Kennemer dunes 360° today. Question [ how much do we really need? ]

Min/max temperature: 4°C/16°C; humidity: 91%; precipitation: 0 mm; sea level pressure: 1031 hPa; wind: Variable 5.0 km/h; visibility: 10.0 kilometres

"INT. GENERAL HEADQUARTERS OF THE GASTAPO IN BERLIN - DAY

Officer: Heil Hitler.
Joseph Tura: Heil Hitler!
Officer: Colonel, we have Wilhelm Coetze here. If you'd like to look into his record. I hope he'll talk.
Joseph Tura: He'd better. Send him in.
Officer: Yes, sir. Wilhelm Coetze!

A boy, approximately aged ten, enters.

Wilhelm, the boy: Heil Hitler!
Josesph Tura: Heil Hitler! And now, Wilhelm, I understand you want a little tank to play with.
Wilhelm: Yes, my father promised me one if I got a good report card.
Josesp Tura: But our Fuhrer heard about your report card... and decided to give you just what you want.
Wilhelm: Heil Hitler!
Joseph Tura: Heil Hitler! You are going to tell your father who gave it to you, aren't you, Wilhelm?
Wilhelm: Sure, our Fuhrer.
Joseph Tura: And then maybe he will like the Fuhrer a little better, won't he?
Wilhelm: Sure.
Josesph Tura: He doesn't like him now, does he?
Wilhelm: No, he doesn't.
Joseph Tura: And sometimes he even says funny things about him, doesn't he?
Wilhelm: Well, he said they named a brandy after Napoleon... and they made a herring out of Bismarck. And Hitler's going to end up as...
Officer: A piece of cheese.
Wilhelm: Yes.
Joseph Tura: Yeah. How did you know?
Officer: Well, it's a natural thought.
Joseph Tura: A natural thought?!
Officer: I hope you don't misunderstand. I always, that is... You see, Colonel, I hope you don't doubt my...
All: Heil Hitler!

Door opens, Adolf Hitler enters.

Officer: The Fuhrer!
Officer: Heil Hitler!
Joseph Tura: Heil Hitler!
Adolf Hitler: Heil myself.

The Director, Mr. Dobosh suddenly interrupts. Standing up agitated from behind his reading table in the theatre.

Director Mr. Dobosh: That's not in the script!
Mr. Bronksi (Hitler): But, Mr. Dobosh, please.
Director Mr. Dobosh: That's not in the script, Mr. Bronski.
Mr. Bronski: But it'll get a laugh.
Director Mr. Dobosh: I don't want a laugh here. How many times have I told you not to add any lines? I want...
Mr. Greensberg: You want my opinion, Mr. Dobosh?
Director Mr. Dobosh: No Mr. Greenberg, I don't want your opinion.
Mr. Greensberg: All right, then let me give you my reaction. A laugh is nothing to be sneezed at.
Director Dobosh: Mr. Greenberg, I hired you as an actor, not as a writer. Understand? No. What does the script say?
Mr. Bronksi: I make an entrance.
Director Dobosh: And what do you say?
Mr. Bronksi: Nothing.
Director Dobosh: Then say nothing."

From: 'To Be or Not To Be', Directed by Ernst Lubitsch, Written by Melchior Lengyel, Edwin Justus Mayer and Ernst Lubitsch (uncredited), starring Carole Lombard, Jack Benny, Robert Stack, Felix Bressart, Sig Ruman, first released on February 19, 1942 in Los Angeles, trough United Artists

"Enter HAMLET.
Ham. To be, or no to be, -- that is the question: --
Whether 'tis nobler in the mind to suffer
 the slings and arrows of outrageous fortune, or to take arms against a sea of troubles, and by opposing end them? -- To die, -- to sleep, -- No more; and by a sleep to say we end the heart-ache and the thousand natural shocks.
The flesh is heir to, -- 'tis a consummation devoutly to be wish'd. To die, -- to sleep;-- To sleep! perchance to dream: ay, there's the rub;
 For in that sleep of death what dreams my come, when we have shuffled off this mortal coil, must give us pause; there's the respect that makes calamity of so long life; time for who would bear the whips and scorns of the oppressor's wrong, the proud man's contumely, the pangs of disposed love, the law's delay, the insolence of office, and the spurns that patient merit of the unworthy takes, when he himself might his quietus make with a bare bodkin? who would fardels bear, to grunt and sweat under a weary life, but that the dread of something after death,-- the undiscover'd country, from whose bourn no traveller returns,--puzzles the will, and makes us rather bear those ills we have that fly to others that we know not of? 
Thus conscience does make cowards of us all; and thus the native hue of resolution is sicklied o'er with the pale cast of thought; and enterprises of great pith and moment, with this regard, their currents turn awry, and lose the name of action.-- Soft you now! The fair Ophelia.--Nymph, in thy orisons be all my sins remembered."

From: William Shakespeare's 'Hamlet, Prince of Danmark', Act III, scene 1, written between 1599 and 1602, page 960 of 'The Complete Works of William Shakespeare', first published in 1958 by Spring Books, London

"We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep."

William Shakespeare as quoted in the preface of 'The Complete Works of William Shakespeare', page VI, first published in 1958 by Spring Books, London

"The major limitation of consciousness is its innocence."

