Anticipation Movie Quotes

This was the Mecca of the American Dream, the world that everyone wanted. A world of sleek young women (allied with Slenderella to be so) in shorts and halters, driving 400-horsepower station wagons to air-conditioned, music-serenaded supermarkets of baby-sitter corporations and culture condensed into Great Books discussion groups. A life of barbecues by the swimming pool and drive in movies open all year. It did't appeal to me. Fuck health insurance plans and life insurance. They wanted to live without leaving the womb. It made me more alive to play a game without rules against society, and I was prepared to play it to the end. A tremor almost sexual passed through me as I anticipated the comming robbery.

It made it easier that they both believed in the simplest kind of afterlife - that my father could say to her, even in those last days, joking but without irony, 'You're going to get tired of hearing from me. I'll be asking you for this that and the other thing twenty-four hours a day. JESUS, you'll be saying, here comes another prayer from Dennis.' And my mother would reply, her voice hoarse with pain, 'Jesus might advise you to take in a movie once in a while. Give your poor wife a rest. She's in heaven, after all.' It was a joke, but they believed it, and they believed, too, I think, that their love, their loyalty to one another, was no longer a matter of chance or happenstance, but a condition of their existence no more voluntary or escapable than the pace of their blood, the influx of perception...There was, in their anticipation of what was to come, a queer self-satisfaction. It was clear now that they would love each other until the last moment of her life - hadn't that been the goal from the beginning? They would love each other even beyond the days they had lived together; was there any greater triumph?

Even as I wrote my note to Fern, for instance, expressing sentiments and regrets that were real, a part of me was noticing what a fine and sincere note it was, and anticipating the effect on Fern of this or that heartfelt phrase, while yet another part was observing the whole scene of a man in a dress shirt and no tie sitting at his breakfast nook writing a heartfelt note on his last afternoon alive, the blondwood table's surface trembling with sunlight and the man's hand steady and face both haunted by regret and ennobled by resolve, this part of me sort of hovering above and just to the left of myself, evaluating the scene, and thinking what a fine and genuine-seeming performance in a drama it would make if only we all had not already been subject to countless scenes just like it in dramas ever since we first saw a movie or read a book, which somehow entailed that real scenes like the one of my suicide note were now compelling and genuine only to their participants, and to anyone else would come off as banal and even somewhat cheesy or maudlin, which is somewhat paradoxical when you consider – as I did, setting there at the breakfast nook – that the reason scenes like this will seem stale or manipulative to an audience is that we’ve already seen so many of them in dramas, and yet the reason we’ve seen so many of them in dramas is that the scenes really are dramatic and compelling and let people communicate very deep, complicated emotional realities that are almost impossible to articulate in any other way, and at the same time still another facet or part of me realizing that from this perspective my own basic problem was that at an early age I’d somehow chosen to cast my lot with my life’s drama’s supposed audience instead of with the drama itself, and that I even now was watching and gauging my supposed performance’s quality and probable effects, and thus was in the final analysis the very same manipulative fraud writing the note to Fern that I had been throughout the life that had brought me to this climactic scene of writing and signing it and addressing the envelope and affixing postage and putting the envelope in my shirt pocket (totally conscious of the resonance of its resting there, next to my heart, in the scene), planning to drop it in a mailbox on the way out to Lily Cache Rd. and the bridge abutment into which I planned to drive my car at speeds sufficient to displace the whole front end and impale me on the steering wheel and instantly kill me. Self-loathing is not the same thing as being into pain or a lingering death, if I was going to do it I wanted it instant’ (175-176)

If he’d had half a brain, he might have anticipated the problem inherent in watching a movie with Emma and Claudia.

SHOHAKU OKUMURA: We human beings have the ability to think of things not in front of us. We create stories in our minds in which the hero or heroine is always us. We evaluate what happened in the past, we analyze our present conditions, and we anticipate what should happen in the future. This is an important ability. Because of it, we can create art, study history, and have visions of the future. Without it, we couldn’t write or enjoy poems or movies. Almost all of human culture depends on seeing things not in front of our eyes. This means almost all culture is fictitious. Our ability to create such fictions is the reality of our lives. We cannot live without it. But this ability leads to many problems. We have certain expectations of our stories. If things go as we expect, we feel like heavenly beings, but if not, we feel we’re in hell. Often we desire more and more without ever experiencing satisfaction, like hungry ghosts. It’s important to see that it’s not life that causes suffering but our expectation that life should be the way we want. We can’t live without expectation, but if we can handle the feelings caused by the difference between our expectations and reality, that’s liberation. Zazen practice as taught by Dogen Zenji, Sawaki Roshi, and Uchiyama Roshi is taking a break from watching the screen of our stories and sitting down on the ground of the reality that exists before our imagination. When we’re not taken in by our fictitious world, we can enjoy and learn from the stories we make.

