Blockbuster Show Quotes

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

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.

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.

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.

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.

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.

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.

There’s no business like show business. Yet, when it comes right down to it, that’s the industry every marketing team—no matter what business they’re actually in—pretends to be in when they’re launching something new. Deep down, I think anyone marketing or launching fantasizes that they are premiering a blockbuster movie. And this illusion shapes and warps every marketing decision we make. It feels good, but it’s so very wrong.

Netflix’s algorithm has a deeper (even if still quite limited) understanding of your tastes than Amazon’s, but ironically that doesn’t mean Amazon would be better off using it. Netflix’s business model depends on driving demand into the long tail of obscure movies and TV shows, which cost it little, and away from the blockbusters, which your subscription isn’t enough to pay for. Amazon has no such problem; although it’s well placed to take advantage of the long tail, it’s equally happy to sell you more expensive popular items, which also simplify its logistics. And we, as customers, are more willing to take a chance on an odd item if we have a subscription than if we have to pay for it separately.

Given that media has become fast-paced, readers now want books that show the action and don’t just tell you what is happening. Modern readers don’t want three pages of descriptions of a farmhouse. They want to hear the door’s creak quiet the chirping of crickets out in the cornfield, they want to feel the cool air drift through the house, then they want to see the shadow of a man, gun drawn, standing over the bed of his disloyal lover.

Most interesting of all, unlike the vast majority of firms that fail when the industry shifts, Netflix had responded successfully to four massive transitions in the entertainment and business environment in just fifteen years: From DVD by mail to streaming old TV series and movies over the internet. From streaming old content to launching new original content (such as House of Cards) produced by external studios. From licensing content provided by external studios to building their own in-house studio that creates award-winning TV shows and movies (such as Stranger Things, La Casa De Papel, and The Ballad of Buster Scruggs). From a USA-only company to a global company entertaining people in 190 countries. Netflix’s success is beyond unusual. It’s incredible. Clearly, something singular is happening, which wasn’t happening at Blockbuster when they declared bankruptcy in 2010.

Over the next few years, the number of African Americans seeking jobs and homes in and near Palo Alto grew, but no developer who depended on federal government loan insurance would sell to them, and no California state-licensed real estate agent would show them houses. But then, in 1954, one resident of a whites-only area in East Palo Alto, across a highway from the Stanford campus, sold his house to a black family. Almost immediately Floyd Lowe, president of the California Real Estate Association, set up an office in East Palo Alto to panic white families into listing their homes for sale, a practice known as blockbusting. He and other agents warned that a 'Negro invasion' was imminent and that it would result in collapsing property values. Soon, growing numbers of white owners succumbed to the scaremongering and sold at discounted prices to the agents and their speculators. The agents, including Lowe himself, then designed display ads with banner headlines-"Colored Buyers!"-which they ran in San Francisco newspapers. African Americans desperate for housing, purchased the homes at inflated prices. Within a three-month period, one agent alone sold sixty previously white-owned properties to African Americans. The California real estate commissioner refused to take any action, asserting that while regulations prohibited licensed agents from engaging in 'unethical practices,' the exploitation of racial fear was not within the real estate commission's jurisdiction. Although the local real estate board would ordinarily 'blackball' any agent who sold to a nonwhite buyer in the city's white neighborhoods (thereby denying the agent access to the multiple listing service upon which his or her business depended), once wholesale blockbusting began, the board was unconcerned, even supportive.

