Blockbuster Quotes

Now, though, I must rent a movie." "You're going to do that?" "Of course. I'm a werewolf, not a cretin. We have Blockbuster cards." It blew my mind. Werewolfs rented DVDs. At my local Blockbuster.

I'm a werewolf, not a cretin. We have Blockbuster cards.

As adults we choose our own reading material. Depending on our moods and needs we might read the newspaper, a blockbuster novel, an academic article, a women's magazine, a comic, a children's book, or the latest book that just about everyone is reading. No one chastises us for our choice. No one says, 'That's too short for you to read.' No one says, 'That's too easy for you, put it back.' No one says 'You couldn't read that if you tried -- it's much too difficult.' Yet if we take a peek into classrooms, libraries, and bookshops we will notice that children's choices are often mocked, censured, and denied as valid by idiotic, interfering teachers, librarians, and parents. Choice is a personal matter that changes with experience, changes with mood, and changes with need. We should let it be.

The problem is this: in order to make money- lots of money- we don't need flawless literary masterpieces. What we need is mediocre rubbish, trash suitable for mass consumption. More and more, bigger and bigger blockbusters of less and less significance. What counts is the paper we sell, not the words that are printed on it.

I've never achieved spectacular success with a film. My reputation has grown slowly. I suppose you could say that I'm a successful filmmaker-in that a number of people speak well of me. But none of my films have received unanimously positive reviews, and none have done blockbuster business.

Movies were America’s way of softening up the rest of the world, Hollywood relentlessly assaulting the mental defenses of audiences with the hit, the smash, the spectacle, the blockbuster, and, yes, even the box office bomb. It mattered not what story these audiences watched. The point was that it was the American story they watched and loved, up until the day that they themselves might be bombed by the planes they had seen in American movies.

Vanity's contribution to Fiction in general was an abundance of cheap labour and the occasional blockbuster, which was accepted into Fiction with an apologetic 'gosh, don't know how that happened'.

After all, we're currently living in a Bizarro society where teenagers are technology-obsessed, where the biggest sellers in every bookstores are fantasy novels about a boy wizard, and the blockbuster hit movies are all full of hobbits and elves or 1960s spandex superheroes. You don't have to go to a Star Trek convention to find geeks anymore. Today, almost everyone is an obsessive, well-informed aficionado of something. Pick your cult: there are food geeks and fashion geeks and Desperate Housewives geeks and David Mamet geeks and fantasy sports geeks. The list is endless. And since everyone today is some kind of trivia geek or other, there's not even a stigma anymore. Trivia is mainstream. "Nerd" is the new "cool.

Kako se postaje otac domovine? Tako da se narodu jebe majka!

One of the dictums that defines our culture is that we can be anything we want to be – to win the neoliberal game we just have to dream, to put our minds to it, to want it badly enough. This message leaks out to us from seemingly everywhere in our environment: at the cinema, in heart-warming and inspiring stories we read in the news and social media, in advertising, in self-help books, in the classroom, on television. We internalize it, incorporating it into our sense of self. But it’s not true. It is, in fact, the dark lie at the heart of the age of perfectionism. It’s the cause, I believe, of an incalculable quotient of misery. Here’s the truth that no million-selling self-help book, famous motivational speaker, happiness guru or blockbusting Hollywood screenwriter seems to want you to know. You’re limited. Imperfect. And there’s nothing you can do about it.

nervously. “I have never dared to concentrate as hard as I can for fear of the damage I might do. I’m to the point where a mere whim is a blockbuster.

And yet a tech founder who is fifty years old is nearly twice as likely to start a blockbuster company as one who is thirty, and the thirty-year-old has a better shot than a twenty-year-old.

Or you can start by declaring that novels can no longer be written, and then, behind your own back as it were, produce a mighty blockbuster that establishes you as the last of the great novelists.

About 20 years ago I told an Exec to tell her friend, an Exec at a big entertainment company that they should develop a video library where anyone can pull up a film or tv show when they want to, from home. This was before Video On Demand. Before Netflix went streaming. Before Amazon Video and Hulu. That entertainment company I told about my vision for a VOD-type of service to was Blockbuster. But because I was a very young Executive, a woman, and Asian; they didn't listen. Look where Blockbuster is now. - Don't take Good Advice for Granted. Futurist - Kailin Gow

Not only is it a wholly remarkable book, it is also a highly successful one – more popular than the Celestial Home Care Omnibus, better selling than Fifty-three More Things to do in Zero Gravity, and more controversial than Oolon Colluphid's trilogy of philosophical blockbusters Where God Went Wrong, Some More of God's Greatest Mistakes and Who is this God Person Anyway? In many of the more relaxed civilizations on the Outer Eastern Rim of the Galaxy, the Hitch-Hiker's Guide has already supplanted the great Encyclopaedia Galactica as the standard repository of all knowledge and wisdom, for though it has many omissions and contains much that is apocryphal, or at least wildly inaccurate, it scores over the older, more pedestrian work in two important respects. First, it is slightly cheaper; and secondly it has the words DON'T PANIC inscribed in large friendly letters on its cover.

What if the novel in you is one you yourself would never read? A beach novel, a blockbuster, a long, windy, character-driven literary drama that ends sadly? What if the one novel in you is the opposite of your idea of yourself?

