He told me that I hadn't done anything yet. Hadn't lived yet. All you do is pass the time, he said.

I embarked on my life - I didn't do anything. I don't have an explanation.

Embodied in objects was a partial sense of sharing. They didn't lift their eyes from their respective sets. But noises bound them, a cyclist kick-starting, the plane that came winding down the five miles from its transatlantic apex, rippling the pictures on their screens. Objects were memory inert. Desk, the bed, et cetera. Objects would survive the one who died first and remind the other of how easily halved a life can become. Death, perhaps, was not the point so much as separation. Chairs, tables, dressers, envelopes. Everything was a common experience, binding them despite their indirections, the slanted apparatus of their agreeing. That they did agree was not in doubt. Faithlessness and desire. It wasn't necessary to tell them apart. His body, hers. Sex, love, monotony, contempt. The spell that had to be entered was out there among the unmemorized faces and uniform cubes of being. This, their sweet and mercenary space, was self-enchantment, the near common dream they'd countenanced for years. Only absences were fully shared.

The thinness of contemporary life. I can poke my finger through it.

The modern meaning of life's end-when does it end? How does it end? How should it end? What is the value of life? How do we measure it?

Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself.