Annie Movie Quotes

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Why can’t my life be more like a porno than a horror movie,
Annie Bellet (Murder of Crows (The Twenty-Sided Sorceress, #2))
When people talk about the stuff of mine that's frightened them onscreen, they're apt to mention Pennywise the Clown first, then Kathy Bates as Annie Wilkes, and then the floating vampire-boys in Lot.
Stephen King (Stephen King Goes to the Movies)
I do love it. That big, demonstrative moment where nothing else matters but making sure the person you care about knows it. That you’re in. You’re all in and you want everyone to know, no matter how wild or risky it is. Weddings are like that. The vows are, at least.” Something about the soft look in Annie’s eyes, wistful almost, compelled him to keep going. To confess what he’d never told anyone before. “I don’t have a single memory of my mom and dad saying I love you to each other.” Annie made a soft noise, but he soldiered on, wanting to get this out. “Maybe those movies aren’t perfect, but for most of my life, they were the best proof I had that people could wind up happy together.
Alexandria Bellefleur (Hang the Moon (Written in the Stars, #2))
Why can’t my life be more like a porno than a horror movie,” I muttered as I walked.
Annie Bellet (Murder of Crows (The Twenty-Sided Sorceress, #2))
I know why you picked that movie,' he told her. Annie smiled and said, 'It fits our life in a few ways, I guess.' Buster pointed at the screen, which was now blank. 'It shows you that you have to stay vigilant to find a missing person, even when people tell you not to, that it's possible to bring them back from the dead.' Annie shook her head. 'I picked it because it shows that after you bring someone back from the dead, you get to kill them yourself.
Kevin Wilson (The Family Fang)
Phrases offered to the grief-stricken, such as “time heals all wounds” and “the day will come when you reach closure” irritated him, and there were times when he sat silent, seeming half-buried in some sediment of sorrow. “Closure? When someone beloved dies there is no ‘closure.’” He disliked television programs featuring tornado chasers squealing “Big one! Big one!” and despised the rat-infested warrens of the Internet, riddled with misinformation and chicanery. He did not like old foreign movies where, when people parted, one stood in the middle of the road and waved. He thought people with cell phones should be immolated along with those who overcooked pasta. Calendars, especially the scenic types with their glowing views of a world without telephone lines, rusting cars or burger stands, enraged him, but he despised the kittens, motorcycles, famous women and jazz musicians of the special-interest calendars as well. “Why not photographs of feral cats? Why not diseases?” he said furiously. Wal-Mart trucks on the highway received his curses and perfumed women in elevators invited his acid comment that they smelled of animal musk glands. For years he had been writing an essay entitled “This Land Is NOT Your Land.
Annie Proulx (That Old Ace in the Hole)
The key to the problem, I would come to understand, was this: I lacked both spiritual guidelines, and an ability to enjoy anything. But at the same time, I was also an excitement addict. This is such a toxic combination I can't even. I didn't know this at the time, of course, but if I was not in the act of searching for excitement, being excited, or drunk, I was incapable of enjoying anything. The fancy word for that is "anhedonia," a word and feeling I would spend millions in therapy and treatment centers to discover and understand. Maybe that's why I won tennis matches only when I was a set down and within points of losing. Maybe that's why I did everything I did. "Anhedonia," by the way, was the original working title of my favorite movie, the one my mother and I had enjoyed together, "Annie Hall". Woody gets it. Woody gets me.
Matthew Perry (Friends, Lovers, and the Big Terrible Thing)
I decided to begin with romantic films specifically mentioned by Rosie. There were four: Casablanca, The Bridges of Madison County, When Harry Met Sally, and An Affair to Remember. I added To Kill a Mockingbird and The Big Country for Gregory Peck, whom Rosie had cited as the sexiest man ever. It took a full week to watch all six, including time for pausing the DVD player and taking notes. The films were incredibly useful but also highly challenging. The emotional dynamics were so complex! I persevered, drawing on movies recommended by Claudia about male-female relationships with both happy and unhappy outcomes. I watched Hitch, Gone with the Wind, Bridget Jones’s Diary, Annie Hall, Notting Hill, Love Actually, and Fatal Attraction. Claudia also suggested I watch As Good as It Gets, “just for fun.” Although her advice was to use it as an example of what not to do, I was impressed that the Jack Nicholson character handled a jacket problem with more finesse than I had. It was also encouraging that, despite serious social incompetence, a significant difference in age between him and the Helen Hunt character, probable multiple psychiatric disorders, and a level of intolerance far more severe than mine, he succeeded in winning the love of the woman in the end. An excellent choice by Claudia.
Graeme Simsion (The Rosie Project (Don Tillman, #1))
Thinking of your parents having sex is like imagining yourself wading in a swimming pool full of squid parts.  It’s like when you keep your eyes open in the gory scenes of a horror movie. 
Annie Adams (Deadly Arrangements (Flower Shop Mystery, #2))
Their lovemaking had been a little tentative at first, but that was only to be expected. It never happened in real life the way it did in movies, with both lovers exploding together in a climax of Wagnerian proportions as fireworks burst, orchestras crescendoed and trains rushed into tunnels. That was pure Monty Python. In real lovemaking, especially with people new to one another’s bodies, there are disappointments, mistakes, hesitancies. If you can laugh at these, as Banks and Annie had, then you are halfway there. If you find yourself looking forward to the hours of practice it will take to learn to please one another more, as Banks did, then you are more than halfway. Afterward, skin warm and damp and tangy with sweat, she had rested in the crook of his arm and he knew then that he wouldn’t wake with a burning desire to be alone. Just for the briefest of moments he gave in to a wave of paranoia and wondered if this was a trap Riddle had set for him. A new approach. Give him enough rope to hang himself.
Peter Robinson (In A Dry Season (Inspector Banks, #10))
I want to watch Shloe’s movies and I want to see Mark’s musicals and I want to volunteer with Joe’s nonprofit and eat at Annie’s restaurant and send my kids to schools Jeff has reformed and I’m just scared about this industry that’s taking all my friends and telling them this is the best way for them to be spending their time. Any of their time.
Marina Keegan (The Opposite of Loneliness: Essays and Stories)
Excuse me?" Annie's voice rises, which is unusual for her. She's the queen of avoiding conflict, and I'm not a fan of it either, which means that the one and only serious argument we've ever been in happened in the fourth grade when she insisted that Howie was the cutest Backstreet Boy (a statement that was categorically false).
Kerry Winfrey (Not Like the Movies (Waiting for Tom Hanks, #2))
In most of our decisions, we are not betting against another person. Rather, we are betting against all the future versions of ourselves that we are not choosing. We are constantly deciding among alternative futures: one where we go to the movies, one where we go bowling, one where we stay home.
Annie Duke (Thinking in Bets: Making Smarter Decisions When You Don't Have All the Facts)
Our beliefs drive the bets we make: which brands of cars better retain their value, whether critics knew what they were talking about when they panned a movie we are thinking about seeing, how our employees will behave if we let them work from home.
Annie Duke (Thinking in Bets: Making Smarter Decisions When You Don't Have All the Facts)
Annie was trying to listen but she was unable to shake the image of herself dressed in a knock-off Lady Lightning outfit, sitting alone at a table at a mid-level comic book convention, drinking a diet soda and staring at her cell phone, which did not ring. “Annie?” Daniel said. “I want to talk to you about the movie.” Annie imagined herself in Japan, shilling caffeinated tapioca pearls, living in a closet-size apartment, dating a washed-up sumo wrestler. “Annie?” Daniel said again. Annie imagined herself doing dinner theater in a converted barn, playing Myra Marlowe in A Bad Year for Tomatoes, getting fat on carved roast beef and macaroni and cheese from the buffet during intermission. “I want to help you, Annie,” Daniel continued, undeterred by Annie’s blank-faced analysis of her future. “And I think I can.