How could anything be the same? The red of blood lay over the market road in slick pools mingled with a yellow spread of dal someone must have brought in anticipation of a picnic after the parade, and there were flies on it, left behind odd slippers, and a sad pair of broken spectacles, even a tooth. It was rather like the government warning about safety that appeared in the cinema before the movie with the image of a man cycling to work, a poor man but with a wife who loved him, and she had sent his lunch with him in a tiffin container; then came a blowing of horns and small, desperate cycle tinkle, and a messy blur clearing into the silent still image of a spread of food mingled with blood. Those mismatched colors, domesticity shuffled with death, sureness running into the unexpected, kindness replaced by the image of violence, always made the cook feel like throwing up and weeping both together.

Nook people know the words to a movie by heart but never say them out loud because anticipation is an asset. Because there’s no interrupting Katharine Hepburn when she’s interrupting herself: “Aren’t the geraniums pretty, Professor?

Another of Keaton’s strategies was to avoid anticipation. Instead of showing you what was about to happen, he showed you what was happening; the surprise and the response are both unexpected, and funnier. He also gets laughs by the application of perfect logic.

I have a great idea, Gregori," she told him wickedly. "Let's take a commercial flight." "What?" He was staring at her mouth. She had a great mouth.A perfect mouth. A sexy mouth. Mon Dieu, he wanted her mouth. "Doesn't a commercial flight sound fun? We could take a night flight, mingle with people.It might even throw off the reporter." "Nothing is going to throw off the reporter.He is tenacious.And there will be no commercial flight.There will be no discussion on this,either. None. If we go to New Orleans,and I am not saying we will, commercial flights are out." "Oh,Gregori,I was only kidding. Naturally we'll do things your way," she added demurely. He shook his head,exasperated at himself. Of course she had been teasing. He wasn't used to anyone treating him as Savannah did. Outrageous woman. "I need to go out and talk with Wade Carter." She stood up instantly, expectantly, her blue eyes wide in anticipation. "Tell me what you want me to do. I can probably manage mist.I'm stronger now,using your blood.I can back you up." Amusement warmed the cool silver of his eyes. "Mon Dieu, Savannah, you sound like a cop movie.

Letter Thirteen In Case I Never See You Again I know we didn’t say goodbye but I know this is the end. I’ve seen this movie before. I know when it’s time to roll the credits. I know it all too well. So, in case you never come back, I want to you know that I truly cared. I want you to know that the first time I met you, I didn’t want to leave; I wanted to talk to you all night. I want you to know that I liked your smile, I liked your eyes, I liked your depth and all I wanted was to hear your story. I wanted to know your soul. I want you to know that the second time I met you, I knew I wanted to see you again, I wanted to be around you more, I wanted to hold your hand. I felt safe with you. You made me happy. You took me out of my darkness. I saw someone special. I saw someone delicate. I thought we made sense. I didn’t anticipate any plot twists. But that was my movie and I wanted a happy ending. But I guess your movie wins, your ending is climactic, your ending is more realistic. And that’s the thing about movies; they don’t always end up the way you want them to. And that’s the thing about endings; they can sometimes be sad. They sometimes end in tears. They end and they don’t always have a sequel.

Someone stepped through the garage doorway. I squinted against the light. Mad Rogan. He wore a dark suit. It fit him like a glove, from the broad shoulders and powerful chest to the flat stomach and long legs. Well. A visit from the dragon. Never good. He started toward me. The track vehicle on his left slid out of his way, as if pushed aside by an invisible hand. The Humvee on his right slid across the floor. I raised my eyebrows. He kept coming, his blue eyes clear and fixed on me. I stepped back on pure instinct. My back bumped into the wall. The multiton hover tank hovered off to the wall. So that was the secret to making it work. You just needed Mad Rogan to move it around. Rogan closed in and stopped barely two inches from me. Anticipation squirmed through me, turning into a giddy excitement spiced with alarm. “Hi,” I said. “Are you planning on putting all of this back together the way you found it?” His eyes were so blue. I could look into them forever. He offered me his hand. “Time to go.” “To go where?” “Wherever you want. Pick a spot on the planet.” Wow. “No.” He leaned forward slightly. We were almost touching. “I gave you a week with your family. Now it’s time to go with me. Don’t be stubborn, Nevada. That kiss told me everything I needed to know. You and I both understand how this ends.” I shook my head. “How did this encounter go in your head? Did you plan on walking in here, picking me up, and carrying me away like you’re an officer and I’m a factory worker in an old movie?” He grinned. He was almost unbearably handsome now. “Would you like to be carried away?