Literature is concerned with the self-conscious exploration of the lives of men, women and children in society. Even when it is comic, it sees life as something worth talking about. This is why airport fiction, or ‘blockbusters’, books which are all plot, can never be considered literature, and why, in the end, they are of little value. It is not only that the language in which they are written lacks bounce and poignancy, but that they don’t return the reader to the multifariousness and complication of existence… In literature personality is all, and the exploration of character – or portraiture, the human subject – is central to it.

I have never dared to concentrate as hard as I can for fear of the damage I might do. I’m to the point where a mere whim is a blockbuster.

What if most of the technologies readers and cinemagoers are presented with in bestselling books and blockbuster movies are not science fiction, but science fact? What if they currently exist on the planet, but are suppressed from the masses?

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

A man who has been shaken by a two-ton blockbuster has a frame of reference. He can equate the impact of an H-bomb with his own experience, even though the H-bomb blast is a million times more powerful than the shock he endured. To someone who has never felt a bomb, bomb is only a word. An H-bomb's fireball is something you see on television. It is not something that incinerates you to a cinder in the thousandth part of a second. So the H-bomb is beyond the imagination of all but a few Americans, while the British, Germans, and Japanese can comprehend it, if vaguely. And only the Japanese have personal understanding of atomic heat and radiation.

Hollywood got into the act, with director Cecil B. DeMille helping erect literally thousands of granite monuments to the Ten Commandments across the nation as part of a promotional campaign for his blockbuster film of the same name.

All billionaire kids have bodyguards--at least that's what Max's dad had told him. But none were more qualified than Logan, who was a martial arts expert (with more black belts than one could count on tne fingers), a stunyt man (who had credits in no less than a dozen blockbuster action movies), a champion race-car driver (with a choice collection of exotic sports cars), and who could make a seriously mean peanut butter and jelly sandwich.

Never allow carping critics to deter you from success. Instead, silence them with it.

It’s how we keep our heads above water in a world that’s so incredibly dangerous for us. We notice everything, take stock of possible threats, and lock it all in our memory.

You see man we are just fucking extras!! Extras in a capitalist blockbuster!~page 75

No one becomes a bestseller by tossing every other potential blockbuster on a bonfire and assassinating other authors.

Not only is it a wholly remarkable book, it is also a highly successful one – more popular than The Celestial Home Care Omnibus, better selling than Fifty-three More Things to do in Zero Gravity, and more controversial than Oolon Colluphid’s trilogy of philosophical blockbusters

Be like Grace: Wear large, dark glasses and a filmy scarf over your hair next time you go out in public. People will totally wonder who the mysterious beauty is, standing in line behind them at Blockbuster.

593 Still (very still), at the heart of “literary culture” is the big, blockbuster novel by middle-of-the-road writers, the run-of-the-mill four-hundred-page page-turner. Amazingly, people continue to want to read that.

51. What if the novel in you is one you yourself would never read? A beach novel, a blockbuster, a long, windy, character-driven literary drama that ends sadly? What if the one novel in you is the opposite of your idea of yourself?

Rat je jako dobar film. Fino su ga režirali, svatko sebi piše scenarij i to na licu mjesta pa iz gleda uvjerljivije, strani su ulagači u njega gurnuli velike pare, glumaca na svakom koraku, a i pozera. Nema kaskadera, nema dublera, i kad god i kako god na kraju završio, na njemu će se još godinama dobro zarađivati.

In 1996, Purdue had introduced a groundbreaking drug, a powerful opioid painkiller called OxyContin, which was heralded as a revolutionary way to treat chronic pain. The drug became one of the biggest blockbusters in pharmaceutical history, generating some $35 billion in revenue.

We kiss good-bye. It's our typical morning good-bye kiss. A quick peck. A well-intentioned habit. I look down and notice Lucy's round, blue eyes paying close attention. I flash to studying my own parents kissing when I was little... I promised myself that when I got married someday, I would have kisses that meant something. Kisses that would make me weak in the knees. Kisses that would embarrass the kids. Kisses like Han Solo kissing Princess Leia... Now I get it. we aren't living in some George Lucas blockbuster adventure. Our morning kiss good-bye isn't romantic, and it certainly isn't sexual. It's a routine kiss, but I'm glad we do it. It does mean something. It's enough. And it's all we have time for.

So…you're not going to tell me what they mean? C'mon. What's the Hob? Why Forks?” When I stand, I switch to my blatantly rude, you're-an-idiot tone. This is the one that always pisses off my mom. To be sure he's not missing my insult this time, I also cross my arms and speak very slowly like I'm speaking to a toddler. “The Hob is from The Hunger Games books. It's the underground market where the characters trade food and information. Forks would be the town in Twilight. The setting. In boy-speak, Forks equals the planet Tatooine for Star Wars. You know—Anakin Skywalker's childhood home? Or are you not familiar with any global blockbusters? I suppose I could use Sesame Street or Pokémon for a reference—if it would help you understand better?” Bam. That should seal it. I couldn't have sounded more like a total bitch. He nods. “No, I've got it. My bedroom was Tatooine for all of third and fourth grade. Boy-speak…that's funny.” He laughs again, and it sounds warm and—and—not at all offended!

i believe everyone has a purpose, but i also believe that not everybody has a purpose so dramatic it could be made into a series of epic books that’s eventually adapted into a series of epic blockbusters. sometimes just living is enough. sometimes just feeling is enough. —let it be enough.

For too long we’ve been suffering the tyranny of lowest-common-denominator fare, subjected to brain-dead summer blockbusters and manufactured pop. Why? Economics. Many of our assumptions about popular taste are actually artifacts of poor supply-and-demand matching—a market response to inefficient distribution.

I remember reading once how some Stone Age Indians from the Brazilian rain forest with no knowledge or expectation of a world beyond the jungle were taken to Sao Paulo or Rio, and when they saw what it contained-the buildings, the cars, the passing airplanes-and how thoroughly at variance it was with their own simple lives, they wet themselves, lavishly and in unison. I believe I had some idea how they felt. It is such a strange contrast. When you’re on the AT, the forest is your universe, infinite and entire. It is all you experience day after day. Eventually it is about all you can imagine. You are aware, of course, that somewhere over the horizon there are mighty cities, busy factories, crowded freeways, but here in this part of the country, where woods drape the landscape for as far as the eye can see, the forest rules. Even the little towns like Franklin and Hiawassee and even Gatlinburg are just way stations scattered helpfully through the great cosmos of woods. But come off the trail, properly off, and drive somewhere, as we did now, and you realize how magnificently deluded you have been. Here, the mountains and woods were just backdrop-familiar, known, nearby, but no more consequential or noticed than the clouds that scudded across their ridgelines. Here the real business was up close and on top of you: gas stations, Wal-Marts, Kmarts, Dunkin Donuts, Blockbuster Videos, a ceaseless unfolding pageant of commercial hideousness.

Istina je da i ti i ja imamo više zajedničkoga s onom trojicom što si ih poklao kad smo se sreli, negoli ćemo ikad imati s Cerovcem ili Kvaternikom.

Back in the spring of 2010, Stieg Larsson’s agent was having a good day.

The eradication program cost about the same as producing five recent Hollywood blockbusters, or the wing of a B-2 bomber,

Oolon Colluphid’s trilogy of philosophical blockbusters, Where God Went Wrong, Some More of God’s Greatest Mistakes

Actually having sex with a screenwriter typically led to a blockbuster.

Three blockbuster comedies under his belt and he still felt like the weird wallflower at the movie premiere, the guy not making eye contact with anyone at the Golden Globes.

but we had one thing that Blockbuster did not: a culture that valued people over process, emphasized innovation over efficiency, and had very few controls.

The southern residents are the most photographed, filmed, recorded, and documented mammals on the planet who aren’t either running a country or headlining Hollywood blockbusters.

I didn’t need a girlfriend when I had Blockbuster.

I've never been able to stop the blockbuster disaster film from playing on an endless loop in my mind. I see the terrible coming, whether it is or not.

- Za pet godina naši i njihovi političari će si pružiti ruke i opet biti prijatelji. - Ti se to meni usuđuješ reći? - To je Maximilian Schell je rekao Marlonu Brandu „Mladim lavovima“.

I've found myself moved by letters and diaries in archives as well as trashy, summer blockbusters. It's possible to make a connection with any kind of writing - as long as the writing is good.

The next few minutes were filled with more screams and bangs and crashes than a summer blockbuster movie. The dwarven guards made an excellent show of resisting before collapsing to the ground with defeated groans.

The paper comes in plastic, a little thinner each week, a few more ads. Pretty soon there'll be no news. We'll be underwhelmed, over-bored & all storied out. The clouds ready to burst with our blue-skinned memories. Everyone with a blog, a website, an online store, dedicated server & two-dimensional quick-response-coded documentary made about their precious life. Our brains at maximum capacity, running optimization programs to recover what's left of our sanity. Still, we hope. We go see the latest blockbuster, buy the latest iPhone, zone out in front of our schizo-screens drinking jugs of moonshine corn syrup with our latent mutant meals. Facebook keeps us chained to our pasts, our posts, screwed in our seats... Scarecrows surrounded by night soil & spirits. Your acid shield may protect you from outside threat, but it'll never protect you from yourself.

Fast Food Rule. Wanna know what the summer's blockbuster is going to be? See who McDonald's does the marketing tie-in with. Wanna know what blockbuster will do disappointing business? See who Burger King ties in with.

was not obvious at the time, even to me, but we had one thing that Blockbuster did not: a culture that valued people over process, emphasized innovation over efficiency, and had very few controls. Our culture, which focused on achieving top performance with talent density and leading employees with context not control, has allowed us to continually grow and change as the world, and our members’ needs, have likewise morphed around us.

Even Hollywood got into the act, with director Cecil B. DeMille helping erect literally thousands of granite monuments to the Ten Commandments across the nation as part of a promotional campaign for his blockbuster film of the same name.

Who wants to go to the theater and watch a bunch of people speaking in Chinese for two hours? I mean, wouldn’t you go see a Chinese film instead? We’re talking about a blockbuster made with an American audience in mind. Accessibility matters.

But can we talk about Euphoria the show for a minute? I mean, first of all, Zendaya is everything, but that show so gorgeously captures the thrashing, beautiful, frustrated, sensual, stupid, fun, crazy, sexy, dangerous, dazzling meaning of young adulthood unleashed. I hope people watch it and go, “Oh, yeah, maybe my kid’s not as out of bounds as I thought she was. And maybe the world my kids are growing up in is a bit more complicated than the Blockbuster Video family-friendly aisle I grew up in.

Za deset godina doći će s kraja svijeta neka treća sila i porobiti nas. Hoće li nam i to biti domovina? Hoćemo li i za nju ginuti ako i ona zarati? Hoće li nam i tada odabrati da budemo domoljubi i heroji, da ginemo zato što ćemo voljeti neku krivulju iz atlasa?

