Film and video buffs should all take a break and read through, or if necessary plod through, T.S. Eliots two major poems, "The Love Song of J. Alfred Proofrock" and "The Wasteland." Why? Because this is at least one of the original sources of the collage and pastiche presentation of drama, with snatches of scenes and especially dialogue that propels virtually (or nearly) all film and video, and has become all-pervasive even (and extensively) in advertising. Decades later, these techniques were picked up by film makers like Fellini and Antonioni and eventually nearly everyone else in film/video/advertising. Eliot was a bottled up, sickly guy, who emigrated from his native St. Louis to become a derby wearing banker in London, where he acquired a sort of English accent. His first wife was mentally ill, and his second wife later in life was essentially his caretaker, but his talent is towering, really dominating. Hemingway hated him, for obvious reasons, Ernie being a man of action, big game hunter, etc. (Ernie was an acolyte of Theodore Roosevelt, though this is seldom mentioned, certainly not by him.) But for cinematography Eliot is the father of the modern era, never having made or been in a film. After he won the Nobel Prize -- gave one of the most insightful acceptance speeches in the history of the award -- he visited his manuscripts in a rare book room where they were delivered from under glass by someone wearing white gloves. He whipped out a pen and did revisions! The curator quietly gasped, but didn't intercede with the poet himself.