Over the next few years, the number of African Americans seeking jobs and homes in and near Palo Alto grew, but no developer who depended on federal government loan insurance would sell to them, and no California state-licensed real estate agent would show them houses. But then, in 1954, one resident of a whites-only area in East Palo Alto, across a highway from the Stanford campus, sold his house to a black family. Almost immediately Floyd Lowe, president of the California Real Estate Association, set up an office in East Palo Alto to panic white families into listing their homes for sale, a practice known as blockbusting. He and other agents warned that a 'Negro invasion' was imminent and that it would result in collapsing property values. Soon, growing numbers of white owners succumbed to the scaremongering and sold at discounted prices to the agents and their speculators. The agents, including Lowe himself, then designed display ads with banner headlines-"Colored Buyers!"-which they ran in San Francisco newspapers. African Americans desperate for housing, purchased the homes at inflated prices. Within a three-month period, one agent alone sold sixty previously white-owned properties to African Americans. The California real estate commissioner refused to take any action, asserting that while regulations prohibited licensed agents from engaging in 'unethical practices,' the exploitation of racial fear was not within the real estate commission's jurisdiction. Although the local real estate board would ordinarily 'blackball' any agent who sold to a nonwhite buyer in the city's white neighborhoods (thereby denying the agent access to the multiple listing service upon which his or her business depended), once wholesale blockbusting began, the board was unconcerned, even supportive. At the time, the Federal Housing Administration and Veterans Administration not only refused to insure mortgages for African Americans in designated white neighborhoods like Ladera; they also would not insure mortgages for whites in a neighborhood where African Americans were present. So once East Palo Alto was integrated, whites wanting to move into the area could no longer obtain government-insured mortgages. State-regulated insurance companies, like the Equitable Life Insurance Company and the Prudential Life Insurance Company, also declared that their policy was not to issue mortgages to whites in integrated neighborhoods. State insurance regulators had no objection to this stance. The Bank of America and other leading California banks had similar policies, also with the consent of federal banking regulators. Within six years the population of East Palo Alto was 82 percent black. Conditions deteriorated as African Americans who had been excluded from other neighborhoods doubled up in single-family homes. Their East Palo Alto houses had been priced so much higher than similar properties for whites that the owners had difficulty making payments without additional rental income. Federal and state hosing policy had created a slum in East Palo Alto. With the increased density of the area, the school district could no longer accommodate all Palo Alto students, so in 1958 it proposed to create a second high school to accommodate teh expanding student population. The district decided to construct the new school in the heart of what had become the East Palo Alto ghetto, so black students in Palo Alto's existing integrated building would have to withdraw, creating a segregated African American school in the eastern section and a white one to the west. the board ignored pleas of African American and liberal white activists that it draw an east-west school boundary to establish two integrated secondary schools. In ways like these, federal, state, and local governments purposely created segregation in every metropolitan area of the nation.

There have been glimpses of alternative romance narratives—not only in niche genres or in programs with small but dedicated followings, but also in Hollywood blockbusters and primetime television—that represent an empowered version of womanhood that still finds room for intimacy, even if it is a struggle. These alternative romance narratives offer sites of potential resistance, transformation, and agency. They show us examples where feminist-friendly heterosexual intimacies are being advanced and even celebrated, where pockets of popular culture are replacing the feminist man-hating stereotype with a feminist man-loving ideal—whether the love is romantic or not—that portrays female relationships with men in ways that avoid or question the old caricatures. (6)

Annie, for the fleeting second before she remembered Sally’s warning, almost told him to go fuck himself, showing up late, watching her in an unguarded moment. Then she composed herself, let her breathing regulate, and became not herself. “Impressive, right?” she asked, smiling, wagging the mallet like some obscene instrument. “Very much so. I’ve already got the opening paragraph of the article,” he replied. “Want to hear it?” Annie could not think of a thing she would want less. “I’ll wait for the issue like everyone else,” she said. “Fair enough,” he said, “but it’s really good.” “Let’s get some more quarters,” Annie said, and began to walk away. Eric knelt down and tore the strip of tickets that had emanated from the game, an afterthought. “Don’t forget these,” he said. “Maybe I’ll win you a teddy bear,” Annie said, sliding the tickets into her purse. “That would be the best article ever.” On one of her first interviews for The Powers That Be, the blockbuster comic book adaptation where she played Lady Lightning, a reporter asked her if she had been a fan of comic books growing up. “I’ve never read a comic book in my life,” she responded. The reporter screwed up his face and then shook his head. “I’m going to write down that you loved comics as a girl. You were kind of a geek growing up. Is that okay?

Barry lay in his bed, fuming. He’d gone straight to his room, without cleaning his teeth or anything, and slammed the door. But it had just come back at him as his door didn’t really shut properly unless you closed it carefully, jiggling the handle up as you did it. So he’d had to do that after his slam, which felt completely at odds with a show of rage. He lay there in his onesie – a zebra one, with ears and a tail, which was too big for him because it had been passed down from Lukas – and stared at his room. His head

OVER THE next few years, the number of African Americans seeking jobs and homes in and near Palo Alto grew, but no developer who depended on federal government loan insurance would sell to them, and no California state-licensed real estate agent would show them houses. But then, in 1954, one resident of a whites-only area in East Palo Alto, across a highway from the Stanford campus, sold his house to a black family. Almost immediately Floyd Lowe, president of the California Real Estate Association, set up an office in East Palo Alto to panic white families into listing their homes for sale, a practice known as blockbusting. He and other agents warned that a “Negro invasion” was imminent and that it would result in collapsing property values. Soon, growing numbers of white owners succumbed to the scaremongering and sold at discounted prices to the agents and their speculators. The agents, including Lowe himself, then designed display ads with banner headlines—“Colored Buyers!”—which they ran in San Francisco newspapers.

