jeśli twoje dziecko najbardziej na świecie kocha filmy, a ty najbardziej na świecie kochasz swoje dziecko, to kup mu cinema speculation - w świątyni, rozdział 08:

For hip audiences the hero dying futilely at the end of the picture was a come-on. It reaffirmed their pose, you can’t win. When Robert Blake and Stacy Keach died at the end of Electra Glide in Blue and The New Centurions, and when Fonda and Hopper bought it in Easy Rider it was senseless and tragically ironic. But that felt good because it reaffirmed the senselessness and tragic irony of American life. The senselessness of their deaths made them heroes. In the first half of the seventies you weren’t a hero for fighting a war overseas and killing a bunch of enemy soldiers. You were a hero if you fought the war, went back home, and got shot in a liquor store robbery. But that’s the Jack Nicholson audience, the Elliott Gould audience, and the Dustin Hoffman audience. Burt Reynolds and Charles Bronson audiences didn’t feel that way.