There are really only two kinds of monsters in the world, which you already know if you've been watching horror movies: Breeders and Non-breeders. So for instance, Frankenstein’s monster would fall into the second category if he was real. He’s a freak, a singular being and once you kill him, he’s gone. Problem solved. The Breeders are an exponentially bigger problem. Within that group you've got slow breeders like vampires (if they were real, which they’re not) which breed in a small-scale controlled way, but mainly to avoid extinction rather than spread. But then you've got the fast breeders, like zombies (if they existed, which they don’t) where breeding is all they do. They are basically walking epidemics, and are the worst of the worst-case scenarios, because such a creature could, hypothetically, wipe out civilization. This is humanity’s greatest fear, which is why at the moment half of the world’s horror novels, movie posters and video games have zombies on the cover. So in any situation like this, step one is to find out what category of creature you’re dealing with. Step two is to anticipate what the creature is going to do next, based on what you determined in step one. Then step three is you find out if the thing can be killed with a chainsaw.

They both, indeed, made so many protestations about the sight of New York harbor that Sam began to wonder whether he really was going to be as thrilled as he was going to be thrilled. He remembered how, after the most conversational anticipation with Fran, he had been disappointed by his first sight of Notre Dame. It had seemed low and hulking--not half so impressive as the lath- and-plaster Notre Dame in the movie film. He managed to fret rather ardently. He hoped to be uplifted by New York as a young lover hopes to be enraptured by the sight of his lady.

— The opening argument was one of Devlin-Brown’s favorite parts of a trial. In a case like this, it was sometimes all that mattered. The U.S. Attorney’s Office had a formula for it, a system that was passed down through generations of prosecutors. It started with what they called “the grab”—a quick, two-minute summary of the case, meant to capture the jury’s attention. The grab could begin in one of two ways. The first was with a big thematic idea, as in, “This is a case about greed.” Devlin-Brown preferred what he called the “It was a dark and stormy night” beginning, which dropped the jurors right into a dramatic scene. Just like in a movie. On this day, his version began with, “It was July of 2008.” He spoke in a gentle, even voice. “Mathew Martoma, the defendant, was one of about a thousand people packed into a crowded Chicago convention hall waiting for an expert on Alzheimer’s disease to take the stage.” Sidney Gilman, he explained, was at an international Alzheimer’s conference to unveil the results of a hotly anticipated drug trial. The results of

Everything is going to be alright" we often say to ourselves or to others - when we are faced with problems, before falling asleep, after we have been disappointed. "Things may be unpleasant and difficult at the moment, but in the end everything is going to be alright." As far as the animals are concerned, nothing is going to be alright! Everything is bad, getting worse and the end will be more terrible than all fearful anticipations: on the death transport, on the slaughterhouse floor, on the chair of torture. "Everything is going to be alright!" This pacifying phrase for human beings is not valid for animals, because we have transformed their world into a singular hell. What we invented in horror movies or psychological thrillers to send pleasant shivers down our spine, is what animals are subjected to in reality: everywhere, continuously, in our midst, at this very moment - right now. Everybody knows, everybody remains silent, nobody takes action. Can it go on like this? It must not go on like this! Anyone who feels bound in earnest by any moral principles at all has the absolute duty to stand up against these crimes, which are in utter contradiction to every kind of morality.

The best entrepreneurs don’t just follow Moore’s Law; they anticipate it. Consider Reed Hastings, the cofounder and CEO of Netflix. When he started Netflix, his long-term vision was to provide television on demand, delivered via the Internet. But back in 1997, the technology simply wasn’t ready for his vision—remember, this was during the era of dial-up Internet access. One hour of high-definition video requires transmitting 40 GB of compressed data (over 400 GB without compression). A standard 28.8K modem from that era would have taken over four months to transmit a single episode of Stranger Things. However, there was a technological innovation that would allow Netflix to get partway to Hastings’s ultimate vision—the DVD. Hastings realized that movie DVDs, then selling for around $ 20, were both compact and durable. This made them perfect for running a movie-rental-by-mail business. Hastings has said that he got the idea from a computer science class in which one of the assignments was to calculate the bandwidth of a station wagon full of backup tapes driving across the country! This was truly a case of technological innovation enabling business model innovation. Blockbuster Video had built a successful business around buying VHS tapes for around $ 100 and renting them out from physical stores, but the bulky, expensive, fragile tapes would never have supported a rental-by-mail business.

