Airplanes Movie Quotes

No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages 1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree. 2) Mozart was already competent on keyboard and violin; he composed from the age of 5. 3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.” 4) Anne Frank was 12 when she wrote the diary of Anne Frank. 5) Magnus Carlsen became a chess Grandmaster at the age of 13. 6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14. 7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15. 8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil. 9) Elvis was a superstar by age 19. 10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961. 11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936. 12) Beethoven was a piano virtuoso by age 23 13) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 24 14) Roger Bannister was 25 when he broke the 4 minute mile record 15) Albert Einstein was 26 when he wrote the theory of relativity 16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 28 18) Alexander the Great, by age 29, had created one of the largest empires of the ancient world 19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter 20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean 21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind 22) Edmund Hillary was 33 when he became the first man to reach Mount Everest 23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream." 24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight 26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions. 27) Neil Armstrong was 38 when he became the first man to set foot on the moon. 28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn" 29) Christopher Columbus was 41 when he discovered the Americas 30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger 31) John F. Kennedy was 43 years old when he became President of the United States 32) Henry Ford Was 45 when the Ford T came out. 33) Suzanne Collins was 46 when she wrote "The Hunger Games" 34) Charles Darwin was 50 years old when his book On the Origin of Species came out. 35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa. 36) Abraham Lincoln was 52 when he became president. 37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels. 38) Dr. Seuss was 54 when he wrote "The Cat in the Hat". 40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived 41) Colonel Harland Sanders was 61 when he started the KFC Franchise 42) J.R.R Tolkien was 62 when the Lord of the Ring books came out 43) Ronald Reagan was 69 when he became President of the US 44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats 45) Nelson Mandela was 76 when he became President

Enjoy making decisions. You must know that in any moment a decision you make can change the course of your life forever: the very next person you stand behind in line or sit next to on an airplane, the very next phone call you make or receive, the very next movie you see or book you read or page you turn could be the one single thing that causes the floodgates to open, and all of the things that you’ve been waiting for to fall into place. If you really want your life to be passionate, you need to live with this attitude of expectancy.

Few things would gratify me as much as a rediscovered respect for things belonging to others. Not abusing the property of others (or that of the community) is one of the ways in which we respect others. It is an essential part of being considerate guests, no matter where we are: in an airplane, in a friend's home, in a movie theater, in a doctor's office, in a public library, or in a public square.

Meredith looked at him. “That’s a quote from Airplane. Surely, you’re too young to know that movie.” “Airplane II, actually. I watch a lot of movies and I memorize dialogue easily. It’s a gift.” Cole shrugged casually. “And please, don’t call me Shirley.

Of all the inventions Addie has seen her ushered into the world — steam-powered trains, electric lights, photography, and phones, and airplanes, and computers — movies might just be her favorite one. Books are wonderful, portable, lasting, but sitting there, in the darkened theater, the wide screen filling her vision, the world falls away, and for a few short hours she is someone else, plunged into romance and intrigue and comedy and adventure.

10. Never allow your imagination to stop. It was the imagination of great people that brought us the internet, the pyramids, cars, airplanes, boats, great novels, beautiful painting, classical songs, great movies, water irrigation, solar panels, the statue of liberty, the wall of china and so forth. Never under estimate your imagination.

Occasionally, in the stillness of a taxi or an airplane, she would catalog the pleasures she had lost. Cigarettes. Chewing gum. Strong mint toothpaste. Any food with hard edges or sharp corners that could pierce or abrade the inside of her mouth: potato chips, croutons, crunchy peanut butter. Any food that was more than infinitesimally, protozoically, spicy or tangy or salty or acidic: pesto or Worcestershire sauce, wasabi or anchovies, tomato juice or movie-theater popcorn. Certain pamphlets and magazines whose paper carried a caustic wafting chemical scent she could taste as she turned the pages. Perfume. Incense. Library books. Long hours of easy conversation. The ability to lick an envelope without worrying that the glue had irritated her mouth. The knowledge that if she heard a song she liked, she could sing along to it in all her dreadful jubilant tunelessness. The faith that if she bit her tongue, she would soon feel better rather than worse.

I found it strange how people could sit in an airplane flying miles high at hundreds of speeds and not think about it. We got used to magnificent things. I wanted to think it’s cool every time I fly. I wouldn’t want to act overdramatic but just sit there and look out the window for a moment and process what I’m doing. Really process it. Maybe before turning on a movie or going back to normal life, I would begin the flight with a moment like that.

When live entertainment was not available, women delivered the film and ran the projectors for the hundreds of movies that were shown to the soldiers. Frances witnessed the popularity of movies time after time; they were shown in warehouses, airplane hangars, on battered portable screens, or projected against the wall of a building in the village square where townsfolk crammed in around the soldiers. “Charlie and Doug” were the two favorites, but anything showing familiar sights from home—the Statue of Liberty, a Chicago department store, or San Francisco’s Golden Gate—created a sensation and bolstered morale. Toward the end of the war German propaganda films left behind by the retreating army became a prime attraction.30 Frances traveled to and from Paris for a few days at a time, usually arriving on or near the front after a battle to witness doctors and nurses doing what they could for the injured in the shattered villages and burying the dead. She was struck by how thoroughly exhausted the Europeans were after four devastating years of war.

Denise, the Nazi soldiers in those trucks do not suspect they're about to be outfoxed by two girls." In the stillness before we spring back itno action, Denise looks to me, grinning like mad. She quotes a line from King Kong, one of my favorite movies I watched with Tom. "'Oh no. It wasn't the airplanes. It was Beauty killed the Beast.

And they were always young, Air Corps pilots and ensigns, and good-looking girls in fur coats, and always the government secretary or two, the working girl as a carry-over from the fraternity parties when she was always the girl who could be made because in some mysterious way the women of the lower classes could be depended upon to copulate like jack rabbits. And they all knew they were going to die soon with a sentimental and unstated English attitude which was completely phony. It came from books they had never read, and movies they shouldn’t have seen; it was fed by the tears of their mothers, and the knowledge quite shocking, quite unbelievable, that a lot of them did die when they went overseas. Its origins were spurious; they never could connect really the romance of their impending deaths with the banal mechanical process of flying an airplane and landing and living in the barren eventless Army camps that surrounded their airfields. But nevertheless they had discovered it was a talisman, they were going to die soon, and they wore it magically until you believed in it when you were with them. And they did magical things like pouring whisky on each other’s hair, or setting mattresses afire, or grabbing hats on the fly from the heads of established businessmen. Of all the parties those were perhaps the best, but he had come to them too old.

Sergeant Pepper was dead. G.I. Joe lived on. George Bush was president, movies stars were dying from AIDS, kids were smoking crack in the ghettos and the suburbs, Muslims were blowing airliners from the skies, rap music ruled, and nobody cared much about the Movement anymore. It was a dry and dusty thing, like the air in the graves of Hendrix, Joplin, and God. She was letting her thoughts take her into treacherous territory, and the thoughts threatened her smiley face. She stopped thinking about the dead heroes, the burning breed who made the bombs full of roofing nails and planted them in corporate boardrooms and National Guard Armories. She stopped thinking before the awful sadness crushed her. The sixties were dead. The survivors limped on, growing suits and neckties and potbellies, going bald and telling their children not to listen to that satanic heavy metal. The clock of the Age of Aquarius had turned, hippies and yippies had become preppies and yuppies. The Chicago Seven were old men. The Black Panthers had turned gray. The Grateful Dead were on MTV, and the Airplane had become a Top-40 Starship. Mary Terror closed her eyes, and thought she heard the noise of wind whistling through the ruins.

Sometimes difficulty clarifies things. And sometimes realizing that the road you’ve chosen is a demanding one gives you the courage to stay on that road. It reveals the nature of our relationship with God. It sounds cute and comforting to say “God is in control,” and people who say that may imagine sitting on their daddy’s lap behind the wheel of the family car, going “Vroom vroomy vroom!” while Daddy does the steering. In reality, when God is in control, it feels more like one of those movies where some amateur has to step up and land the airplane or steer the ship to safety through a crashing storm, with an expert giving them instructions remotely through a headset. In theory, following the expert’s instructions will help us get in safely; but our fear, panic, self-doubt, and lack of skill are not exactly comforting. Yes, God is in control, but we’re the ones who are in for a rough ride.

One of my favorite album covers is On the Beach. Of course that was the name of a movie and I stole it for my record, but that doesn't matter. The idea for that cover came like a bolt from the blue. Gary and I traveled around getting all the pieces to put it together. We went to a junkyard in Santa Ana to get the tail fin and fender from a 1959 Cadillac, complete with taillights, and watched them cut it off a Cadillac for us, then we went to a patio supply place to get the umbrella and table. We picke up the bad polyester yellow jacket and white pants at a sleazy men's shop, where we watched a shoplifter getting caught red-handed and busted. Gary and I were stoned on some dynamite weed and stood there dumbfounded watching the bust unfold. This girl was screaming and kicking! Finally we grabbed a local LA paper to use as a prop. It had this amazing headline: Sen. Buckley Calls For Nixon to Resign. Next we took the palm tree I had taken around the world on the Tonight's the Night tour. We then placed all of these pieces carefully in the sand at Santa Monica beach. Then we shot it. Bob Seidemann was the photographer, the same one who took the famous Blind Faith cover shot of the naked young girl holding the airplane. We used the crazy pattern from the umbrella insides for the inside of the sleeve that held the vinyl recording. That was the creative process at work. We lived for that, Gary and I, and we still do.

All their lives they had slaved at some kind of dull, heavy labor, behind desks and counters, in the fields and at tedious machines of all sorts, saving their pennies and dreaming of the leisure that would be theirs when they had enough. Finally that day came. They could draw a weekly income of ten or fifteen dollars. Where else should they go but California, the land of sunshine and oranges? Once there, they discover that sunshine isn’t enough. They get tired of oranges, even of avocado pears and passion fruit. Nothing happens. They don’t know what to do with their time. They haven’t the mental equipment for leisure, the money nor the physical equipment for pleasure. Did they slave so long just to go to an occasional Iowa picnic? What else is there? They watch the waves come in at Venice. There wasn’t any ocean where most of them came from, but after you’ve seen one wave, you’ve seen them all. The same is true of the airplanes at Glendale. If only a plane would crash once in a while so that they could watch the passengers being consumed in a “holocaust of flame,” as the newspapers put it. But the planes never crash. Their boredom becomes more and more terrible. They realize that they’ve been tricked and burn with resentment. Every day of their lives they read the newspapers and went to the movies. Both fed them on lynchings, murder, sex crimes, explosions, wrecks, love nests, fires, miracles, revolutions, wars. Their daily diet made sophisticates of them. The sun is a joke. Oranges can’t titillate their jaded palates. Nothing can ever be violent enough to make taut their slack minds and bodies. They have been cheated and betrayed. They have slaved and saved for nothing.