Kevin Wilson (The Family Fang)
Six months later, Knives Out received a limited, almost nonexistent release. The few reviews it garnered offered mild praise; there were no mentions of Annie’s performance. Nevertheless, when the Fangs found a theater in Atlanta that was showing the movie, Annie could not contain her excitement. “You’re going to be so proud of me,” Annie told her parents. She had not allowed Mr. or Mrs. Fang to accompany her during the filming of her scenes. They had stayed behind in the motel and, once the few scenes had been shot, each only a single take to save film for more important scenes, she answered their questions with shrugs and one-word answers. The Fangs had assumed she had lost interest in acting and did not press her.
Kevin Wilson (The Family Fang)
Donald Ray sliced his hand open with a knife during a demonstration in a drunk woman’s house and the splash of blood kept the Fangs from nodding off. The movie was so low-budget, Mr. Fang wondered if the actor who played Donald Ray had actually cut open his hand for the scene. He felt his estimation of the actor rise considerably. “Here it comes,” Annie whispered, turning to her parents. “This is me.” Donald Ray, his hand wrapped in a makeshift bandage, picked up the hotel phone and made a collect call to his family back in Little Rock. As the phone rang, tinny and soft in the receiver, the film jumped to Donald Ray’s home, the telephone shrilly ringing on the coffee table. As the camera pulled back, a woman leaned over to answer the phone. She listened for a few seconds and then said that she’d accept the charges. “Donald Ray,” she finally said, both angry and relieved to hear from him. “Look real close,” Annie said. Behind Donald Ray’s wife, sitting on the floor and staring dully at the carpet, was Annie. “That’s you,” Buster said. “Watch now,” Annie said. “This is my big moment.” The Fangs watched their daughter on the big screen, her face empty of expression, seemingly unaware of the conversation going on beside her. It was, the Fangs would later admit, a fairly compelling performance. Then, suddenly, so fast that you would miss it if you weren’t looking, Annie looked toward the camera and smiled. The Fangs could not believe it had happened, the moment so jarring and unsettling that it took them a few seconds to realize what they had just seen. Annie had smiled at the camera. Her teeth bared. Fanged. “Annie?” Mr. and Mrs. Fang said at once. In the seat next to them, Annie was smiling, beaming, the scene ended, her character not to return for the rest of the movie. She was, the Fangs now understood, a star. Chapter Five Annie needed to get out of town. Three days after her disastrous interview,
Kevin Wilson (The Family Fang)
She’s just a baby,” Camille said. “She’s an artist, just like us; she just doesn’t know it yet.” “She’s a baby, Caleb.” “She’s a Fang,” he replied. “That supersedes everything else.” They both looked at Annie, who was watching them, smiling, a beautiful, glowing, movie star of a baby. Though the Fangs could not be sure, Annie seemed to be saying, “Count me in.
Kevin Wilson (The Family Fang)
After thirty minutes, he began to wonder if Annie had simply forgotten about him, returned to the house after the movie, and got drunk on vodka tonics. “Come get me,” Buster whispered, hoping to create a psychic link to his sister.
Kevin Wilson (The Family Fang)
For her audition, she performed a scene from All About Eve, her favorite movie, and as she brought the unlit cigarette, stolen from a woman’s purse in the lobby, to her lips, she said, “Slow curtain. The end,” and took a long drag. The director began to clap, smiling broadly, looking from side to side at the other people at the casting table. “That was wild,” he told her, shaking her hand, “just wild as hell.” When she walked into the lobby, her parents asked her how it went. “Fasten your seat belts,” Annie said, the cigarette dangling from her lips, “it’s going to be a bumpy night.” The Fangs had no idea what the hell she was talking about.
Kevin Wilson (The Family Fang)
No, Annie, you’re still in the movie, but you just don’t have any lines. You’ll be in the scenes where Donald Ray calls his family, and you’ll be in the movie when it comes out.” “I’ll be an extra,” Annie said and began to cry. “Oh, sweetheart, please don’t cry,” the man said, sounding as if he might cry as well. “Can I talk to your mom or dad?” “They’re dead,” Annie said. “What?” the man asked. “They’re busy,” Annie said. “They don’t want to talk to you.
