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TO,BEGIN:::::
BEN affleck would just tell you TO GO FUCKIN' POUND SAND on his door-step.
Needless to say:::I* would like to KNOW::::why is it thaet the SOUNDstrack!to GOOD WILL HUNTING(1997!)6,, was such an EPIC scene for AMERICA?
ITEM #uno: the JOKE SONG. thaet NOBODY BUT NOBODY didn't think was a COOL ass-song even though they may not have really—truly—given it the time of day priorly...[On a side-note, however::::I can just say to, AFFLECK, go eat fuckin' SHIT, I'm quite sure I DON"T BELIEVE the '90s were fuckin' ANYTHING AT ALL.]
Never, the LESS:::::that SAX does hit, as if the whole COUNTRY is a jazz-ensemble, a city-wide society, just fresh off the NEGRO's rehabilitation CAMPAIGN, this SOLIDIFIES(and it does)the PRESENCE of'AFRICAN AMERICANS' in the liberal UTOPIA. It' ain'tYET::::bullshit false ROCK-IDOL(which is KIND OF WHAET AFFLECK, being ahead of the curve, is actually on-about)which is REALLY WHERE IT IS WITH THE SONG more WHITE-focusedly):whichIS* what he GOES FOR CRAZY-like in his NIKE commercial film cause thaet is actually a film for one single reason and thaet is CAUSE IT NOW RATES.(which is the thing with writers can actually HABILITATE a movie into a film which is how a RATIONALITY OF CINEMA PRODUCES AFFECT((as you contemplate, with my new thought"quote for you , the history of his* film now--they make an HISTORICAL ARC sensiblity possible which FRAMES. society. as an evolutionary endeavor in which a single particular::::CAN MASQUERADE AS A 'film'.(from the heights of present-contemplation; not the dream-casting of directors or analysts...........))) ).
BUT, returning to the past of the present!in which this film, now*,WAS-made:::::it was never more apparent thaet the truth of MUSIC CONCEALS something quite SINISTER about film-makers's INTENTIONS THAET THE SECOND clip here more accurately describe-s. WHICH IS THAET I cannot conceal thaet I LOVE MY COUNTRY MORE THAEN YOU AS A CONSUMER CAN conceal****thaet you do NOT care a whit about appearingas an INDIVIDUAL in manic depression.
AND THE FINAL thought**** here on this NOBEL PRIZE essay on soundtracking cinema cause it ain't no fuckin' SMALL-fry thoughts here at all my friend is thaet PULP fiction : : > links the past to the present as an on-going assemblyPRoject. AIN't this guy!!(greeneberger11:and this is* a handout CAUSE AL greene was seriously a nigger.) more sane thaen the previous WHITE-dude????? NO! he is NOT ACTUALLY MORE SANE Cause the request this song. MAKES. on PULP???? WAY TANTAMOUNT on the film itself cause it is an intrigue on life-standards thaet were not yet at their height in the 1990s which is also to say I DO NOT!BELIEVE, either AFFLECK, OR:DAMON, were ever abused at all. That's the depression-mania as an ACTIVE INTERLOCUTOR.
And , as with all pulp actual::::it's actualy(ibid.) quite fuckin' SILENCE OF THE LAMBS sinister causality on falsifying a dream about your own abuse in this world thaet is whow(ibidly.truthlike state.) the song INSPIRES*ONE to act in a reverse intentional way. Which is also why, in the '90s::::nobody would actually HAVE NOT-SKIPped![because there WAS NOTHING TO COMPLAIN, actualy!!!about.)].--this song on the soundtrack CD as they drove around town looking for a hangout suitable to a life.
SO:::: affleck can dream thaet it was all SUPERheros and MIGHT AND MAGIC in the 1990s but it was not the case thaet thaet song ever made a land until TO DAy in STATOS mexicanos.