Of all the inventions Addie has seen ushered into the world—steam-powered trains, electric lights, photography, and phones, and airplanes, and computers—movies might just be her favorite one. Books are wonderful, portable, lasting, but sitting there, in the darkened theater, the wide screen filling her vision, the world falls away, and for a few short hours she is someone else, plunged into romance and intrigue and comedy and adventure. All of it complete with 4K picture and stereo sound. A quiet heaviness fills her chest when the credits roll. For a while she was weightless, but now she returns to herself, sinking until her feet are back on the ground.

The glory of Manhattan which Willie had seen from the airplane was nowhere visible at Broadway and Fiftieth Street when he came up out of the subway. It was the same old dirty crowded corner: here a cigar store, there an orange-drink stand, yonder a flickering movie marquee, everywhere people with ugly tired faces hurrying in a bitter wind that whirled flapping newspapers and little spirals of dry snow along the gutters. It was all as familiar to Willie as his hand. The reception room of the Sono-phono Studios, some seven feet square, consisted of plasterboard walls, a plasterboard door in back, a green metal desk, and a very ugly receptionist with a plasterboard complexion, chewing a large wad of pink gum. “Yeah? What can I do for you?

Let’s not end on African baby rape (or start with it, for that matter). Let’s end by pointing out all the positive ways you can scare yourself and feel alive. You can tell someone you love them first. You can try to speak only the truth for a whole week. You can jump out of an airplane or spend Christmas Day all by your lonesome. You can help people who need help and fight real bad guys. You can dance fast or take an improv class or do one of those Ironman things. Adventure and danger can be good for your heart and soul. Violence and desperation are brutal things to search out. Why search out the horror? It’s around us in real ways every day. I’m talking to you, the people who made that movie The Human Centipede. No more Human Centipede movies please. No more movies about people’s mouths being sewn onto people’s butts. The whole idea of making and watching a movie like that makes me want to take a ten-year nap.

Why can't we sit together? What's the point of seat reservations,anyway? The bored woman calls my section next,and I think terrible thoughts about her as she slides my ticket through her machine. At least I have a window seat. The middle and aisle are occupied with more businessmen. I'm reaching for my book again-it's going to be a long flight-when a polite English accent speaks to the man beside me. "Pardon me,but I wonder if you wouldn't mind switching seats.You see,that's my girlfriend there,and she's pregnant. And since she gets a bit ill on airplanes,I thought she might need someone to hold back her hair when...well..." St. Clair holds up the courtesy barf bag and shakes it around. The paper crinkles dramatically. The man sprints off the seat as my face flames. His pregnant girlfriend? "Thank you.I was in forty-five G." He slides into the vacated chair and waits for the man to disappear before speaking again. The guy onhis other side stares at us in horror,but St. Clair doesn't care. "They had me next to some horrible couple in matching Hawaiian shirts. There's no reason to suffer this flight alone when we can suffer it together." "That's flattering,thanks." But I laugh,and he looks pleased-until takeoff, when he claws the armrest and turns a color disturbingy similar to key lime pie. I distract him with a story about the time I broke my arm playing Peter Pan. It turned out there was more to flying than thinking happy thoughts and jumping out a window. St. Clair relaxes once we're above the clouds. Time passes quickly for an eight-hour flight. We don't talk about what waits on the other side of the ocean. Not his mother. Not Toph.Instead,we browse Skymall. We play the if-you-had-to-buy-one-thing-off-each-page game. He laughs when I choose the hot-dog toaster, and I tease him about the fogless shower mirror and the world's largest crossword puzzle. "At least they're practical," he says. "What are you gonna do with a giant crossword poster? 'Oh,I'm sorry Anna. I can't go to the movies tonight. I'm working on two thousand across, Norwegian Birdcall." "At least I'm not buying a Large Plastic Rock for hiding "unsightly utility posts.' You realize you have no lawn?" "I could hide other stuff.Like...failed French tests.Or illegal moonshining equipment." He doubles over with that wonderful boyish laughter, and I grin. "But what will you do with a motorized swimming-pool snack float?" "Use it in the bathtub." He wipes a tear from his cheek. "Ooo,look! A Mount Rushmore garden statue. Just what you need,Anna.And only forty dollars! A bargain!" We get stumped on the page of golfing accessories, so we switch to drawing rude pictures of the other people on the plane,followed by rude pictures of Euro Disney Guy. St. Clair's eyes glint as he sketches the man falling down the Pantheon's spiral staircase. There's a lot of blood. And Mickey Mouse ears. After a few hours,he grows sleepy.His head sinks against my shoulder. I don't dare move.The sun is coming up,and the sky is pink and orange and makes me think of sherbet.I siff his hair. Not out of weirdness.It's just...there. He must have woken earlier than I thought,because it smells shower-fresh. Clean. Healthy.Mmm.I doze in and out of a peaceful dream,and the next thing I know,the captain's voice is crackling over the airplane.We're here. I'm home.

