500 Days Of Summer Quotes

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Some people are meant to fall in love with each other, but not meant to be together.
Scott Neustadter ((500) Days of Summer: The Shooting Script)
Most days of the year are unremarkable. They begin and they end with no lasting memory made in between. Most days have no impact on the course of a life.
Scott Neustadter ((500) Days of Summer: The Shooting Script)
You can't ascribe great cosmic significance to a simple earthly event. Coincidence. That's all anything ever is. Nothing more than coincidence.
Scott Neustadter ((500) Days of Summer: The Shooting Script)
Just because she likes the same bizarro crap you do doesn’t mean she’s your soul mate.” —500 Days of Summer
Lynn Painter (Better Than the Movies)
You can't ascribe great cosmic significance to a simple earthly event. Coincidence. That's all anything ever is. Nothing more than coYou can't ascribe great cosmic significance to a simple earthly event. Coincidence. That's all anything ever is. Nothing more than co
Scott Neustadter ((500) Days of Summer: The Shooting Script)
Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. The second was how easily she could cut it off... And feel nothing.
Scott Neustadter ((500) Days of Summer: The Shooting Script)
Some people are meant to fall in love with each other, but not meant to be together." Scott Neustadter ((500) Days of Summer: The Shooting Script)
Scott Neustadter
The raids brought a revival of recurring rumors of tipoffs on days when hits were made by lucky patrons in the 500 to 1 game. If slips are seized no payments are made. One such tipoff last summer was said to have voided a $50,000 dollar payoff on number 110 when it
John W. Harshaw (Bankers, Writers and Runners: Playing The Numbers In Cincinnati)
They booed Jay lightly; they didn’t mind seeing him suffer a little—not with that $27,500 salary he won after a holdout this spring. They applauded Koufax, the Dodger pitcher, who was working easily and impressively, mixing fast balls and curves and an occasional changeup, pitching in and out to the batters, and hitting the corners. Koufax looked almost ready for opening day.
Roger Angell (The Summer Game (Bison Book))
Live in the all,’ ” Melville wrote to Hawthorne. What nonsense!… This “all” feeling…there is some truth in. You must often have felt it, lying on the grass on a warm summer’s day. Your legs seem to send out shoots into the earth. Your hair feels like leaves upon your head. This is the all feeling. But what plays the mischief with the truth is that men will insist upon the universal application of a temporary feeling or opinion.
Kurt Andersen (Fantasyland: How America Went Haywire: A 500-Year History)
It was 1992, and the Knicks were hosting their first annual summer camp for youngsters. Like many camps with professional teams, the club wanted to have one of its players make an appearance for a day. Not someone like Ewing, a star who had too many demands on his time already. But not someone from the end of the bench, either. So they asked Mason—basically still new to the NBA—if he’d appear for $1,500. The forward said yes, and the team provided him with a limousine to the camp that day. Mason had his window rolled down as the vehicle arrived, and the kids hovered around it like paparazzi, wanting to catch a glimpse of him up close. Yet Mason stayed in the car. First for two minutes. Then five. Then almost fifteen. Finally Ed Tapscott, then the club’s administrative director, came outside. He’d been responsible for Mason’s appearance at the camp that day, and couldn’t figure out why Mason wasn’t making his way inside the gym. “I’m not getting out of the car for anything less than $2,000, bro. And I want cash,” Mason told him. Tapscott figured he was joking at first. But Mason was completely serious. Sure, he’d agreed to the $1,500 figure before, but now—with an army of young, excited kids waiting inside—he had the leverage to play hardball. Tapscott said he wasn’t even sure he could realistically get access to that much cash that soon. “I had to give one of our staffers my ATM card,” he recalls. “What choice did I really have in a situation like that?” With assurance of the pay increase, Mason hopped out. He played in a couple of scrimmages with the children. But, in classic Mason fashion, he couldn’t turn off his competitiveness. While playing, Mason inadvertently elbowed a kid, knocking the child out cold and breaking his nose, which gushed with blood. When the boy regained consciousness, he woke to find a worried Mason hovering over him. The child smiled and asked the Knick to sign his bloody T-shirt. Meanwhile, Tapscott said he and others running the camp were merely happy to escape the situation without the threat of a lawsuit.
Chris Herring (Blood in the Garden: The Flagrant History of the 1990s New York Knicks)
In the spring of 1935, an editor at the New York publishing house Macmillan, while on a scouting trip through the South, was introduced to Mitchell and signed her to a deal for her untitled book. Upon its release in the summer of 1936, the New York Times Book Review declared it “one of the most remarkable first novels produced by an American writer.” Priced at $3, Gone with the Wind was a blockbuster. By the end of the summer, Macmillan had sold over 500,000 copies. A few days prior to the gushing review in the Times, an almost desperate telegram originated from New York reading, “I beg, urge, coax, and plead with you to read this at once. I know that after you read the book you will drop everything and buy it.” The sender, Kay Brown, in this missive to her boss, the movie producer David Selznick, asked to purchase the book’s movie rights before its release. But Selznick waited. On July 15, seeing its reception, Selznick bought the film rights to Gone with the Wind for $50,000. Within a year, sales of the book had exceeded one million copies. Almost immediately Selznick looked to assemble the pieces needed to turn the book into a movie. At the time, he was one of a handful of major independent producers (including Frank Capra, Alfred Hitchcock, and Walt Disney) who had access to the resources to make films. Few others could break into a system controlled by the major studios. After producing films as an employee of major studios, including Paramount and MGM, the thirty-seven-year-old Selznick had branched out to helm his own productions. He had been a highly paid salaried employee throughout the thirties. His career included producer credits on dozens of films, but nothing as big as what he had now taken on. As the producer, Selznick needed to figure out how to take a lengthy book and translate it onto the screen. To do this, Selznick International Pictures needed to hire writers and a director, cast the characters, get the sets and the costumes designed, set a budget, put together the financing by giving investors profit-participation interests, arrange the distribution plan for theaters, and oversee the marketing to bring audiences to see the film. Selznick’s bigger problem was the projected cost.
Bhu Srinivasan (Americana: A 400-Year History of American Capitalism)
I remember feeling like the concrete was opening up and I know this to be nothing but rage I know this to be what comes after swinging wild punches at the air and imagining the faces of your worst demons the cops the politicians who call the places you love war zones the helicopters that won’t let you sleep that claw through the walls and wake up elders and children and goddamn I remember at my feet that blood-stained concrete just split right in half and opened up and I want a whole city underground if it does not love my people I want to bury the new condo developments instead of my people I want to bury the craft breweries and the barcades and the mixed-use helltowers instead of my people I want the statues melted down I want the mothers of murdered children to do it I want the heat to rise from a statue’s vanishing and last for ten summers I don’t want apologies anymore no not this time I want the mayor to walk through a place he called a war zone at night I want people to get real honest with themselves about what war actually is I want the schools to have heat I want the schools to have air I want the riot gear thrown in the river the river that was blue when I was a boy but now leaves brown streaks as it runs away from the city I want the brown river to carry the riot gear to some other hell and I want the babies to stop passing out in school do you hear me I want a whole city under the ground some days but I at least want the rain I at least want something to wash the blood away so that no one who loved him has to and somewhere beyond the blood what I don’t remember is 5:00 when I learned not to run from the cops and I don’t remember when I first ignored that advice.
Hanif Abdurraqib (There's Always This Year: On Basketball and Ascension)