The biosphere model was on a huge table <...> It was at least twenty feet long and ten feet wide, with the clear plastic dome over it virtually touching the twelve-foot-high ceiling. Bolted to the side of the table was a wooden plaque with gold lettering: EDEN.

I sailed head first through the opening in the Plexiglas, prepared for the shock of landing on what I assumed would be hard-packed sand.

Wrong.

So much for relying on scale models, I thought as I landed in foul-smelling muck that almost immediately closed over my head as it began sucking me down. I fought against the slime, struggling to right myself, and finally felt my feet touch bottom. I stood up, found myself in blackish-brown mire that came up to my shoulders, gagged when I sucked in a breath. It seemed I had landed in the swamp — which was virtually a cesspool.

Something was definitely rotten in Eden; or it was Eden itself that was rotting.

Perhaps no Westerner could be prepared for the grandeur of Persepolis.

<...>

Persepolis, like a city of whispering stone, spoke to me of many things: I was a stranger in a totally alien culture, a very long way from home, lonely, homesick and very much afraid of dying without ever again seeing any face I loved.

The retrospective will offer an opportunity for a new movie-going generation to view films covering all of the classic American International Pictures genres including the "beach party" frolics, the Edgar Allan Poe horrors, motorcycle sagas, youth films and science fiction epics ranging from "The Fast and the Furious" (the Company's first release in 1954), "I Was A Teenage Werewolf," Ralph Bakshi's "Heavy Traffic," Brian De Palma's "Sisters," Woody Allen's "What's Up Tiger Lily?," Roger Corman's "House of Usher," John Milius' "Dillinger" to Vincente Minnelli's "A Matter of Time" and 25 others.

Теория, мой друг, суха,
Но зеленеет жизни древо.