The necessary special effects are not in my possession, but what I’d like for you to imagine is Clementine’s white face coming close to mine, her sleepy eyes closing, her medicine-sweet lips puckering up, and all the other sounds of the world going silent—the rustling of our dresses, her mother counting leg lifts downstairs, the airplane outside making an exclamation mark in the sky—all silent, as Clementine’s highly educated, eight-year-old lips met mine. And then, somewhere below this, my heart reacting. Not a thump exactly. Not even a leap. But a kind of swish, like a frog kicking off from a muddy bank. My heart, that amphibian, moving that moment between two elements: one, excitement; the other, fear. I tried to pay attention. I tried to hold up my end of things. But Clementine was way ahead of me. She swiveled her head back and forth the way actresses did in the movies. I started doing the same, but out of the corner of her mouth she scolded, “You’re the man.” So I stopped. I stood stiffly with arms at my sides. Finally Clementine broke off the kiss. She looked at me blankly a moment, and then responded, “Not bad for your first time.

Living in this niche therefore requires both individual and collective creativity, intensive cooperation, a tolerance for strangers and crowds, and a degree of openness and trust that is entirely unmatched among our closest primate relatives. Compared to fiercely individualistic and relentlessly competitive chimpanzees, for instance, we are like goofy, tail-wagging puppies. We are almost painfully docile, desperately in need of affection and social contact, and wildly vulnerable to exploitation. As Sarah Blaffer Hrdy, an anthropologist and primatologist, notes, it is remarkable that hundreds of people will cram themselves shoulder to shoulder into a tiny airplane, obediently fasten their seat belts, eat their packets of stale crackers, watch movies and read magazines and chat politely with their neighbors, and then file peacefully off at the other end. If you packed a similar number of chimpanzees onto a plane, what you’d end up with at the other end is a long metal tube full of blood and dismembered body parts.6 Humans are powerful in groups precisely because we are weak as individuals, pathetically eager to connect with one another, and utterly dependent on the group for survival.

The late Marlon Brando was once asked if he considered himself the best actor in Hollywood. That was a treacherous question, but Brando answered it in a creative way. He said, “It doesn’t matter whether I’m the best actor. I’m the best-positioned actor. People know me, and they want me around. I make life interesting for the people around me. It’s fun for me and it’s fun for them. I’m not always a nice guy, but I’m never the same guy twice. That’s why studios want to put me in movies, and that’s why the public wants to see me there.” Are you like Brando in this respect? Do you get together with your colleagues even when you don’t have to? If the answer is yes, you’re on the right track. If the answer is no, ask yourself, whom would you rather be with? Then think about how you can make a career move in that direction. Do you communicate with your colleagues even when it’s not strictly necessary—by phone, e-mail, or in person? Or are you more comfortable being on your own? There probably has never been a person who was more challenged in this area than Howard Hughes. He was undeniably a technical expert, and he was certainly unforgettable. He could design an airplane, fly it, and also direct a movie about it.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

Filming was done outside San Antonio, Texas. The scale of the production was vast and complex. Whole battlefields were scrupulously re-created on the plains of Texas. Wellman deployed as many as five thousand extras and sixty airplanes in some scenes—an enormous logistical exercise. The army sent its best aviators from Selfridge Field in Michigan—the very men with whom Lindbergh had just flown to Ottawa—and stunt fliers were used for the more dangerous scenes. Wellman asked a lot of his airmen. One pilot was killed, another broke his neck, and several more sustained other serious injuries. Wellman did some of the more dangerous stunt flying himself. All this gave the movie’s aerial scenes a realism and immediacy that many found almost literally breathtaking. Wellman captured features of flight that had never been caught on film before—the shadows of planes moving across the earth, the sensation of flying through drifting smoke, the stately fall of bombs, and the destructive puffs of impact that follow. Even the land-bound scenes were filmed with a thoughtfulness and originality that set Wings apart. To bring the viewer into a Parisian nightclub, Wellman used a boom shot in which the camera traveled through the room just above table height, skimming over drinks and between revelers, before arriving at the table of Arlen and Rogers. It is an entrancing shot even now, but it was rivetingly novel in 1927. “Wings,” wrote Penelope Gilliatt simply in The New Yorker in 1971, “is truly beautiful.” Wings was selected as best picture at the very first Academy Awards ceremony in 1929. Wellman, however, wasn’t even invited to the ceremony.

Activity pouch on airplanes Buttons and pins Crayons and coloring place mats from restaurants Disposable sample cup from the grocery store Erasers and pencils with eraser tops Fireman hat from a visit to the fire station Goodie bags from county fairs and festivals Hair comb from picture day at school Infant goods from the maternity ward Junior ranger badge from the ranger station and Smokey the Bear Kids’ meal toys Lollipops and candy from various locations, such as the bank Medals and trophies for simply participating in (versus winning) a sporting activity Noisemakers to celebrate New Year’s Eve OTC samples from the doctor’s office Party favors and balloons from birthday parties Queen’s Jubilee freebies (for overseas travelers) Reusable plastic “souvenir” cup and straw from a diner Stickers from the doctor’s office Toothbrushes and floss from the dentist’s office United States flags on national holidays Viewing glasses for a 3-D movie (why not keep one pair and reuse them instead?) Water bottles at sporting events XYZ, etc.: The big foam hand at a football or baseball game or Band-Aids after a vaccination or various newspapers, prospectuses, and booklets from school, museums, national parks . . .

