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Slavoj Zizek: There is an old Gnostic theory that our world was not perfectly created, that the god who created our world was an idiot who bungled the job, so that our world is a half-finished creation. There are voids, openings, gaps. It's not fully real, fully constituted. In the wonderful scene in the last instalment of the Alien saga, Alien Resurrection, when Ripley, the cloned Ripley, enters a mysterious room, she encounters the previous failed version of herself, of cloning herself. Just a horrified creature, a small foetus-like entity, then more developed forms. Finally, a creature which almost looks like her, but her limbs are like that of the monster. This means that all the time our previous alternate embodiments, what we might have been but are not, that these alternate versions of ourselves are haunting us. That's the ontological view of reality that we get here, as if it's an unfinished universe. This is, I think, a very modern feeling. It is through such ontology of unfinished reality that cinema became a truly modern art.

Slavoj Zizek: Joseph Stalin's favourite cinematic genre were musicals. Not only Hollywood musicals, but also Soviet musicals. There was a whole series of so-called kolkhoz musicals. Why? We should find this strange, Stalin who personifies communist austerity, terror and musicals. The answer again is the psychoanalytic notion of superego. Superego is not only excessive terror, unconditional injunction, demand of utter sacrifice, but at the same time, obscenity, laughter. And it is Sergei Eisenstein's genius to guess at this link. In his last film, which is a coded portrait of the Stalin era, Ivan the Terrible: Part 2, which because of all this was immediately prohibited. In the unique scene towards the end of the film, we see the Czar, Ivan, throwing a party, amusing himself, with his so-called Oprichniki, his private guards, who were used to torture and kill his enemies, his, if you want, KGB, secret police, are seen performing a musical. An obscene musical, which tells precisely the story about killing the rich boyars, Ivan's main enemies. So terror itself is staged as a musical. Now, what has all this to do with the reality of political terror? Isn't this just art, imagination? No. Not only were the political show trials in Moscow in the mid- and late-1930s theatrical performances, we should not forget this, they were well staged, rehearsed and so on. Even more, there is, horrible as it may sound, something comical about them. The horror was so ruthless that the victims, those who had to confess and demand death penalty for themselves and so on, were deprived of the minimum of their dignity, so that they behaved as puppets, they engaged in dialogues which really sound like out of Alice in Wonderland. They behaved as persons from a cartoon.