Olo-keZ G-- a tc There is an appointed time for everything. And there is a time for every event under heaven. -ECCLESIASTES 3:1 What would we do without our day planners? I have a large one for my desk and a carry-all that goes with me. I don't know how a person functions without some type of organizer. I just love it; it truly has become my daily-calendar bible. I take it with me everywhere. My whole life is in that book. Each evening I peek in to see what tomorrow has to bring. I just love to see a busy calendar; it makes me feel so alive. I've got this to do and that to do. Then I come upon a day that has all white space. Not one thing to do. What, oh what, will I do to fill the space and time? That's the way I used to think and plan. All my spaces had appointments written down, and many times they even overlapped. I now plan for white spaces. I even plan ahead weeks or months and black out "saved for me or my family" days. I have begun to realize that there are precious times for myself and my loved ones. Bob and I really try to protect these saved spaces just for us. We may not go anywhere or do anything out of the ordinary, but it's our special time. We can do anything we want: sleep in, stay out late, go to lunch, read a book, go to a movie, or take a nap. I really look forward with great anticipation to when these white spaces appear on my calendar. I've been so impressed when I've read biographies of famous people. Many of them are controllers of their own time. They don't let outsiders dictate their schedules. Sure, there are times when things have to be done on special days, but generally that isn't the case. When we begin to control our calendars, we will find that our lives are more enjoyable and that the tensions of life are more manageable. Make those white spaces your friend, not your enemy.

artists and acrobats, the walls were enough to keep most people in. I don’t get super strength or scary points. But speed is my friend, and I caught her flat-footed because she thought one thing was happening when it was really something else. She thought I was running from her—and I was just trying to get up some speed. I ran for the wall. I don’t know what she thought I was doing, but she chased me hard for most of the distance. But as I approached the giant stone wall that surrounded the grounds, she slowed, anticipating that I would be stopped by it. A few months ago, a bunch of the pack had been at Warren’s house watching a Jackie Chan movie—I don’t remember which one because we were having a marathon—and Jackie just ran up a wall like magic. Warren had a wall around his backyard. Someone stopped the movie, and we’d all gone out and tried it. A lot. The werewolves had gotten moderately proficient, but my light weight and speed had made me the grand champion. The trick is to find a corner and have enough speed to make it to the top. Instead of stopping at the wall, I Jackie-Channed it up the stone surfaces and leaped over. I caught the werewolf totally by surprise. I don’t expect Bonarata and she watched old martial arts movies together. It didn’t seem like that kind of relationship. Her pause meant that the wolf, who could have caught me because as agile as I’d learned to be imitating Jackie Chan, going up was still slower than going forward, had missed her chance. I didn’t intend to give her another. I changed to coyote as I came off the top of the wall. I’m not a were-anything. It takes them time to change from human to wolf. I could do it—well, in this case I could do it in the time it took me to drop off the wall. I landed on four feet, running as fast as I could down a narrow road that was walled on both sides. I had no idea where I was, but out was a good direction, and I didn’t hesitate as I headed one way. Nor did I slow

We need to be humble enough to recognize that unforeseen things can and do happen that are nobody’s fault. A good example of this occurred during the making of Toy Story 2. Earlier, when I described the evolution of that movie, I explained that our decision to overhaul the film so late in the game led to a meltdown of our workforce. This meltdown was the big unexpected event, and our response to it became part of our mythology. But about ten months before the reboot was ordered, in the winter of 1998, we’d been hit with a series of three smaller, random events—the first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren Jacobs, one of the lead technical directors on the movie, remembers watching this occur in real time. At first, he couldn’t believe what he was seeing. Then, he was frantically dialing the phone to reach systems. “Pull out the plug on the Toy Story 2 master machine!” he screamed. When the guy on the other end asked, sensibly, why, Oren screamed louder: “Please, God, just pull it out as fast as you can!” The systems guy moved quickly, but still, two years of work—90 percent of the film—had been erased in a matter of seconds. An hour later, Oren and his boss, Galyn Susman, were in my office, trying to figure out what we would do next. “Don’t worry,” we all reassured each other. “We’ll restore the data from the backup system tonight. We’ll only lose half a day of work.” But then came random event number two: The backup system, we discovered, hadn’t been working correctly. The mechanism we had in place specifically to help us recover from data failures had itself failed. Toy Story 2 was gone and, at this point, the urge to panic was quite real. To reassemble the film would have taken thirty people a solid year. I remember the meeting when, as this devastating reality began to sink in, the company’s leaders gathered in a conference room to discuss our options—of which there seemed to be none. Then, about an hour into our discussion, Galyn Susman, the movie’s supervising technical director, remembered something: “Wait,” she said. “I might have a backup on my home computer.” About six months before, Galyn had had her second baby, which required that she spend more of her time working from home. To make that process more convenient, she’d set up a system that copied the entire film database to her home computer, automatically, once a week. This—our third random event—would be our salvation. Within a minute of her epiphany, Galyn and Oren were in her Volvo, speeding to her home in San Anselmo. They got her computer, wrapped it in blankets, and placed it carefully in the backseat. Then they drove in the slow lane all the way back to the office, where the machine was, as Oren describes it, “carried into Pixar like an Egyptian pharaoh.” Thanks to Galyn’s files, Woody was back—along with the rest of the movie.