But a lot of Christians, especially American Christians, prefer instead, wild, futuristic stories about children vanishing out of their clothes, airplanes dropping from the sky, pestilence overtaking the earth, and a Democrat getting elected president—the stuff of paperbacks and Christian B movies. And I think that’s because Americans, particularly white Americans, have a hard time catching apocalyptic visions when they benefit too much from the status quo to want a peek behind the curtain.

Activities to Develop the Proprioceptive System Lifting and Carrying Heavy Loads—Have the child pick up and carry soft-drink bottles to the picnic; laundry baskets upstairs; or grocery bags, filled with nonbreakables, into the house. He can also lug a box of books, a bucket of blocks, or a pail of water from one spot to another. Pushing and Pulling—Have the child push or drag grocery bags from door to kitchen. Let him push the stroller, vacuum, rake, shove heavy boxes, tow a friend on a sled, or pull a loaded wagon. Hard muscular work jazzes up the muscles. Hanging by the Arms—Mount a chinning bar in a doorway, or take your child to the park to hang from the monkey bars. When she suspends her weight from her hands, her stretching muscles send sensory messages to her brain. When she shifts from hand to hand as she travels underneath the monkey bars, she is developing upper-body strength. Hermit Crab—Place a large bag of rice or beans on the child’s back and let her move around with a heavy “shell” on her back. Joint Squeeze—Put one hand on the child’s forearm and the other on his upper arm; slowly press toward and away from his elbow. Repeat at his knee and shoulder. Press down on his head. Straighten and bend his fingers, wrists, elbows, knees, ankles, and toes. These extension and flexion techniques provide traction and compression to his joints and are effective when he’s stuck in tight spaces, such as church pews, movie theaters, cars, trains, and especially airplanes where the air pressure changes. Body Squeeze—Sit on the floor behind your child, straddling him with your legs. Put your arms around his knees, draw them toward his chest, and squeeze hard. Holding tight, rock him forward and back.

Then the center of influence shifted to London, with the Beatles and the Rolling Stones, Cream, the Who, the Kinks, and all the bands that orbited them. San Francisco, with the Grateful Dead, Jefferson Airplane, and Santana, had its moment in a psychedelic spotlight around the Summer of Love and the Monterey Pop Festival in 1967, but as the 1960s gave way to the '70s, the center of the musical universe shifted unmistakably to Los Angeles. "It was incredibly vital," said Jonathan Taplin, who first came to LA as the tour manager for Bob Dylan and the Band and later relocated there to produce Martin Scorsese's breakthrough movie, Mean Streets. "The nexus of the music business had really moved from New York to Los Angeles. That had been a profound shift . . . It was very clear that something big had changed."'' For a breathtaking few years, the stars aligned to glittering effect in Los Angeles. The city attracted brilliant artists; skilled session musicians; soulful songwriters; shrewd managers, agents, and record executives; and buzz-building clubs. From this dense constellation of talent, a shimmering new sound emerged, a smooth blend of rock and folk with country influences. Talented young people from all over the country began descending on Los Angeles with their guitar cases or dreams of becoming the next Geffen. Irving Azoff, a hyper-ambitious young agent and manager who arrived in Los Angeles in 1972, remembered, "It was like the gold rush. You've never seen anything like it in the entertainment business. The place was exploding. I was here—right place, right time. I tell everybody, `If you're really good in this business, you only have to be right once,' so you kind of make your own luck, but it is luck, too. It was hard to be in LA in that time and have any talent whatsoever in the music business—whether you were a manager, an agent, an artist, a producer, or writer—[and] not to make it, because it was boom times. It was the gold rush, and it was fucking fun.

Significant others are like airplane Wi-Fi.” I bit my lips and looked at Paloma expectantly. “You don’t need airplane Wi-Fi. You can read a book. Talk to people. Draw. But airplane Wi-Fi can be fun—you can watch a movie. Be on your phone. But if you’re going to have Wi-Fi, it has to be consistent. Because if it’s spotty, if it just stops and starts and freezes in the middle of binge- watching Parks and Rec, that’s maddening. It’s crazy-making. Better no airplane Wi-Fi than bad airplane Wi-Fi.

The point of apocalyptic texts is not to predict the future,” explained biblical scholar Amy-Jill Levine in The Meaning of the Bible; “it is to provide comfort in the present. The Bible is not a book of teasers in which God has buried secrets only to be revealed three millennia later.” Rather, she argued, apocalyptic texts “proclaim that a guiding hand controls history, and assure that justice will be done.”7 But a lot of Christians, especially American Christians, prefer instead, wild, futuristic stories about children vanishing out of their clothes, airplanes dropping from the sky, pestilence overtaking the earth, and a Democrat getting elected president—the stuff of paperbacks and Christian B movies. And I think that’s because Americans, particularly white Americans, have a hard time catching apocalyptic visions when they benefit too much from the status quo to want a peek behind the curtain.