To put it simply, blue-sky opportunities are about skating to where the puck will be, not where it is now. Sometimes blue-sky opportunities arise by thinking more broadly or reframing how you’re approaching a problem: Blockbuster saw its business as “video stores” and was locked into handing customers tapes and DVDs. Netflix focused on “content delivery,” and it didn’t matter if that content came from the mail or streaming video. By thinking about how to let customers watch movies and TV shows in a different way, Netflix saw a means to exceed Blockbuster’s local maxima and find a new global maxima.

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.

When a movie or TV show is too heavily larded with these moments, you may be looking at the result of interference from producers and executives. They’ve trained themselves to see stories as connective tissues fusing together various categories of gratification. This is why so many would-be blockbusters play more like hodge-podges of disparate stimuli than satisfyingly integrated narratives.

Like in business, the emergence of new players necessarily changes the way the game must be played. Blockbuster—the sole superpower in the movie rental business—failed to appreciate that a small company like Netflix and an emerging technology like the internet required them to reexamine their entire business model. Big publishers doubled down on old models when Amazon showed up instead of asking how they could update and upgrade their models in the face of a new digital age. And instead of asking themselves, “What do we need to do to change with the times,” taxi companies chose to sue the ridesharing companies to protect their business models instead of learning how to adapt and provide a better taxi service. Sears got so big and so rich from sending out paper catalogues for so many decades that they were too slow to adapt to the rise of big-box stores like Walmart and ecommerce. And believing itself without Rival, the behemoth that was Myspace didn’t even see Facebook coming.

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 studios then fed their pictures first and exclusively to theaters they owned in competitive markets like New York, Chicago, and Boston. A caste system among theaters developed in which first-run pictures went to certain chains and second-run pictures—reruns, essentially—went to another tier of chains. In dealing with independent theater owners, distributors used the leverage of stars and major pictures to bundle their slate of minor pictures—for a theater owner to get the big blockbusters, he had to agree to show the harder-to-market films. The studio system’s purpose at every step was to smooth out the economics of an unpredictable business. The outcome was a functioning cartel.

Success is not about being a spectator, it's about being the star of your own show. Work diligently on your goals, and let your achievements be the blockbuster everyone talks about.

If you are all set for an enjoyable weekend then simply head towards the magnificent Her Majesty’s Theatre! The popular London Westend theatre is running the award winning London show, The Phantom of the Opera with packed houses. The show has already made its remarkable entry into its third decade. The blockbuster London show by Andrew Lloyd Webber is a complete treat for music lovers. The popular show has won several prestigious awards. The show is set against the backdrop of gothic Paris Opera House. The show revolves around soprano Christine Daae who is enticed by the voice of Phantom. The show features some of the heart touching and spell binding musical numbers such as 'The Music of the Night', 'All I Ask of You' and the infamous title track, The Phantom of the Opera. The Phantom of the Opera is a complete audio visual treat for theatre lovers. In the year 1986, the original production made its debut at the Her Majesty's Theatre featuring Michael Crawford and Sarah Brightman. Sarah was then wife of composer Andrew Lloyd Webber. The popular London musical, The Phantom of the Opera went on becoming a popular show and still London's hottest ticket. The award winning show is a brilliant amalgamation of outstanding design, special effects and memorable score. The show has earned critical acclamation from both the critics and audiences. The show has been transferred to Broadway and is currently the longest running musical. The show is running at the Majestic Theatre and enjoyed brilliant performance across the globe. For Instance, the Las Vegas production was designed specifically with a real lake. In order to celebrate its silver jubilee, there was a glorious concert production at the Royal Albert Hall. The phenomenal production featured Ramin Karimloo and Sierra Boggess as Phantom and Christine. If you are looking for some heart touching love musical the Phantom of the Opera is a must watch. With its wonderfully designed sets, costumes and special effects, the show is a must watch for theatre lovers. The show is recommended for 10+ kids and run for two hours and thirty minutes.

The fate of the two companies was starkly different, as was its leadership. In its 25-year history, Blockbuster had five CEOs, none of whom had much interest in the inner workings of the video rental business. Netflix is still run by its Co-founder, Reed Hastings, who wrote a $1.9 million check 23 years ago to start the company. He is a self-described “math wonk,” and it shows in the company’s obsession with following the numbers to what its customers want. Blockbuster had thousands of times more data about movie watching than Netflix but rarely used it in productive ways. Even though Netflix was a fraction of the size, its obsession with data created a knowledge advantage that became its ultimate weapon against Blockbuster.