There’s only one activity that stimulates the brain to produce all seven at the same time, and that’s the ecstatic state of flow. The shortest way there is deep, alpha-driven meditation. When you blend all seven into a single cocktail, the result is euphoria. Let’s see: What might a combination of the first letters of each drug look like? Serotonin, Oxytocin, Norepinephrine, Dopamine, Anandamide, Nitric oxide, and Beta-endorphin? Just for fun, let’s combine them, and call our cocktail’s special blend SONDANoBe. This is the magic formula that, produced inside our own bodies in the proper ratios, bathes the brain in the chemicals of ecstasy. GETTING HIGH ON YOUR OWN SUPPLY When I meditate, I can feel the moment when each drug in the cocktail kicks in. First, I use EFT tapping and release any and every negative thought, emotion, and energy. This drops my level of cortisol, along with suppressing the high beta brain waves of stress. I now have a molecular substrate in my brain upon which I can build a deep and focused meditative experience. Next, I close my eyes and focus. Dopamine kicks in as I anticipate the delicious hormone and neurotransmitter drug cocktail I’m about to be rewarded with. The dopaminergic reward system of my brain fires up and the “body learning” of how to meditate—stored in my basal ganglia, which memorize frequently performed actions—comes online. Ingredient one. My mind starts to wander. My email inbox. The morning’s first meeting. The laugh line of the movie I watched last night. An overdue deadline. Damn, I’m way out of the zone already, cortisol rising, and I haven’t been meditating more than 5 minutes. Dopamine brings me back to focus, aided by norepinephrine. I’m motivated. I want Bliss Brain more than I want an endless loop of the Me Show. I return to center. Cortisol drops. Ahhh, I’m back. Norepinephrine stimulates my attention. Ingredient two. Then I realize that my body is uncomfortable. I have a twinge in my right knee. My lower back hurts. My tummy’s rumbling because it’s empty. I consciously shift my wandering mind back into focus. Back in sync, my neurons secrete beta-endorphin, which masks the pain. The discomfort drops away, and being in a body feels wonderful. Ingredient three. I tune in to each of the archetypal strands that guide me. Mother Mary. Kwan Yin. Healing. Strength. Beauty. Wisdom. I imagine myself meditating in a field of a million saints. I’m lost in Bliss Brain, as serotonin, the satisfaction drug, kicks in. Ingredient four. I feel one with the universe. Oxytocin starts to flow, as I bond with everything. Ingredient five. That releases nitric oxide and anandamide. Ingredients six and seven.

in responding to challenging life events from the devastating (becoming handicapped, losing a loved one) to the difficult (a divorce, an illness), people do better than they anticipate. They believe that they’ll never laugh again, but they do. They think they’ll never love again, but they do. They go grocery shopping and see movies; they have sex and dance at weddings; they overeat on Thanksgiving and go on diets in the New Year—the day-to-day returns.

Traditionally, both Lent and Advent are penitential seasons—not times of overflowing celebrations. This is not something we have sought to cultivate at all, even though we do observe a basic church calendar, made up of what the Reformers called the five evangelical feast days. Our reluctance to adopt this kind of penitential approach to these seasons of the year is not caused by ignorance of the practice. It is a deliberate attempt to lean in the other direction. I want to present three arguments for a rejection of this practice of extended penitential observance. First, if we were to adopt this practice, we would be in worse shape than our Old Covenant brethren, who had to afflict their souls only one day out of the year. Why would the time of anticipation of salvation be so liturgically celebratory, while the times of fulfilled salvation be so liturgically glum? Instead of establishing a sense of longing, it will tend to do the reverse. Second, each penitential season keeps getting interrupted with our weekly Easters. Many who relate exciting movies they have seen to others are careful to avoid “spoilers.” Well, these feasts we have, according to God’s ordinance every seven days, spoil the penitential mood. And last, what gospel is implicitly preached by the practice of drawing out the process of repentance and forgiveness? It is a false gospel. Now I am not saying that fellow Christians who observe their church year in this way are preaching a false gospel, but I am saying that lex orandi lex credendi—the law of prayer is the law of faith, and over time, this liturgical practice will speak very loudly to our descendants. If we have the opportunity to speak to our descendants, and we do, then I want to tell them that the joy of the Lord is our strength.

This was the best part of a first kiss. The anticipation. The clamoring hearts and the tentative sighs. The searching eyes and the luxury of knowing that something wonderful was about to happen. And when Matt's lips grazed my cheek, I closed my eyes and knew that, yes, I was exactly where I was supposed to be. And when he kissed me, ah... at last, I knew that in his arms was exactly where I planned to stay. All my senses swirled and merged into one big arc of longing as he held me tight. His kiss was perfect. Full of promise and hope and cravings that I couldn't wait to satisfy even while knowing I could never get enough of him. The Universe, just to make sure that we'd gotten the message, sent fireworks into the sky overhead, bursting with shimmering light. Or maybe it was just Clancy and the guys from the fire station starting the Lilac Festival show, but either way, there were definitely fireworks.

