’m not so sure now.

Michael Haneke photo
Mircea Eliade photo

“Myth is an extremely complex cultural reality, which can be approached and interpreted from various and complementary viewpoints.”

Mircea Eliade (1907–1986) Romanian historian of religion, fiction writer and philosopher

Myth and Reality (1963)
Context: Myth is an extremely complex cultural reality, which can be approached and interpreted from various and complementary viewpoints.
Speaking for myself, the definition that seems least inadequate because most embracing is this: Myth narrates a sacred history; it relates an event that took place in primordial Time, the fabled time of the "beginnings." In other words myth tells how, through the deeds of Supernatural Beings, a reality came into existence, be it the whole of reality, the Cosmos, or only a fragment of reality — an island, a species of plant, a particular kind of human behavior, an institution. Myth, then, is always an account of a "creation"; it relates how something was produced, began to be. Myth tells only of that which really happened, which manifested itself completely. The actors in myths are Supernatural Beings. They are known primarily by what they did in the transcendent times of the "beginnings." hence myths disclose their creative activity and reveal the sacredness (or simply the "supernaturalness") of their works. In short, myths describe the various and sometimes dramatic breakthroughs of the sacred (or the "supernatural") into the World. It is this sudden breakthrough of the sacred that really establishes the World and makes it what it is today. Furthermore, it is as a result of the intervention of Supernatural Beings that man himself is what he is today, a mortal, sexed, and cultural being.

Sun Tzu photo

“Be extremely subtle, even to the point of formlessness. Be extremely mysterious, even to the point of soundlessness.”

Alternative translation: Subtle and insubstantial, the expert leaves no trace; divinely mysterious, he is inaudible. Thus he is master of his enemy's fate.
Alternative translation: O divine art of subtlety and secrecy! Through you we learn to be invisible, through you inaudible and hence we can hold the enemy's fate in our hands.
The Art of War, Chapter VI · Weaknesses and Strengths
Context: Be extremely subtle, even to the point of formlessness. Be extremely mysterious, even to the point of soundlessness. Thereby you can be the director of the opponent's fate.

“Love is the extremely difficult realisation that something other than oneself is real. Love, and so art and morals, is the discovery of reality.”

Iris Murdoch (1919–1999) British writer and philosopher

"The Sublime and the Good", in the Chicago Review, Vol. 13 Issue 3 (Autumn 1959) p. 51.
Source: Existentialists and Mystics Writings on Philosophy and Literature

Sun Tzu photo

“Be extremely subtle, even to the point of formlessness. Be extremely mysterious, even to the point of soundlessness. Thereby you can be the director of the opponent's fate.”

(zh-TW) 微乎微乎,至於無形;神乎神乎,至於無聲;故能為敵之司命。
Alternative translation: Subtle and insubstantial, the expert leaves no trace; divinely mysterious, he is inaudible. Thus he is master of his enemy's fate.
Alternative translation: O divine art of subtlety and secrecy! Through you we learn to be invisible, through you inaudible and hence we can hold the enemy's fate in our hands.
The Art of War, Chapter VI · Weaknesses and Strengths

Margaret Mead photo

“I think extreme heterosexuality is a perversion.”

Margaret Mead (1901–1978) American anthropologist

Attributed in Open Minds: Exploring Global Issues Through Reading and Discussion (1996) by Steven Widdows and Peter Voller, p. 69
1990s

“I think one word we can agree Bob is, uh? Epic, classic. Thriller, block-buster. I think all the clichés were made real. I mean? You woke up this morning, saying you felt nervous about this game. Now, I know why.”

Ian Darke (1950) British association football and boxing commentator

Brazil v. United States http://www.listenonrepeat.com/watch/?v=ke8XNArZvVU (10 July 2011).
2010s, 2011, 2011 FIFA Women's World Cup

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