David Hawkins in 'Power vs Force', page 251, first published in 1995 by Hay House, United Kingdom

Kennemer dunes 360° between Zandvoort and IJmuiden, today. Look and see [ process and show ]

Min/max temperature: 7°C/14°C; humidity: 98%; precipitation: 1 mm; sea level pressure: 1008 hPa; wind: WNW 43.0 km/h; visibility: 10.0 kilometres; Clouds: few 670 m., overcast: 975 m.

" [ The ] concept of stress may indicate any state of reduced well-being varying from being in a bit of a hurry to a complete nervous breakdown. In a more strict sense, it refers to a state of exhaustion resulting from chronically having to deal with problems and anxieties, which in themselves qualify as inconveniences rather than threats of life. [ The ] notion of stress invariably refers to a less than desirable condition. When originally conceived, however, it was meant to denote a neurological and visceral reaction known as the "fight-or-flight" phenomenon. This reaction results in a readiness to deal with imminent danger by either fighting or fleeing. Since this constitutes an elementary survival mechanism, such a stress reaction should be considered both normal and healthy. In everyday life it is only if a state of heightened alertness and preparedness for action is maintained over a long period of time, without any breaks for recovery, that the effects of stress are potentially harmful. In normal life […] damaging effects occur if there is no plausible opponent to fight or fly from: e.g. if the threat originates from a bureaucratic machinery, or if an insurmountable work-load is self inflicted. Since there is no clear way to deal with these problems actively and effectively, the individual may resort to emotional coping strategies. […] these strategies may give rise to damaging symptoms: sleeplessness, overconsumption of tobacco and alcohol, irritability and tension. […] Fight and flight are behavioural categories. They are mutually exclusive. Although obviously related to fight and flight, courage and fear are not mutually exclusive. [ People ] may be frightened and courageous at the same time. Most people […] agree that there is no courage without fear. Fearlessness may strike the observer as an exceptional characteristic, even as something odd; it does not qualify, however, as true courage. The notion of courage presupposes the presence of fear. It is fear conquered in the interest of some worthy cause.

[…] Fear in itself is […] complex. [ It is best ] be understood as consisting of three components: a subjective reaction (the awareness of fear), a physiological reaction (like sweating or trembling) and an avoidance reaction (flight, taking shelter). The three reactions may or may not occur together. One may feel frightened without any bodily symptoms showing, and the reverse may be the case as well […] they are loosely coupled. One consequence […] of fear is that it is not always possible to tell whether a person is anxious. This may even be unclear to the person concerned. [ How a person ] is likely to respond to a serious threat […] cannot realistically be predicted. There is not a lot of reliable evidence for personality characteristics related to either courage or cowardice. If [ people ] are trapped between the options of fulfilling [ their ] duties [...] or relinquishing them [...] because neither is a viable option, [ people ] may suffer a breakdown. This, too, is an outcome which is hardly accounted for by characteristics like emotional stability. It is likely to be determined by situational factors […] Being subjected to [ a threat ] without the possibility of retaliation or adequate shelter is a typical situation where fight nor flight are plausible options, and a breakdown may be all that is left. The strains of the situation are overwhelming to a degree that antecedent emotional stability is hardly decisive. […] If no action or response whatsoever is instrumental in determining the outcome of a crisis, a collapse of the individual as an autonomous, self-directing system may occur. […] There are a number of factors which appear to have a buffering effect against interpreting a [ threatening ] situation as out of personal control. [...] A sense of confidence may enable a [ person ] to maintain his or her share of morale and endure […] tensions. […] Notable factors contributing to this effect are adequate training, trust in fellow [ people ] and excellent equipment. Since people derive the meaning of any situation largely from the way others seem to react to it, contagion is a major cause of a [ person's ] interpretation of a [ threatening ] situation as challenging, frightening or hopeless. The emphasis on contagion and social support in shaping a particular situation […] is tantamount to stressing the role of the [ leader ] in setting an example and managing attributions of meaning by subordinates."

J. Extra in 'NL Arms; Dealing with Danger and Stress', page 150, 151,152, 153 first published in 1998 by RMA, Breda, The Netherlands

"Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special observance, that you overstep not the modesty of nature: for anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her one feature, scorn her own image, and the very age and body of the time his form and pressure. Now, this overdone or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of which one must, in your allowance, overweigh a whole theatre of others."

From: William Shakespeare's 'Hamlet, Prince of Danmark', Act III, scene II, written between 1599 and 1602, page 961 of 'The Complete Works of William Shakespeare', first published in 1958 by Spring Books, London

" [ If ] you imagine the story as a house with many floors, some dark, some light -- some small rooms and some larger rooms with doors and windows and ceilings and suchlike -- and then acknowledge that fact that no [ two ] people in all our wonderful world are capable of furnishing, decorating, repairing or renovating the same house in the same way -- but they all may possibly want at least to be a 'Happy House' or a 'Cosy House', or even a 'miserable house'. The beauty of it is that presentation is the way we communicate, we present ourselves in certain clothes in certain colours to convey a certain signal -- all presentations of any kind are transmitted and received through codes of language, alphabets, numerals etc. -- but how all this is assembled before presentation is precisely where the individual mind and vision meets an object and translates that same object out to the rest of the world -- transformed into a massage, a statement incorporating Personality -- 'this is storytelling'. If this becomes a sequence of objects, then it becomes a narrative structure. Angle of vision -- the movement -- the poetry, no one being is […] the same. This is the human alchemy behind any frame of any story…"

Anthony Dod Mantle in 'Framing, A Symposium on Cinematography', page 148, edited by Andreas Fisher-Hansen, Igor Koršič and Tina Sørensen (unpublished manuscript)