Anticipation draws you through your days—the impending release of a hyped new album, a trailer for a movie that we should see next month. You look forward to the future, even if you can no longer imagine life beyond that morning.

Digital technology enables new modes of production and distribution, which in turn enable new sorts of representations that anticipate sexual minorities as audiences. But these practices are predicated on assumptions about those audiences, and they hinge on privileges associated with gender, race, and class that delimit the forms of diversity they are able to engender at all. This paradigm is most evident in cinema, where digital technology has resulted in a large number of distributors circulating movies to sexual minorities across different delivery platforms. Despite this multiplicity, the movies they distribute are striking in their similarities. They tend to animate narrative paradigms steeped in ideas about personal agency that actively curb attention to the different forms of diversity that characterize the very publics they convene.

We anticipate. The anticipation is the first horror of this waiting scene. We brace and we need the release. This is a horror movie, and horror movies have rules, don’t they? We need the fulfilled promise, the validation, even if we think we know what we will see, we still need to see it. Some of us cover our eyes and peek between fingers. Some of us wince and curl into ourselves. Some of us actively disengage and think about other things because we won’t be able to handle what we’re going to see. Some of us scoff and act like we’ve already seen it all.

Bo put a record on the stereo and the speakers crackled, that moment of anticipation before the needle found its way to the first song. An organ, in rhythm. A chord. “I Heard It Through the Grapevine.” Mum cheered. It was her favorite, the soundtrack to a movie called The Big Chill.

marlow martin | January 1, 2016 Noted Ring Names: Dean Ambrose, Jon Moxley From: Cincinnati, Ohio Date of Birth: December 7, 1985 WWE Debut: Survivor Series 2012 WWE Titles Held: United States Championship, Intercontinental Championship Born: December 7, 1985 (age 30), Cincinnati, OH Height: 6′ 4″ Weight: 225 lbs Nationality: American Trained by: Les Thatcher Movies and TV shows: WWE Raw, 12 Rounds 3: Lockdown Dean Ambrose started his career back in 2004 under the name of Jon Moxley. Earning high praise from independent companies around the world, he became a household name for the hardcore, holding championship gold in companies such as Combat Zone Wrestling. With his name capturing the attention of wrestling fans across the globe, Jon soon earned a developmental contract with the WWE. He then took on the name of Dean Ambrose and began the process of cementing his name in stone. Feuding with William Regal and Seth Rollins most notably on NXT, Ambrose went on to make his much anticipated main roster debut at Survivor Series 2012, coming in alongside Seth Rollins and Roman Reigns to make a massive impact in the main event, aiding CM Punk in retaining his WWE Championship. The Shield have torn an unstoppable path through the WWE and at Extreme Rules 2013, Dean laid claim to his first taste of WWE gold, capturing the

Once you learn to think like another creature, you can anticipate what it will do and react before it ever acts. If that sounds a little Hollywood, then you've seen your share of movies about impossibly clairvoyant FBI profilers who can "see with the eyes of the killer." But out there on the Kalahari plains, mind-throwing was a very real and potentially deadly talent.

On the other side of the lot, beyond the corroding replica of “David” that fronted the piazza named after his creator, lay the city of Florence, a spooned circle of terra cotta and stone and pastel, split horizontally by the nearby River Arno and surrounded by verdant hills like a lush hood framing the face of a movie star. Jacoby felt wonder rise through his sternum and out his nose. It seemed like a model, a tiny replica of plastic pieces, of a make believe place, not a real place in real size made by the hands of men many centuries ago. A city of domes and towers and palaces, of ceramic tiles and stone, of four bridges that spanned the Arno, including the famous Ponte Vecchio, lined with shops of pastel facades. From high above, Jacoby wandered through the tourists who snapped pictures and pointed. He stood atop the paved slope that led down the hill toward the magnificent city, but he held still, fighting the current of enticement, the beckoning, savoring the feeling of anticipation like a child has atop a long water slide above an enormous pool.