Let’s end by pointing out all the positive ways you can scare yourself and feel alive. You can tell someone you love them first. You can try to speak only the truth for a whole week. You can jump out of an airplane or spend Christmas Day all by your lonesome. You can help people who need help and fight real bad guys. You can dance fast or take an improv class or do one of those Ironman things. Adventure and danger can be good for your heart and soul. Violence and desperation are brutal things to search out. Why search out the horror? It’s around us in real ways every day. I’m talking to you, the people who made that movie The Human Centipede. No more Human Centipede movies please (...)The whole idea of making and watching a movie like that makes me want to take a ten-year nap

Will" Rogers, known as "Oklahoma's Favorite Son,” was born on November 4, 1879, in what was then considered Indian Territory. His career included being a cowboy, writer, vaudeville performer, movie star and political wit. He poked fun at politicians, government programs, gangsters and current events, in a home spun and folksy way, making him one of the most idolized people in America. He became the highest paid Hollywood movie star at the time. Will Rogers died on August 15, 1935 with his friend and pilot Wiley Post, when their small airplane crashed in Alaska. He once said that he wanted his tombstone to read "I joked about every prominent man of my time, but I never met a man I didn’t like.

Sound. No matter how great a movie looks, if the audience can’t understand what the actors are saying, they’ll get frustrated and lose interest quickly. I know when I see a low-budget movie and the sound is crummy, I shut it off. The less money you have, the less you’ll probably budget for postproduction sound, so what you get during the shoot becomes even more important. Don’t scrimp here. If your production sound is good enough, you won’t need a lot of ADR (additional dialogue recording), which most of the time you need because there’s a flaw in the production sound, or an airplane was overhead and you couldn’t get a clean take. Your sound person should scout your locations. If you’re going to be shooting on a weekday and you visit on a weekend, make sure that there isn’t a noisy garage next door that’s only open Monday to Friday. Sometimes you do ADR because you want to change the performance. That’s fine, but I can usually tell when an actor has been looped, and I hate it, and so do many directors. Some actors are hopelessly bad at it—they’re never able to dub themselves in a convincing way. The best reason to use ADR is when you want to fill in a scene where lots of people are talking at once.

If any of you haven't tried going to the movies alone, I suggest you do. It's not like I do it because I'm single; I've gone to the movies alone when I'm in a relationship, too. It's just a nice escape, time to zone out. Plus, nobody talks to you during the film, nobody puts their grubby hands in your popcorn, and nobody judges you for bringing in airplane bottles of vodka to spike your lemonade with.

Later, I talked with Doug Trumbull, a Hollywood director now but then a special-effects man for the movie Close Encounters of the Third Kind. He had looked me up because he was interested in interspecies communication. Since my career had been devoted to dolphins and the problems of communicating with them, I was one of a number of people Doug was questioning about how we might relate to creatures intelligent but totally different from us. I didn’t know which movie he was working on then—I got the impression it was about an airplane—but when I saw Close Encounters, which is about man’s first contact with an alien intelligence, I realized what we had been talking about.

In America, my father began working as a clerk for a government agency. He rented an apartment in a place called Queens, New York. A year after he left us, he sent airplane tickets. The Delhi of the seventies is hard to imagine: the quietness, the streets empty of traffic, children playing cricket in the middle of the street and rarely having to move out of the way to let cars by, the vegetable vendors who came pushing their carts down the streets in the late afternoon, crying out their wares in tight, high-pitched voices. There weren't VCRs back then, let alone cable channels. A movie would play for twenty-five or fifty weeks in huge auditorium theaters, and then once the movie was gone, it was gone forever. I remembered feeling grief when the enormous billboards for Sholay at the end of our street were taken down. It was like somebody had died. It is also hard to remember how frugal we were. We saved the cotton that comes inside pill bottles. Our mothers used it to make wicks. This frugality meant that we were sensitive to the physical reality of the world in a way most people no longer are. When my mother bought a box of matches, she had my brother sit at a table and use a razor to split the matches in half. When we had to light several things, we would use the match to set a twist of paper on fire and then walk around the apartment lighting the stove, the incense stick, the mosquito coil. This close engagement with things meant that we were conscious that the wood of a match is soft, that a bit of spit on paper split on paper slows down how it burns. By the time our airplane tickets arrived, not every family hired a band to play outside their house on the day of the departure to a foreign country. Still, many families did.

