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Julian Barnes

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You need one of those slave-driving old studio bosses if you ask me, not a sensitive graduate who went into movies because he liked the clouds in Antonioni and then turned himself into a nouvelle vague Deutscher all hot for Truthspiel.
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Page 194.
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See wikipedia on Michelangelo Antonioni.

 
Julian Barnes

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The films of Michelangelo Antonioni are aesthetically complex – critically stimulating though elusive in meaning. They are ambiguous works that pose difficult questions and resist simple conclusions. Classical narrative causalities are dissolved in favour of expressive abstraction. Displaced dramatic action leads to the creation of a stasis occupied by vague feelings, moods and ideas. Confronted with hesitancy, the spectator is compelled to respond imaginatively and independent of the film. The frustration of this experience reflects that felt in the lives of Antonioni's characters: unable to solve their own personal mysteries they often disappear, leave, submit or die. The idea of abandonment is central to Antonioni's formal structuring of people, objects, and ideas. He evades presences and emphasises related absences. His films are as enigmatic as life: they show that the systematic organisation of reality is a process of individual mediation disturbed by a profound inability to act with certainty.

 
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Who Rebels? Who rises in arms? Rarely the slave, but almost always the oppressor turned slave.

 
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My university education had been a shallow and superficial enterprise. The central driving forces of the economy I lived in were either ignored or left vague, to the point of meaningless.

 
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Keep the boss aware. Bosses, after all, are held responsible by their own bosses for the performance of their subordinates. They must be able to say: "I know what Anne [or John] is trying to do."

 
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