Koja je moja domovina? Ova koju branim? To mi je domovina zato što je netko prije ne znam koliko godina ugljenom olovkom povukao po karti i tako odlučio. Da je nacrtao malo drugačije, domovina bi mi bila neka druga država, možda bi sad nju branio od ove koju branim sad?

A mere dozen species account for over 80 percent of the modern world’s annual tonnage of all crops. Those dozen blockbusters are the cereals wheat, corn, rice, barley, and sorghum; the pulse soybean; the roots or tubers potato, manioc, and sweet potato; the sugar sources sugarcane and sugar beet; and the fruit banana.

En cuanto al cine, sus blockbuster tiene éxito en todo el mundo, porque lo que producen no son tanto películas estadounidenses como productos universales y globales. Los franceses hacen películas para los franceses, los indios para los indios, los árabes para los árabes; sólo los estadounidenses hacen películas para todo el mundo. Además, son los únicos que hoy día hacen películas para la exportación, antes incluso de pensar en su mercado interior. Así pues, la prioridad de los estudios y de las majors no consiste sólo en imponer su cine o su música y en defender un imperialismo cultural. Lo que quieren es multiplicar y ampliar sus mercados.

The frenzied hypernatalism of the women's magazines alone (and that includes People, Us, and InStyle), with their endless parade of perfect, "sexy" celebrity moms who've had babies, adopted babies, been to sperm banks, frozen their eggs for future use, hatched frozen eggs, had more babies, or adopted a small Tibetan village all to satisfy their "baby lust," is enough to make you want to get your tubes tied. (These profiles always insist that celebs all love being "moms" much, much more than they do their work, let alone being rich and famous, and that they'd spend every second with their kids if they didn't have that pesky blockbuster movie to finish.)

I bring messages and thanks from the others. Terry Gilliam sadly can't be with us tonight as they won't let him show his ass, which has been very favorably compared with Spielberg's ass. Graham Chapman can't be with us tonight, as sadly he is still dead. And John Cleese is finishing a movie. He has to get it back to Blockbuster by tomorrow.

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

The effect of the current WMS paradigm on the pharmaceutical industry turned out to be catastrophic (for the patient). The rash of drug recalls that has been beleaguering the pharmaceutical industry in the last twenty years is a direct manifestation of drug design based on an incomplete and often incorrect biological and clinical paradigm. Why has the pharmaceutical industry not been capable of producing new drugs that are safe and without severe side effects, that would represent true “therapeutic breakthroughs,” like we were used to seeing in the middle of the twentieth century? Why are the “blockbuster” drugs of recent decades not the safe, therapeutic “breakthroughs” our parents had come to trust in?

Audiences are craving intricate and intelligent stories that keep them on the edge of their seats.

Sharing your dreams with folks from the hood was always risky because most people don’t believe in the same possibilities I do.

It’s always the quiet ones.” The whole damn school was quiet. Moore made us that way. Any of us could be the killer when you put it that way.

Does rejection ever get any easier? Only if we decide not to invest emotion in the dismissal…

The mere observation that something is popular, or even that it became so rapidly, is not sufficient to establish that it spread in a manner that resembles a virus. Popularity on the internet is driven by the size of the largest broadcast. Digital blockbusters are not about a million one-to-one moments as much as they are about a few one-to-one-million moments.

Not only is it a wholly remarkable book, it is also a highly successful one—more popular than the Celestial Home Care Omnibus, better selling than Fifty-three More Things to Do in Zero Gravity, and more controversial than Oolon Coluphid’s trilogy of philosophical blockbusters, Where God Went Wrong, Some More of God’s Greatest Mistakes and Who Is This God Person Anyway?

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.

Over four months in December 2008 and January, February, and March 2009, as Conficker assembled the largest botnet in the world, government, which would seem to have had the largest share of overarching responsibility, played a shockingly minor role. At first the übergeeks assumed the feds were constrained by the need for secrecy: you know, protecting official tactics and methods. Surely behind the scenes there was a sophisticated, well-funded clandestine official apparatus—everyone has seen the gleaming, dark glass and metal, see-everything/hear-everything sets Hollywood dusts off for its espionage blockbusters. What the anti-Conficker group discovered was deeply disillusioning. The real reason for the feds’ silence was . . . they had nothing to offer! They were in way over their heads.

Most of my friends didn’t believe in destiny. Nothing supernatural, nothing sent from above... no magic, no fate, just life, circumstances, and probability. But there were many signs from the universe pointing to Xuan. I never thought my love story would begin as a blockbuster, but everything that happened seemed like a big neon celestial sign that we were meant to be together. My friends would never understand, not really. If I hadn’t met Xuan, I would likely feel the same as them.

The colder and more crass the world has become, the more it scoffs at love at first sight. Popular television shows which would have made your grandmother puke, blockbuster movies so banal, vulgar, unfunny and shallow that only the brain-dead could find enjoyment in them, and best-selling fiction featuring either graphic descriptions of brutal, stomach-churning violence, or sexual depravity that drew no lines, had become completely acceptable, even the norm in our desensitized society.

What a lucky girl you are to have this opportunity to live in one of the world's great cities at this most fascinating point in its long, rich history, they had said. Little Becky had known enough not to ask if there was going to be a Banana Republic or a Gap there, or a Tower Records or a Starbucks or a Tweeters or a Blockbuster or a Super CVS or a Saks. Her mother only mentioned museums and concert halls and churches and architecture, so Little Becky was quite sure there was no room left in Prague for anything good to be built.