Kevin Wilson (The Family Fang)
Nashville and Annie had begged her parents to take her. The Fangs had been skeptical. “Oh, honey,” Mrs. Fang said, “an actress? That’s one step away from a dancer.” Mr. Fang then said, “Which is one step away from a model.” “I just want to try,” Annie said. “I don’t know,” Mr. Fang continued. “What happens if this movie becomes a success and you start getting recognized by everyone when we create our happenings? We’ll lose the anonymity necessary to enact these events.” This sounded like heaven to Annie. She would become Annie Fang,
Kevin Wilson (The Family Fang)
The movie was a bust and, though Annie had been singled out by several critics as the only honest performance in the film, there was to be little to no promotion in advance of its release. However, there were a few incidents regarding the making of the movie that had resulted in a little more fame than Annie had intended—the reason, she suspected, she was being interviewed at all. “Here’s the thing,” her publicist said to Annie on the phone earlier that week. “You fucked up.” “Okay,” Annie replied. “I love you, Annie,” her publicist said, “but my job is to grow your career, to maintain the flow of information regarding you and your interests. And you kind of fucked me over for a little while.” “I didn’t mean to,” Annie said. “I know that. That’s one of the reasons that I love you, honey. But you fucked me. Let’s review, okay?” “Please don’t,” Annie said.
Kevin Wilson (The Family Fang)
I took off my top because I didn’t know if I could.” “Mmm,” Eric said, nodding. “I’d never done a nude scene and I wasn’t sure that I would be able to do it. So I did it in real life and then I realized I could do it in the movie. I just, you know, forgot that other people could see me.” “That’s understandable. It must be difficult to shift back and forth between reality and fiction, especially with such an intense role. We can come back to that or leave it alone. For now, how about some Skee-Ball?” Annie nodded. “Annie,” she told herself, “shut up. Shut up, shut up, shut up.” When the pictures hit the Internet, fuzzy and low-resolution but without a doubt her, Annie’s parents sent her an e-mail that read: It’s about time you started playing with the idea of celebrity and the female form as viewed object. Her brother did not say or write a single word, seemed to disappear; perhaps that’s what happens when a sibling sees you naked. Her on-and-off boyfriend, currently off, called her and, when she answered the phone, said, “Is this a Fang thing? I mean, is it just inescapable that you’ll do weird shit?
Kevin Wilson (The Family Fang)
When she remembered certain events, they were unconnected and random, a flash of color spilling out of her mother’s body, a broken string on a guitar. They came back to her in waves and then receded for months or even years before they would return. She looked up from her drink and Eric was staring at her, his face calm and radiant. “You were always the best Fang,” he said, “at least I think so.” “There’s no best Fang,” she said, “we’re all exactly the same.” A few weeks earlier, just as the naked pictures fiasco had begun to subside, Annie’s parents had called, ecstatic. Annie was reading a four-page note from Minda, two pages of which were a sestina that used the repeating words Fang, blossom, locomotive, tongue, movie, and bi-curious. She was happy to put the note down. “Excellent news,” her father said, and Annie could hear her mother in the background saying, “Excellent news.” “What’s that?” Annie said. “We got an e-mail from the MCA in Denver. They are very interested in exhibiting one of our pieces.” “That’s great,” Annie said. “Congratulations. Is it new?” “It’s so effing new,” Mr. Fang said, “it’s only just happened.” “Wow,” Annie said. “I know, wow, exactly, wow,” her father said.
Kevin Wilson (The Family Fang)
The Bible’s was an unlikely, movie-set world alongside our world. Light-shot and translucent in the pallid Sunday-school watercolors on the walls, stormy and opaque in the dense and staggering texts they read us placidly, sweet-mouthed and earnest, week after week, this world interleaved our waking world like dream. The
Annie Dillard (An American Childhood)
The Bible’s was an unlikely, movie-set world alongside our world. Light-shot and translucent in the pallid Sunday-school watercolors on the walls, stormy and opaque in the dense and staggering texts they read us placidly, sweet-mouthed and earnest, week after week, this world interleaved our waking world like dream.
Annie Dillard (An American Childhood)
Large vases situated around the room held mounds of cream-colored roses… dozens upon dozens of them. If this was meant to be the seduction scene in some over-the-top movie set, it had achieved that in spades.