Traditions are conditioned reflexes. Throughout Part 2 of this book, you will find suggestions for establishing family traditions that will trigger happy anticipation and leave lasting, cherished memories. Traditions around major holidays and minor holidays. Bedtime, bath-time, and mealtime traditions; sports and pastime traditions; birthday and anniversary traditions; charitable and educational traditions. If your family’s traditions coincide with others’ observances, such as celebrating Thanksgiving, you will still make those traditions unique to your family because of the personal nuances you add. Volunteering at the food bank on Thanksgiving morning, measuring and marking their heights on the door frame in the basement, Grandpa’s artistic carving of the turkey, and their uncle’s famous gravy are the traditions our kids salivated about when they were younger, and still do on their long plane rides home at the end of November each year. (By the way, our dog Lizzy has confirmed Pavlov’s observations; when the carving knife turns on, cue the saliva, tail wagging, and doggy squealing.) But don’t limit your family’s traditions to the big and obvious events like Thanksgiving. Weekly taco nights, family book club and movie nights, pajama walks, ice cream sundaes on Sundays, backyard football during halftime of TV games, pancakes in Mom and Dad’s bed on weekends, leaf fights in the fall, walks to the sledding hill on the season’s first snow, Chinese food on anniversaries, Indian food for big occasions, and balloons hanging from the ceiling around the breakfast table on birthday mornings. Be creative, even silly. Make a secret family noise together when you’re the only ones in the elevator. When you share a secret that “can’t leave this room,” everybody knows to reach up in the air and grab the imaginary tidbit before it can get away. Have a family comedy night or a talent show on each birthday. Make holiday cards from scratch. Celebrate major family events by writing personalized lyrics to an old song and karaoking your new composition together. There are two keys to establishing family traditions: repetition and anticipation. When you find something that brings out excitement and smiles in your kids, keep doing it. Not so often that it becomes mundane, but on a regular and predictable enough basis that it becomes an ingrained part of the family repertoire. And begin talking about the traditional event days ahead of time so by the time it finally happens, your kids are beside themselves with excitement. Anticipation can be as much fun as the tradition itself.

Even after I met a nurse in Detroit who opened doors inside me I hadn’t known I’d locked. Even then, I’d still see Sally sipping coffee at a diner counter, or sticking her arm out of a dressing room for another size, or in the balcony at a movie theater watching a picture by herself. And each time, I’d feel that same inner gasp, that exquisite anticipation—that moment the lights go down and the film begins, that moment when, for just a few seconds, the whole world feels on the verge of awakening.

This is what she becomes because of me… what do you think of here… do you like her or heat? Are you going to hate her for this? ~*~ ‘They don't leave. They bring in their food from the outside, from quite far away sometimes. It gives their guard something to do when they're not out annihilating mavericks. Or protecting Volterra from exposure…’ ‘From situations like this one, like Marcel,’ I finished her sentence. It was amazingly easy to say his name now. I wasn't sure what the difference was. Maybe because- I wasn't planning on living much longer without seeing him. Or at all, if we were too late. It was comforting to know that I would have an easy out. ‘I doubt they've ever had a situation quite like this,’ she muttered, disgusted. ‘You don't get a lot of suicidal angels.’ The sound that escaped out of my mouth was very quiet, but Olivia seemed to understand that it was a cry of pain. She wrapped her thin, strong arm around my shoulders. ‘We'll do what we can, Bell. It's not over yet.’ ‘Not yet.’ I let her comfort me, though I knew she thought our chances were poor. ‘And the Ministry will get us if we mess up.’ Olivia stiffened. ‘You say that like it's a good thing.’ I shrugged. ‘Knock it off, Bell, or we're turning around in New York and going back to Pittsburgh.’ ‘What?’ ‘You know what. If we're too late for Marcel, I'm going to do me damnedest to get you back to Mr. Anderson, and I don't want any trouble from you. Do you understand that?’ ‘Sure, Olivia.’ She pulled back slightly so that she would glare at me. ‘No trouble.’ ‘Scout's honor,’ I muttered. She rolled her eyes. ‘Let me concentrate, now. I'm trying to see what he's planning.’ She left her arm around me, but let her head fall back against the seat and closed her eyes. She pressed her free hand to the side of her face, rubbing her fingertips against her temple. I watched her in fascination for a long time. Eventually, she became utterly motionless, her face like a stone sculpture. The minutes passed, and if I didn't know better, I would have thought she'd fallen asleep. I didn't dare interrupt her to ask what was going on. I wished there was something safe for me to think about. I couldn't allow myself to consider the horrors we were headed toward, or, more horrific yet, the chance that we might fail-not if I wanted to keep from screaming aloud. I couldn't anticipate anything, either. If I were very, very, very lucky, I would somehow be able to save Marcel. But I wasn't so stupid as to think that saving him would mean that I could stay with him. I was no different, no more special than I'd been before. There would be no new reason for him to want me now. Seeing him and losing him again… I fought back against the pain. This was the price I had to pay to save his life. I would pay for it. They showed a movie, and my neighbor got headphones. Sometimes, I watched the figures moving across the little screen, but I couldn't even tell if the movie was supposed to be a romance or a horror film. After an eternity, the plane began to descend toward New York City. Olivia remained in her trance. I dithered, reaching out to touch her, only to pull my hand back again. This happened a dozen times before the plane touched down with a jarring impact. ‘Olivia,’ I finally said. ‘Olivia, we have to go.’ I touched her arm. Her eyes came open very slowly. She shook her head from side to side for a moment.