Starting something new in middle age might look that way too. Mark Zuckerberg famously noted that “young people are just smarter.” And yet a tech founder who is fifty years old is nearly twice as likely to start a blockbuster company as one who is thirty, and the thirty-year-old has a better shot than a twenty-year-old. Researchers at Northwestern, MIT, and the U.S. Census Bureau studied new tech companies and showed that among the fastest-growing start-ups, the average age of a founder was forty-five when the company was launched.

I write about the social and personal drama in the lives of familiar people who struggle for survival of self in hostile environments. My books expresses a special concern with exploring the oppression's, the insanity, the loyalties and the triumphs of black women is necessary to remind everyone to be fearless in their struggle for survival of self! To Dance With Ugly People IS the next blockbuster in the genre of For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf, Precious, and The Color Purple with a splash of Waiting to Exhale!

The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.' 'Oh my God... said Jonathan, his mouth stalling the open position. 'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")

Most of the crime-ridden minority neighborhoods in New York City, especially areas like East New York, where many of the characters in Eric Garner’s story grew up, had been artificially created by a series of criminal real estate scams. One of the most infamous had involved a company called the Eastern Service Corporation, which in the sixties ran a huge predatory lending operation all over the city, but particularly in Brooklyn. Scam artists like ESC would first clear white residents out of certain neighborhoods with scare campaigns. They’d slip leaflets through mail slots warning of an incoming black plague, with messages like, “Don’t wait until it’s too late!” Investors would then come in and buy their houses at depressed rates. Once this “blockbusting” technique cleared the properties, a company like ESC would bring in a new set of homeowners, often minorities, and often with bad credit and shaky job profiles. They bribed officials in the FHA to approve mortgages for anyone and everyone. Appraisals would be inflated. Loans would be approved for repairs, but repairs would never be done. The typical target homeowner in the con was a black family moving to New York to escape racism in the South. The family would be shown a house in a place like East New York that in reality was only worth about $15,000. But the appraisal would be faked and a loan would be approved for $17,000. The family would move in and instantly find themselves in a house worth $2,000 less than its purchase price, and maybe with faulty toilets, lighting, heat, and (ironically) broken windows besides. Meanwhile, the government-backed loan created by a lender like Eastern Service by then had been sold off to some sucker on the secondary market: a savings bank, a pension fund, or perhaps to Fannie Mae, the government-sponsored mortgage corporation. Before long, the family would default and be foreclosed upon. Investors would swoop in and buy the property at a distressed price one more time. Next, the one-family home would be converted into a three- or four-family rental property, which would of course quickly fall into even greater disrepair. This process created ghettos almost instantly. Racial blockbusting is how East New York went from 90 percent white in 1960 to 80 percent black and Hispanic in 1966.

He looks intimidating to some people, so that means they automatically cast him as the villain in that bad movie I was talking about. And me? People see me—Black, pretty, smart—and they cast me as someone whose feelings don’t matter. Like I’m made of steel and they can do whatever they want to me.

Strategy Lessons • Not every innovation idea has to be a blockbuster. Sufficient numbers of small or incremental innovations can lead to big profits. • Don’t just focus on new product development: Transformative ideas can come from any function—for instance, marketing, production, finance, or distribution. • Successful innovators use an “innovation pyramid,” with several big bets at the top that get most of the investment; a portfolio of promising midrange ideas in test stage; and a broad base of early stage ideas or incremental innovations. Ideas and influence can flow up or down the pyramid.

My work is part detective, part cultural anthropologist. I am a spy, a researcher, a negotiator, a trendsetter, a socialite, and a dealmaker. This is the reason I own this one-man niche. I supply the world with the most brilliant stories in adrenaline-packed adventures concocted by writers, stalkers, hackers, and odd characters, and then produced and marketed by heads of studios and publishers who come to me with preemptive offers. I have the power to turn someone’s obscure dream into one hundred TV episodes, then syndication. I can find a screenplay written in film school and turn it into a blockbuster.

They insisted that the pleasure of reading is not necessarily just about providing pleasure to the mind, but to the heart, the emotions, the body and – for those who believe in these things- the soul. The problem is that this kind of appreciation of literature has been shrouded in embarrassment and shame for a long time

I always loved Woolworth’s because of the pick ’n’ mix; the memory of all those cola bottles, cherry lips, and flying saucers still makes me smile. Lily’s favorite shops were Our Price, where she went to buy the latest cassettes and music posters, and Tammy Girl and C&A, where she and Rose shopped for clothes. I always enjoyed our trips to Blockbuster Video—even if I was rarely allowed to choose which film we would rent—and visits to the little independent bookshop with Nana were my favorite outings. Buying books was the only form of shopping she ever enjoyed. It makes me sad to realize that none of those shops exist now. So many high streets are more like ghost towns these days.

Over the past three decades I’ve appeared in nearly a hundred movies and television shows. I’ve been a leading man and a supporting actor and worked in almost every genre. But whatever else I’ve done or whatever else I might do, The Princess Bride will always be the work with which I am most closely associated; and Westley, with his wisp of a mustache and ponytail, the character with whom I will be forever linked. Not Glory, which earned higher critical praise upon release and won more awards; not Days of Thunder or Twister, both of which were summer blockbusters. Not even Saw, which was shot in eighteen days on a budget smaller than most movies spend on catering, and earned more than $100 million; and that’s just fine by me.