Debra Holt (Annie's Turn (The Cartwrights #0.5))
Through the window she saw a couple lying on a sofa watching an old movie, limbs entangled. Next door, six young friends were still at lunch, three empty bottles of wine and dirty plates pushed away, laughing at a shared memory or an odd remark. How did people get together, create unions, and fall in love? Had she lost the ability to connect with others? Was loneliness going to be her constant friend and lover? Could she make a life with it? She walked on through the market, empty now apart from a fox foraging among the discarded crates and unwanted food smeared by footprints into the tarmac. Annie walked briskly towards the river in search of a breeze.
Hannah Rothschild (The Improbability of Love)
What did it mean to be a “movie star”? He quoted an actor who explained the type of characters he wanted to play: “I don’t want to be the man who learns. I want to be the man who knows.” We are discouraged from saying “I don’t know” or “I’m not sure.” We regard those expressions as vague, unhelpful, and even evasive. But getting comfortable with “I’m not sure” is a vital step to being a better decision-maker. We have to make peace with not knowing.
Annie Duke (Thinking in Bets: Making Smarter Decisions When You Don't Have All the Facts)
Or we don’t leave a career we spent years training for, because that would mean our training was for nothing. Or we keep watching a bad movie because of the time we’ve already spent watching it.
Annie Duke (Quit: The Power of Knowing When to Walk Away)
I believe in the Church of Baseball. I've tried all the major religions and most of the minor ones. And the only church that truly feeds the soul, day-in day-out, is the Church of Baseball.
Annie Savoy, Bull Durham
If your pre-Frugal Hedonism socialising revolved mostly around eating out, bars, and movies, it’s time to seed your social life with a whole new crop of cheap thrills. Bring people wild berry picking with you! Invite them along to catch a train to the beach for a day. Hold a story-telling night. Play ultimate Frisbee, or chess. Take a long ramble with a friend and a dog – maybe make a date to do it weekly. Invite people round for casual dinners, lunches, breakfast and picnics. Offer to ask someone you know for help with taking up the cuffs on a pair of pants, an IT problem, or a trombone lesson. Then eat lunch together.
Annie Raser-Rowland (The Art of Frugal Hedonism: A Guide to Spending Less While Enjoying Everything More)
In most of our decisions, we are not betting against another person. Rather, we are betting against all the future versions of ourselves that we are not choosing. We are constantly deciding among alternative futures: one where we go to the movies, one where we go bowling, one where we stay home. Or futures where we take a job in Des Moines, stay at our current job, or take some time away from work. Whenever we make a choice, we are betting on a potential future. We are betting that the future version of us that results from the decisions we make will be better off. At stake in a decision is that the return to us (measured in money, time, happiness, health, or whatever we value in that circumstance) will be greater than what we are giving up by betting against the other alternative future versions of us.
Annie Duke (Thinking in Bets: Making Smarter Decisions When You Don't Have All the Facts)
In the movie, the matrix was built to be a more comfortable version of the world. Our brains, likewise, have evolved to make our version of the world more comfortable: our beliefs are nearly always correct; favorable outcomes are the result of our skill; there are plausible reasons why unfavorable outcomes are beyond our control; and we compare favorably with our peers. We deny or at least dilute the most painful parts of the message. Giving that up is not the easiest choice. Living in the matrix is comfortable. So is the natural way we process information to protect our self-image in the moment. By choosing to exit the matrix, we are asserting that striving for a more objective representation of the world, even if it is uncomfortable at times, will make us happier and more successful in the long run.
Annie Duke (Thinking in Bets: Making Smarter Decisions When You Don't Have All the Facts)
In the movie, the matrix was built to be a more comfortable version of the world. Our brains, likewise, have evolved to make our version of the world more comfortable: our beliefs are nearly always correct; favorable outcomes are the result of our skill; there are plausible reasons why unfavorable outcomes are beyond our control; and we compare favorably with our peers. We deny or at least dilute the most painful parts of the message.
Annie Duke (Thinking in Bets: Making Smarter Decisions When You Don't Have All the Facts)