Question No. 5: If you heard about this movie, would you be jumping out of your chair in anxious anticipation to go see it?

To anticipate is to court joy, to fall in love with a place the way it is in a book or a movie or an Eartha Kitt song. But to stay open to the unexpected is to embrace anticipation - to know that it serves its purpose before the journey begins and must then be set aside for reality, for whatever beautiful, strange, unpredictable thing awaits when we step off the ferry.

Oooo, I love attics.” Ashley gave a little squirm of anticipation. “Maybe your grandpa has some old trunks up there, do you think? Like attics in the movies? With clothes and old hats and those dressmaker dummies?” Roo drew on her cigarette. “You’re looking for dummies? Don’t tempt me, Ash.” “Well, as tempting as it is to continue this fascinating and stimulating discussion”--Parker grimaced--“I’ve got to get home.” Standing, he pulled Ashley up with him. “I guess we’ll see y’all later?” As the others got to their feet, Ashley gave Miranda a tight hug. “We’re coming tonight. You know, to the wake.” Miranda, once more, was touched. “Look, you guys, I appreciate it--really. But you don’t have to. It’s going to be so depressing.” “We’re coming,” Roo said. “Yeah, Roo likes depressing,” Parker insisted. “She’ll feel right at home.” “Parker, that’s so rude,” Ashley scolded him. “This isn’t anything to joke about.” “Right. Sorry.” The last to leave, Gage paused on the top step to look back at her. “We’ll be there.

The finest pantomime, the deepest emotion, the richest and most poignant poetry were in Chaplin’s work. He could probably pantomime Bryce’s The American Commonwealth without ever blurring a syllable and make it paralyzingly funny into the bargain. At the end of City Lights the blind girl who has regained her sight, thanks to the Tramp, sees him for the first time. She has imagined and anticipated him as princely, to say the least; and it has never seriously occurred to him that he is inadequate. She recognizes who he must be by his shy, confident, shining joy as he comes silently toward her. And he recognizes himself, for the first time, through the terrible changes in her face. The camera just exchanges a few quiet close-ups of the emotions which shift and intensify in each face. It is enough to shrivel the heart to see, and it is the greatest piece of acting and the highest moment in movies.

I tell John about what’s known as the psychological immune system. Just as the physiological immune system helps your body recover from physical attack, your brain helps you recover from psychological attack. A series of studies by the researcher Daniel Gilbert at Harvard found that in responding to challenging life events from the devastating (becoming handicapped, losing a loved one) to the difficult (a divorce, an illness), people do better than they anticipate. They believe that they’ll never love again, but they do. They think they’ll never love again, but they do. They go grocery shopping and see movies; they have sex and dance at weddings; they overeat on Thanksgiving and go on diets in the New Year – the day-to-day returns.

Reaching up, I wrapped my arms around his neck, holding on to this boy for dear life as I kissed him back with everything I had inside of me. This was our first kiss, and it wasn’t the comet-hitting-earth moment I had anticipated from years of binge-watching unhealthy teen sitcoms. It wasn’t anything like what happened in the movies. It was so much more.

Acting is a collaborative art form. The actor needs the director, writer, makeup artist, hairstylist, cinematographer, and finally the audience. You can’t act in your bedroom. Most people don’t understand what it is we do. That’s not being condescending, it’s true. Even other actors don’t get it. So they watch a movie and if they like it or don’t, they really don’t have the aesthetic to articulate why. Therefore, everything becomes the actors’ fault. If the role was smaller than they anticipated or not fully written, it becomes the actors’ fault. If the direction wasn’t good in a scene, it becomes the actors’ fault. There’s no real cognitive approach to directing the work of an artistic piece. If you are that character actor out there getting the leftovers, it’s very hard to compete with the actor who’s getting the filet mignon of roles. It just is. Once again, it’s a profession that is a tangled web of artists getting jobs based on bankability, clout, and not ability. There’s no rhyme or reason.

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Dave Stanley bit into his ravioli, and a flood of warm and salty ricotta filled his mouth. “They make it good here.” “When it’s fresh from the kitchen, it’s a seven.” The young officer had anticipated this comment: Gianetto rated everything that he cared about on a scale that went from zero to ten. Food, movies, actresses, cars, the nine books that he had read in college, and a pantheon of classic rock albums had all received numerical classifications, as had less obvious things like cities, countries, his wife’s dresses, dog breeds, and supermarkets. The only things that had ever received tens were Italy and Rottweilers.

Beyond its visceral gore, The Texas Chain Saw Massacre is a masterclass in psychological horror. Sure, Leatherface with a chainsaw is terrifying, but it’s the pervasive sense of dread, the anticipation of doom that grips your psyche, that sticks with you.

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