I heard a variation of your life is a story but this one said I should make my story a block buster. Really? I spose there are some exceptions with blockbusters but come on! Just the same, I was inspired to create my story with renewed vigor. I thought I had dreamt that a woman had some faces on her toes. I was on a xylophone that some crows were pulling and I sang to all them toes. I am not wearing her socks(right now)but I am thinking of them. I knew she was in love with a solemn man that had once sang a love song about the sky being a dimented smurf.(I didn't bother to ask her about any symbolism that pertained to patriarch blues) Why yes, I have lived through the 80s and I still feel that bright slinkies have yet to be fully utilized, explored,( and or understood). ” —

So when you guys get married and she squeezes out a litter of brats for you, you're going to have to come up with a better meet-cute than that. I don't think the kids will want to hear that you held mommy's hair while she puked up pills. I'm no expert but I could see that scarring a kid. You know, maybe pep it up. You two locked eyes at a Blockbuster video and you were fucking done for. Then they'll ask what the fuck a Blockbuster is and you can move on to other subjects." "Frate," Edison said, brows raised like he thought the man was out of his fucking mind. Which he was, so it was a valid thought. "Who the fuck did you trade your balls into for the information about what a meet-cute is? First fucking Cyrus with his Michael Bublé, now this fuck with his rom-com comments? We're a sad excuse for bikers at this point.

Terrell, Paul, 66–67, 68 Tesler, Larry, 96–97, 99, 114, 120, 136, 301 Tevanian, Avadis “Avie,” xvi, 259, 268, 272–74, 300–301, 303, 308–9, 362, 366, 458–59, 461 textbook industry, 509–10, 554 “There Goes My Love” (song), 498 “Things Have Changed” (song), 412 “Think Different” advertising campaign, vii, xviii, 328–32, 358 original Jobs version, 577 Thomas, Brent, 162 Thomas, Dylan, 19 Through the Looking Glass (Carroll), 235 Thurman, Mrs., 12 Thus Spoke Zarathustra (Nietzsche), 119 Tiffany, Louis, 123 Time, xvii, xviii, 90, 166, 218, 290, 323, 381, 383, 429, 473, 495, 504, 506 SJ profiled by, 106–7, 139–41 Time Inc., 330, 473, 478, 504, 506–7 Time-Life Pictures, 330 “Times They Are A-Changing, The” (Dylan), 168, 207 Time Warner, 506 Tin Toy (film), 248 Toshiba, 385, 386 touchscreens, 93 Toy Story (film), 285–91, 305, 311, 372, 373–74, 427, 428, 430, 434, 437, 472, 565 basic idea for, 285–86 blockbuster success of, 290–91 budgeting of, 288

Of the 200,000 wild plant species, only a few thousand are eaten by humans, and just a few hundred of these have been more or less domesticated. Even of these several hundred crops, most provide minor supplements to our diet and would not by themselves have sufficed to support the rise of civilizations. A mere dozen species account for over 80 percent of the modern world’s annual tonnage of all crops. Those dozen blockbusters are the cereals wheat, corn, rice, barley, and sorghum; the pulse soybean; the roots or tubers potato, manioc, and sweet potato; the sugar sources sugarcane and sugar beet; and the fruit banana. Cereal crops alone now account for more than half of the calories consumed by the world’s human populations. With so few major crops in the world, all of them domesticated thousands of years ago, it’s less surprising that many areas of the world had no wild native plants at all of outstanding potential. Our failure to domesticate even a single major new food plant in modern times suggests that ancient peoples really may have explored virtually all useful wild plants and domesticated all the ones worth domesticating.

The right to choose to abort a fetus is critical, as is the ability to effect that choice in real life, so it's great that Hillary Clinton wants to repeal the Hyde Amendment. But without welfare, single-payer health care, a minimum wage of at least $15--all policies she staunchly opposes--many people have to forgo babies they'd really love to have. That's not really a choice. It seems ill-conceived to have tethered feminism to such a narrow issue as abortion. Yet it makes sense from an insular Beltway fundraising perspective to focus on an issue that makes no demands--the opposite, really--of the oligarch class; this is probably a big reason why EMILY'S List has never dabbled in backing universal pre-K or paid maternity leave; a major reason 'reproductive choice' has such a narrow and negative definition in the American political discourse. The thing is, an abortion is by definition a story you want to forget, not repeat and relive. And for the same reason abortion pills will never be the blockbuster moneymakers heartburn medications are, abortion is a consummately foolish thing to attempt to build a political movement around. It happens once or twice in a woman's lifetime. Kids, on the other hand, are with you forever. A more promising movement--one that goes against everything Hillary Clinton stands for--might take that to heart.

This is why people are so disappointed with the present. We talk so much about how wonderful tomorrow's going to be that even if it's great, it can't help but be a letdown. Tomorrow is like a summer blockbuster for which the studio starts showing trailers the previous November. By the time it comes to your complex, you feel like you've already seen it. All the best lines and biggest explosions. The most provocative coming-out-of-the-water bikini shot. You will already have seen the making-of-the-feature and heard the actors on the press junket talking about what a privilege it was to work with so-and-so and how they all did their own stunts. So because you feel like you've already seen it, by the time it comes, you have no desire to fork over $15 and actually sit through it in a theater. What's happened is that you've already experienced something which hasn't happened yet. In fact, when you think of it, the only reason to go to the movies isn't to see the feature but to get a taste of the future, to see the trailer for the NEXT big blockbuster and to experience THAT before it happens. And this phenomenon isn't limited to the movies, it is the we live today. And it is why I encourage you to ignore the hype of what's to come, and to get some popcorn and gummy bears during the previews, and to thoroughly enjoy the feature. In real time. Not in the black hole of expectation.

