Marius Lundgård

Search

Opinion concerning “anymore” vs “any more” divides roughly into three camps:

There is no such word as “anymore”. It is simply a misspelling.
“Anymore” and “any more” are two ways of spelling the same thing, and the two have the same meaning.
There is a useful difference in meaning between the two.

About the first two camps, little more needs to be said. Either statement stands on its own and needs no elaboration.

The difference in meaning considered useful by the third camp is that “anymore” is an adverb meaning “nowadays” or “any longer”, while “any more” can be either adverb plus adjective, as in “I don’t want any more pie”, or adjective plus noun, as in “I don’t want any more.”

The difference between the two meanings is illustrated in the sentence: “I don’t buy books anymore because I don’t need any more books.”

The distinction of “any more” and “anymore” seems to be recognized by many, but not all, US users and by dictionaries published in the US. At least one British dictionary (NSOED/93) and some British users recognize “anymore” as an alternative spelling of “any more”, but do not recognize a difference in meaning.

The adverb “anymore” is standard American English when it is used in a negative sense, as in “I don't do that anymore.” It is a regional or dialectal usage, mostly restricted to spoken English, when it is used in a positive sense, meaning “nowadays”, as in “Anymore I do that” or “I do that anymore.”

Bas

Thomas & Lars

Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).
The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot).
The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place).
The film must be in colour. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera).
Optical work and filters are forbidden.
The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)
Genre movies are not acceptable.
The film format must be Academy 35 mm.
The director must not be credited.

Jean

You will not make documentaries if you do not feel the subject.
You will refuse to direct a film if your convictions are not expressed.
You will not influence the audience by unfair means.
You will seek reality without aestheticism or ideological apparatus.
You will abandon every special effect that is not justified.
Trickery will be of no use unless the audience is your confidant.
You will not use clever editing unless it illustrates your good intentions.
You will not show monotonous sequences without perfect justification.
You will not substitute words for images in any way.
You will not be content with “close enough” unless you want to fail spectacularly.

Friedrich

“But it is precisely the technical form, whereby truth is made manifest to the intellect, which veils it again from our feeling. For alas! intellect must first destroy the object of Inner Sense if it would make its own. Like the analytical chemist, the philosopher can only discover how things are combined by analysing them, only lay bare the workings of spontaneous nature by subjecting them to the torment of his own techniques. In order to lay hold of the fleeting phenomenon, he must first bind it to the fetters of rule, tear its fair body to pieces by reducing it to concepts, and preserve its living spirit in a sorry skeleton of words. Is it any wonder that natural feeling cannot find itself again in such an image, or that in the account of the analytical thinker truth should appear as a paradox?” (First Letter)