Ark Game Quotes

I was not a great man whose history has been recorded for children to study in school. No bells will ring for me, no flags descend upon their mast. For I was an ordinary man, my son, one of many, with ordinary hopes and ordinary dreams and ordinary fears. I, too, dreamed of wealth and riches, health and strength. I, too, feared hunger and poverty, war and weakness. I was the neighbour who lived in the next house. The man standing in the subway on his way to work: who held a match to his cigarette: who walked with his dog. I was the soldier shaking with fear: the man berating the umpire at the ball game: the citizen in the privacy of the voting booth, happily electing the worthless candidate. I was the man who lived a thousand times and died a thousand times in all man’s six thousand years of record. I was the man who sailed with Noah  in his ark, who was the multitude that crossed the sea that Moses held apart, who hung from the cross next to Christ. I was the ordinary man about whom songs are never written, stories are never told, legends are never remembered.

The moment I entered the bright, buzzing lobby of Men’s House I was overcome by a sense of alienation and hostility … The lobby was the meeting place for various groups still caught up in the illusions that had just been boomeranged out of my head: college boys working to return to school down South; older advocates of racial progress with utopian schemes for building black business empires; preachers ordained by no authority except their own, without church or congregation, without bread or wine, body or blood; the community “leaders” without followers; old men of sixty or more still caught up in post-Civil War dreams of freedom within segregation; the pathetic ones who possessed noting beyond their dreams of being gentlemen, who held small jobs or drew small pensions, and all pretending to be engaged in some vast, though obscure, enterprise, who affected the pseudo-courtly manners of certain southern congressmen and bowed and nodded as they passed like senile old roosters in a barnyard; they younger crowd for whom I now felt a contempt such as only a disillusioned dreamer feels for those still unaware that they dream—the business students from southern colleges, for whom business was a vague, abstract game with rules as obsolete as Noah’s Ark but who yet were drunk on finance.

At least this is a nation, with a religion, a head, a status, a policy. Not a damned Noah's ark: a chicken here, a lamb there, a family of wolves in the next field. I suppose you are proud of your French Queen, playing dice with Scots knucklebones for the greater glory of her native land?

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

...glimpses through the clouds of numerous and enormous Second Free Zone residential arks and barges lumbering through their selective tracks like a slow-motion game of hide and seek played by listless, blunt whales.

Billy's one and only moment of candor was when I parked him in front of my computer to play a game. He took one look at the Noah's Ark display and his whole face flinched like someone had hit him. He told me that the snow leopard is extinct. The last surviving specimen died in a zoo a few weeks back. "The snow leopard was my favorite," he said. Then he sat down at the computer and within about 30 seconds he was lost in a realistic prison interior, shooting the guards' heads off, blowing doors open, getting killed.

college boys working to return to school down South; older advocates of racial progress with Utopian schemes for building black business empires; preachers ordained by no authority except their own, without church or congregation, without bread or wine, body or blood; the community "leaders" without followers; old men of sixty or more still caught up in post-Civil-War dreams of freedom within segregation; the pathetic ones who possessed nothing beyond their dreams of being gentlemen, who held small jobs or drew small pensions, and all pretending to be engaged in some vast, though obscure, enterprise, who affected the pseudo-courtly manners of certain southern congressmen and bowed and nodded as they passed like senile old roosters in a barnyard; the younger crowd for whom I now felt a contempt such as only a disillusioned dreamer feels for those still unaware that they dream -- the business students from southern colleges, for whom business was a vague, abstract game with rules as obsolete as Noah's Ark but who yet were drunk on finance. Yes, and that older group with similar aspirations, the "fundamentalists," the "actors" who sought to achieve the status of brokers through imagination alone, a group of janitors and messengers who spent most of their wages on clothing such as was fashionable among Wall Street brokers, with their Brooks Brothers suits and bowler hats, English umbrellas, black calfskin shoes and yellow gloves; with their orthodox and passionate argument as to what was the correct tie to wear with what shirt, what shade of gray was correct for spats and what would the Prince of Wales wear at a certain seasonal event; should field glasses be slung from the right or from the left shoulder; who never read the financial pages though they purchased the Wall Street Journal religiously and carried it beneath the left elbow, pressed firm against the body and grasped in the left hand -- always manicured and gloved, fair weather or foul -- with an easy precision (Oh, they had style) while the other hand whipped a tightly rolled umbrella back and forth at a calculated angle; with their homburgs and Chesterfields, their polo coats and Tyrolean hats worn strictly as fashion demanded. I could feel their eyes, saw them all and saw too the time when they would know that my prospects were ended and saw already the contempt they'd feel for me, a college man who had lost his prospects and pride. I could see it all and I knew that even the officials and the older men would despise me as though, somehow, in losing my place in Bledsoe's world I had betrayed them . . . I saw it as they looked at my overalls.

In the world of physics, when two spatially separated events occur at the same time, the question of whether they are absolute is a function of witnesses’ time frames, a phenomenon known as the relativity of simultaneity. The marriage of CAA and TPG arrived at a time when the CAA partners were still grappling with a radically changing media landscape and trying to get their own house in order financially. People believed TPG had summoned a series of budgetary reviews, but just as Noah started work on an ark before even a drop of rain, some financial controls were put in motion before TPG had to request, or insist upon, a single one. One affected area, expense accounts, may sound trifling, but not in the representation game. So it was that modifications in CAA’s travel and entertainment policies brought about changes in the culture as well. One example: For years the opulent St. Regis Hotel in New York City had served as a virtual dorm for CAA agents traveling on business. No more. New regulations were put in place prohibiting midlevel and junior agents from bunking there. Limits were also placed on dining allowances for midlevel and junior agents no matter what the city.

When we are called upon to do things that we find hateful and stupid, we are simultaneously forced to act contrary to the structure of values motivating us to move forward stalwartly and protecting us from dissolution into confusion and terror. “To thine own self be true,”1 as Polonius has it, in Shakespeare’s Hamlet. That “self”—that integrated psyche—is in truth the ark that shelters us when the storms gather and the water rises. To act in violation of its precepts—its fundamental beliefs—is to run our own ship onto the shoals of destruction. To act in violation of the precepts of that fundamental self is to cheat in the game we play with ourselves, to suffer the emptiness of betrayal, and to perceive abstractly and then experience in embodied form the loss that is inevitably to come.