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.

Are you chuckling yet? Because then along came you. A big, broad meat eater with brash blond hair and ruddy skin that burns at the beach. A bundle of appetites. A full, boisterous guffaw; a man who tells knock know jokes. Hot dogs - not even East 86th Street bratwurst but mealy, greasy big guts that terrifying pink. Baseball. Gimme caps. Puns and blockbuster movies, raw tap water and six-packs. A fearless, trusting consumer who only reads labels to make sure there are plenty of additives. A fan of the open road with a passion for his pickup who thinks bicycles are for nerds. Fucks hard and talks dirty; a private though unapologetic taste for porn. Mysteries, thrillers, and science fiction; a subscription to National Geographic. Barbecues on the Fourth of July and intentions, in the fullness of time, to take up golf. Delights in crappy snack foods of ever description: Burgles. Curlies. Cheesies. Squigglies - you're laughing - but I don't eat them - anything that looks less like food than packing material and at least six degrees of separation from the farm. Bruce Springsteen, the early albums, cranked up high with the truck window down and your hair flying. Sings along, off-key - how is it possible that I should be endeared by such a tin ear?Beach Boys. Elvis - never lose your roots, did you, loved plain old rock and roll. Bombast. Though not impossibly stodgy; I remember, you took a shine to Pearl Jam, which was exactly when Kevin went off them...(sorry). It just had to be noisy; you hadn't any time for my Elgar, my Leo Kottke, though you made an exception for Aaron Copeland. You wiped your eyes brusquely at Tanglewood, as if to clear gnats, hoping I didn't notice that "Quiet City" made you cry. And ordinary, obvious pleasure: the Bronx Zoo and the botanical gardens, the Coney Island roller coaster, the Staten Island ferry, the Empire State Building. You were the only New Yorker I'd ever met who'd actually taken the ferry to the Statue of Liberty. You dragged me along once, and we were the only tourists on the boat who spoke English. Representational art - Edward Hopper. And my lord, Franklin, a Republican. A belief in a strong defense but otherwise small government and low taxes. Physically, too, you were such a surprise - yourself a strong defense. There were times you were worried that I thought you too heavy, I made so much of your size, though you weighed in a t a pretty standard 165, 170, always battling those five pounds' worth of cheddar widgets that would settle over your belt. But to me you were enormous. So sturdy and solid, so wide, so thick, none of that delicate wristy business of my imaginings. Built like an oak tree, against which I could pitch my pillow and read; mornings, I could curl into the crook of your branches. How luck we are, when we've spared what we think we want! How weary I might have grown of all those silly pots and fussy diets, and how I detest the whine of sitar music!

a young Goldman Sachs banker named Joseph Park was sitting in his apartment, frustrated at the effort required to get access to entertainment. Why should he trek all the way to Blockbuster to rent a movie? He should just be able to open a website, pick out a movie, and have it delivered to his door. Despite raising around $250 million, Kozmo, the company Park founded, went bankrupt in 2001. His biggest mistake was making a brash promise for one-hour delivery of virtually anything, and investing in building national operations to support growth that never happened. One study of over three thousand startups indicates that roughly three out of every four fail because of premature scaling—making investments that the market isn’t yet ready to support. Had Park proceeded more slowly, he might have noticed that with the current technology available, one-hour delivery was an impractical and low-margin business. There was, however, a tremendous demand for online movie rentals. Netflix was just then getting off the ground, and Kozmo might have been able to compete in the area of mail-order rentals and then online movie streaming. Later, he might have been able to capitalize on technological changes that made it possible for Instacart to build a logistics operation that made one-hour grocery delivery scalable and profitable. Since the market is more defined when settlers enter, they can focus on providing superior quality instead of deliberating about what to offer in the first place. “Wouldn’t you rather be second or third and see how the guy in first did, and then . . . improve it?” Malcolm Gladwell asked in an interview. “When ideas get really complicated, and when the world gets complicated, it’s foolish to think the person who’s first can work it all out,” Gladwell remarked. “Most good things, it takes a long time to figure them out.”* Second, there’s reason to believe that the kinds of people who choose to be late movers may be better suited to succeed. Risk seekers are drawn to being first, and they’re prone to making impulsive decisions. Meanwhile, more risk-averse entrepreneurs watch from the sidelines, waiting for the right opportunity and balancing their risk portfolios before entering. In a study of software startups, strategy researchers Elizabeth Pontikes and William Barnett find that when entrepreneurs rush to follow the crowd into hyped markets, their startups are less likely to survive and grow. When entrepreneurs wait for the market to cool down, they have higher odds of success: “Nonconformists . . . that buck the trend are most likely to stay in the market, receive funding, and ultimately go public.” Third, along with being less recklessly ambitious, settlers can improve upon competitors’ technology to make products better. When you’re the first to market, you have to make all the mistakes yourself. Meanwhile, settlers can watch and learn from your errors. “Moving first is a tactic, not a goal,” Peter Thiel writes in Zero to One; “being the first mover doesn’t do you any good if someone else comes along and unseats you.” Fourth, whereas pioneers tend to get stuck in their early offerings, settlers can observe market changes and shifting consumer tastes and adjust accordingly. In a study of the U.S. automobile industry over nearly a century, pioneers had lower survival rates because they struggled to establish legitimacy, developed routines that didn’t fit the market, and became obsolete as consumer needs clarified. Settlers also have the luxury of waiting for the market to be ready. When Warby Parker launched, e-commerce companies had been thriving for more than a decade, though other companies had tried selling glasses online with little success. “There’s no way it would have worked before,” Neil Blumenthal tells me. “We had to wait for Amazon, Zappos, and Blue Nile to get people comfortable buying products they typically wouldn’t order online.