Then in March 1993, everything changed. My one-year-old son, Charlie, had his first seizure. There’s absolutely nothing funny about being the parent of a child with uncontrolled epilepsy. Nothing. After a year of daily seizures, drugs, and a brain surgery, I learned that the cure for Charlie’s epilepsy, the ketogenic diet—a high fat, no sugar, limited protein diet—had been hiding in plain sight for, by then, over seventy years. And despite the diet’s being well documented in medical texts, none of the half-dozen pediatric neurologists we had taken Charlie to see had mentioned a word about it. I found out on my own at a medical library. It was life altering—not just for Charlie and my family, but for tens of thousands like us. Turns out there are powerful forces at work within our health care system that don’t necessarily prioritize good health. For decades, physicians have barely been taught diet therapy or even nutrition in medical school. The pharmaceutical, medical device, and sugar industries make hundreds of billions every year on anti-epileptic drugs and processed foods—but not a nickel if we change what we eat. The cardiology community and American Heart Association demonize fat based on flawed science. Hospitals profit from tests and procedures, but again no money from diet therapy. There is a world epilepsy population of over sixty million people. Most of those people begin having their seizures as children, and only a minuscule percentage ever find out about ketogenic diet therapies. When I realized that 99 percent of what had happened to Charlie and my family was unnecessary, and that there were millions of families worldwide in the same situation, I needed to try to do something. Nancy and I began the Charlie Foundation (charliefoundation.org) in 1994 in order to facilitate research and get the word directly to those who would benefit. Among the high points were countless articles, a couple appearances of Charlie’s story on Dateline NBC, and a movie I produced and directed about another family whose child’s epilepsy had been cured by the ketogenic diet starring Meryl Streep titled First Do No Harm (1997). Today, of course, the diet permeates social media. When we started, there was one hospital in the world offering ketogenic diet therapy. Today, there are 250. Equally important, word about the efficacy of the ketogenic diet for epilepsy spread within the scientific community. In 1995, we hosted the first of many scientific global symposia focused on the diet. As research into its mechanisms and applications has spiked, incredibly the professional communities have found the same metabolic pathway that is triggered by the ketogenic diet to reduce seizures has also been found to benefit Alzheimer’s disease, ALS, severe psychiatric disorders, traumatic brain injury, and even some cancers. I

Within the past generation, everyone’s experience of time and space had been altered by such technological innovations as the telephone, wireless telegraphy, X rays, bicycles, movies, the automobile, the dirigible and then the airplane

The biggest takeaway from my long-distance relationship with Floyd Byars was that I optioned an original screenplay he had co-written with his writing partner, Laurie. Another takeaway was a case of crabs picked up on our only vacation together in Zihuatanejo, Mexico. I noticed a crab in my eyelashes when I was in the airplane bathroom on my way back to JFK. I feared these little critters might be other places as well, so I spent the next four hours squirming in my seat, itchy and miserable. On the taxi ride home, I made the driver stop at an all-night pharmacy so I could buy a bottle of Kwell. But despite the footsies and the crabs, I liked the premise of his (their) Making Mr. Right script.

My Sex Bucket List: I want you to talk dirty to me Try a new position every time we have sex (I want to try doggy style first) (we need a kama sutra book) I want you to be more vocal while we have sex; not just at the end I want you to cum in my mouth I want to cum in your mouth I want a facial I want you to cum on my breasts I want to have sex in the shower I want to try 69 I want to try bondage and handcuffs, but I want you to be the one tied up I want to be spanked I want to see if you like your gooch being licked Give you head while you drive You play with my pussy while you drive Sex in the pool Sex in the rain Sex on the island in the kitchen Sex in your office on your desk during business hours Sex outside under the stars Sex in one of the cars Go to a sex club Have sex in front of an audience I want to be choked (maybe) I want to use sex toys with you Sex in a penthouse suite against the window overlooking the city. Sex in an airplane I want to try anal/ butt plugs Watch porn together Recreate a sex scene from a movie Masturbate in front of each other Have sex in front of a mirror I want you to finger me in a restaurant while we’re out for dinner Go to EverTwo14 Make a sex tape

My Sex Bucket List: I want you to talk dirty to me Try a new position every time we have sex (I want to do doggy style first) (we need a kama sutra book) I want you to be more vocal while we have sex; not just at the end I want you to cum in my mouth I want to cum in your mouth I want a facial I want you to cum on my breasts I want to have sex in the shower I want to try 69 I want to try bondage or handcuffs, but I want you to be the one tied up I want to be spanked I want to see if you like your gooch being licked Give you head while you drive You play with my pussy while you drive Sex in the pool Sex in the rain Sex on the island in the kitchen Sex in your office on your desk during business hours Sex outside under the stars Sex in one of the cars Go to a sex club Have sex in front of an audience I want to be choked (maybe) I want to use sex toys with you Sex in a penthouse suite against the window overlooking the city. Sex in an airplane I want to try anal/butt plugs Watch porn together Recreate a sex scene from a movie Masturbate in front of each other Have sex in front of a mirror I want you to finger me in a restaurant while we’re out for dinner Go to EverTwo14 Make a sex tape

Do you know people cry on airplanes more than anywhere else?” “I didn’t know it was a fact,” she answered, “but I might have suspected as much from my years up here.” “Yeah, you’d probably know better than me. But on a plane, you’re often alone. Or you’re stressed. Or you’ve just had some meaningful experience. Movies and books will really get to you at thirty-five thousand feet.

Technology is constantly replacing old jobs with new ones. A hundred years ago no one would have thought of being a computer code writer or a video game designer as a career. Two hundred years ago, no one would have thought of being a movie actress or an airplane pilot. To make way for new jobs, old ones are pushed aside. Today, we see the cashier at large stores being replaced with self-checkout; in a few years, the cashier may be as rare as the full-service gas station attendant.