In America a child can no longer visit the place where she was born a shopping mall stands there instead. In America a grownup can no longer see the school where she learned the art of growing sad a freeway goes through there now an overpass her memories of brick turn to glass the suburb goes from white to black and time speeds up so much she has to stay young forever and reset the clock every five minutes just to know where is there and there is everywhere because she lives in time and not in any space! In our country here the future is in ruins before it is built a fact recognized by postmodern architecture that grins at us shyly or demonically as it quoted ruins from other times and places! There are no buildings in America only passageways that connect migratory floods the most permanent architecture being precisely that which moves these floods from one future ruin to another that is to say freeways and skyways and the car is our only shelter the architecture of desire reduced to the womb a womb in transit from one nowhere to another!” Saddened by his own vision and sensing smugness in the audience, Wakefield is revolted by his desire to please the foreigners. He coughs. He is portraying his own country now for the sake of… what? Applause? There isn't any. He veers down another path. “The miracle of America is of motion not regret in New Mexico the has face of Jesus jumped on a tortilla in Plaquermine a Virgin appeared in a tree In Santuari de Chimayo the dirt turned healer a guy in Texas crasahed into a wall when God said Let me take the wheel! And others hear voice all the time telling them to sit under a tree or jump from a cliff or take large baskets of eggs into Blockbuster to throw at the videos the voices of God are everywhere heard loud and clear under the hum of the tickertape and all these miracle and speaking gods are the mysteries left homeless by the Architecture of speed and moving forward onward and ahead!” Wakefield throws his hands into the air as if to sprinkle fairy dust on the room; he is evoking the richness of a place always ready for miracles.

Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.

ONCE YOU’VE HOOKED readers, your next task is to put your early chapters to work introducing your characters, settings, and stakes. The first 20-25% of the book comprises your setup. At first glance, this can seem like a tremendous chunk of story to devote to introductions. But if you expect readers to stick with you throughout the story, you first have to give them a reason to care. This important stretch is where you accomplish just that. Mere curiosity can only carry readers so far. Once you’ve hooked that sense of curiosity, you then have to deepen the pull by creating an emotional connection between them and your characters. These “introductions” include far more than just the actual moment of introducing the characters and settings or explaining the stakes. In themselves, the presentations of the characters probably won’t take more than a few scenes. After the introduction is when your task of deepening the characters and establishing the stakes really begins. The first quarter of the book is the place to compile all the necessary components of your story. Anton Chekhov’s famous advice that “if in the first act you have hung a pistol on the wall, then in the following one it should be fired” is just as important in reverse: if you’re going to have a character fire a gun later in the book, that gun should be introduced in the First Act. The story you create in the following acts can only be assembled from the parts you’ve shown readers in this First Act. That’s your first duty in this section. Your second duty is to allow readers the opportunity to learn about your characters. Who are these people? What is the essence of their personalities? What are their core beliefs (even more particularly, what are the beliefs that will be challenged or strengthened throughout the book)? If you can introduce a character in a “characteristic moment,” as we talked about earlier, you’ll be able to immediately show readers who this person is. From there, the plot builds as you deepen the stakes and set up the conflict that will eventually explode in the Inciting and Key Events. Authors sometimes feel pressured to dive right into the action of their stories, at the expense of important character development. Because none of us wants to write a boring story, we can overreact by piling on the explosions, fight sequences, and high-speed car chases to the point we’re unable to spend important time developing our characters. Character development is especially important in this first part of the story, since readers need to understand and sympathize with the characters before they’re hit with the major plot revelations at the quarter mark, halfway mark, and three-quarters mark. Summer blockbusters are often guilty of neglecting character development, but one enduring exception worth considering is Stephen Spielberg’s Jurassic Park. No one would claim the film is a leisurely character study, but it rises far above the monster movie genre through its expert use of pacing and its loving attention to character, especially in its First Act. It may surprise some viewers to realize the action in this movie doesn’t heat up until a quarter of the way into the film—and even then we have no scream-worthy moments, no adrenaline, and no extended action scenes until halfway through the Second Act. Spielberg used the First Act to build suspense and encourage viewer loyalty to the characters. By the time the main characters arrive at the park, we care about them, and our fear for their safety is beginning to manifest thanks to a magnificent use of foreshadowing. We understand that what is at stake for these characters is their very lives. Spielberg knew if he could hook viewers with his characters, he could take his time building his story to an artful Climax.

A brilliant strategy, blockbuster product, or breakthrough technology can put you on the competitive map, but only solid execution can keep you there.

The answer is we created buzz: that powerful, widespread phenomenon that can determine the future of individuals, companies, and movies alike. Buzz is the riddle every enterprising person is trying to solve. It’s a grassroots, word-of-mouth force that can turn a low-budget flick into a multimillion-dollar blockbuster. You feel its energy in Internet chat rooms, at the gym, on the street, and all of it is stoked by a media hungry for the inside scoop. Buzz is marketing on steroids.