But two weeks later, American soldiers arrived in her part of the city. The first sounds she heard were airplanes and then explosions late in the afternoon. She rushed up to the roof of their house, following her mother and sisters, not knowing what they would find. When she looked up at the sky, she saw armored vehicles floating under parachutes. “It was like a movie,” she said.1 A few days later, American soldiers walked down the street in front of her house, and Noor ran to the front door to watch them. She saw her neighbors also standing in their doorways, smiles on their faces. The soldiers smiled back, eager to talk to anyone who was willing. “Everybody was so happy,” Noor recalled. “There was suddenly freedom.” Less than a week later, on April 9, her fellow Iraqis descended on Firdos Square in central Baghdad, where they threw a rope over the enormous statue of Saddam Hussein, and, with the help of American soldiers, tore it down. Noor thought to herself, You know, we can have a new life. A better life. Life under Saddam had been challenging. Noor’s father had been a government employee, yet like many other Iraqis, the family had little money. Saddam’s failed war

O. J. Simpson was wonderfully stiff in both Capricorn One and The Towering Inferno. David: I directed him in the Naked Gun movies. Although he actually improved with each film, his acting remained a lot like his murdering—he got away with it, but no one really believed him.

Jim: We got the idea of subtitling the Black dudes after we saw the 1975 Blaxploitation movie Shaft, starring Richard Roundtree. When we left the theater we thought it was pretty good, but we couldn’t understand a lot of the jive dialogue. The cast was 95 percent Black. So we thought wouldn’t it be fun to put a couple of those characters in Airplane! and subtitle them with idiotic white guy translations?

Tho was Buffalo Bill Cody? Most people know, at the very least, that he was a hero of the Old West, like Daniel Boone, Davy Crockett, and Kit Carson-one of those larger-than-life figures from which legends are made. Cody himself provided such a linkage to his heroic predecessors in 1888 when he published a book with biographies of Boone, Crockett, Carson-and one of his own autobiographies: Story of the Wild West and Campfire Chats, by Buffalo Bill (Hon. W.F. Cody), a Full and Complete History of the Renowned Pioneer Quartette, Boone, Crockett, Carson and Buffalo Bill. In this context, Cody was often called "the last of the great scouts." Some are also aware that he was an enormously popular showman, creator and star of Buffalo Bill's Wild West, a spectacular entertainment of the late nineteenth and early twentieth centuries. It has been estimated that more than a billion words were written by or about William Frederick Cody during his own lifetime, and biographies of him have appeared at irregular intervals ever since. A search of "Buffalo Bill Cody" on amazon.com reveals twenty-seven items. Most of these, however, are children's books, and it is likely that many of them play up the more melodramatic and questionable aspects of his life story; a notable exception is Ingri and Edgar Parin d'Aulaire's Buffalo Bill, which is solidly based on fact. Cody has also shown up in movies and television shows, though not in recent years, for whatever else he was, he was never cool or cynical. As his latest biographer, I believe his life has a valuable contribution to make in this new millennium-it provides a sense of who we once were and who we might be again. He was a commanding presence in our American history, a man who helped shape the way we look at that history. It was he, in fact, who created the Wild West, in all its adventure, violence, and romance. Buffalo Bill is important to me as the symbol of the growth of our nation, for his life spanned the settlement of the Great Plains, the Indian Wars, the Gold Rush, the Pony Express, the building of the transcontinental railroad, and the enduring romance of the American frontier-especially the Great Plains. Consider what he witnessed in his lifetime: the invention of the telephone, the transatlantic cable, the automobile, the airplane, and the introduction of modem warfare, with great armies massed against each other, with tanks, armored cars, flame-throwers, and poison gas-a far cry from the days when Cody and the troopers of the Fifth Cavalry rode hell-for-leather across the prairie in pursuit of hostile Indians. Nor, though it is not usually considered

It is my expectation that wireless WiFi streaming of movies on airplanes will increase the rates of illness and disease in pilots, cabin crew and frequent fliers.

the military classified Patent 2,292,387 as top secret and, in the 1950s, gave it to a contractor for the construction of a sonobuoy that could detect submarines in the water and then transmit that information to an airplane above using Hedy’s unjammable frequency-hopping idea. Later, the military and other private entities began to make their own inventions using this interpretation of spread-spectrum technology—without any recompense to Hedy, as the patent had expired—and today, aspects of her frequency-hopping idea can be found in the wireless devices we use every day. Hedy’s role in these advancements was unknown until the 1990s, when she received a few awards for her invention, recognition she considered more important than the success of her movies.

We review proposals because we owe it to the agencies that fund our work. We review proposals on airplanes when we would rather read a novel, watch a movie, or sleep. Patient? No. A proposal must convince reviewers that the topic identified in the opening is important and then compel them with the excitement of the questions posed in the challenge. If it fails to do this, it is dead.

Think about all the things that we can’t imagine not having that were invented or discovered in just the last 150 years. Before we had them, nobody could have imagined them—e.g., the telephone (1876), the electric light bulb (1879), the internal combustion powered vehicle (1885), the radio (1895), movies (1895), the airplane (1903), television (1926), antibiotics (1928), the computer (1939), nuclear weapons (1945), nuclear power plants (1951), GPS (1973), digital cameras (1975), online shopping (1979), the

She doesn’t care for his movies and couldn’t care less about his personal life (she’s from the none-of-my-business generation), and was “a moldy fig” in her teen years—that’s what a group of particular jazz enthusiasts called themselves in Manhattan at that time; they liked Dixieland jazz, pure jazz, not the Duke Ellington stuff.

At one point he said I was a terrific actress and a complicated woman but that he didn’t want to see any of that in his movie.