Branding Movie Quotes

The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. Although the two are identical twins, man, as a rule, views the prenatal abyss with more calm than the one he is heading for (at some forty-five hundred heartbeats an hour). I know, however, of a young chronophobiac who experienced something like panic when looking for the first time at homemade movies that had been taken a few weeks before his birth. He saw a world that was practically unchanged-the same house, the same people- and then realized that he did not exist there at all and that nobody mourned his absence. He caught a glimpse of his mother waving from an upstairs window, and that unfamiliar gesture disturbed him, as if it were some mysterious farewell. But what particularly frightened him was the sight of a brand-new baby carriage standing there on the porch, with the smug, encroaching air of a coffin; even that was empty, as if, in the reverse course of events, his very bones had disintegrated.

When it comes to forming opinions on works of art, people look to others. Most people end up liking paintings, songs and movies just because the majority have a favourable opinion about them. Ultimately it’s all about the brand value of the artist.

Love isn’t something that we invented. It’s observable. Powerful. It has to mean something. Maybe it means something more, something we can’t yet understand. Maybe it’s some evidence, some artifact of a higher dimension that we can’t consciously perceive. Love is the one thing that we’re capable of perceiving that transcends dimensions of time and space.

What I've done means no witch can ever control you like that. It's my mark, see. My brand. It warns them off. Apart from that, it don't mean much, though. Not if you don't want it to. Don't have to sit next to me. Movie if you want. Do you want to go?" I shook my head. "I'm happy sitting here next to you." "And I'm happy here sitting next to you. So we're both happy. What can be wrong with that?

I’ve asked myself that a thousand times over and I’m no closer to an answer now than I was when it began. I think that’s why I always loved movies so much. In a movie, everything has to make sense. The characters always have to have motivation. Good, solid motivation for everything they do. They can’t be a dickhead without reason. If someone turns on a character, they have to have a hardcore, believable reason for it. Unfortunately, in real life you don’t. People turn on each other for anything from catching a constipated look on your face when you had gas and thinking it was directed at them, to not liking the brand of shoes you’re wearing. People are sick. (Aiden)

The true ENTREPRENEUR is a risk taker, not an excuse maker.

Then she ‘noticed’ my bloody knee and said I must’ve been so concerned about helping her that I hadn’t even realized I was bleeding. She cleaned me up, put on a Band-Aid, and gave me a Fudgesicle. Made me feel like a damned hero for face-planting on the sidewalk.” I laughed and looked up at the sky, my heart full. “That story is so on-brand for my mom.

Here is a postcard from the other side: fame, luxury items and glamour are not real and cannot solve you, whether it’s a pair of shoes, a stream of orgies, a movie career or global adulation. They are just passing clouds of imaginary pleasure.

@mink: Guess what I got in the mail today? A brand-new copy of The Philadelphia Story. @alex: Nice! Love that movie. We should watch that together sometime if I can find a copy. @mink: Definitely. It’s one of my favorite Cary Grant/Katharine Hepburn films! @alex: Well, in other good news, since I know you LOVE gangster movies so much [insert sarcasm here], I just sent you a ton of Godfather screens with Alex-ified captions, changing things up for you. @mink: I’m looking at them right now. You think you’re pretty funny, don’t you? @alex: Only if you do. @mink: You made orange juice go up my nose. @alex: That’s all I ever wanted, Mink.

The final form of leverage is brand new—the most democratic form. It is: “products with no marginal cost of replication.” This includes books, media, movies, and code. Code is probably the most powerful form of permissionless leverage. All you need is a computer—you don’t need anyone’s permission. [1]

Warner Studios official in the era of silent movies: Who the hell wants to hear actors talk?

I feel like I’m starring in a fucking Lifetime movie.

To one degree or another I've spent my entire life since both attending movies and making them, trying to re-create the experience of watching a brand-new Jim Brown Film..

What a wonderful world that was, and how remote it seems now. It is a challenge to believe that there was ever a time that airline food was exciting, when stewardesses were happy to see you, when flying was such an occasion that you wore your finest clothes. I grew up in a world in which everything was like that: shopping malls, TV dinners, TV itself, supermarkets, freeways, air conditioning, drive-in movies, 3D movies, transistor radios, backyard barbecues, air travel as a commonplace—all were brand-new and marvelously exciting. It is amazing we didn’t choke to death on all the novelty and wonder in our lives. I remember once my father brought home a device that you plugged in and, with an enormous amount of noise and energy, it turned ice cubes into shaved ice, and we got excited about that. We were idiots really, but awfully happy, too. —

The people we were there to help, often times, didn’t really give a fuck about our help. They would LIE, cheat and steal, and say anything to get whatever they could from us, and then go back to sympathizing with the Taliban. Their sense of loyalty to their country is non-existent, their ability to lie and bullshit is better than any scummy lawyer I’ve ever seen in a movie, and their willingness to flop sides is inspiring to Lebron James.

But she knows this isn’t true. They’re more than just people. They’re a mood, a feeling, a vibe, an aspiration. They’re like a music video or a trailer for a really cool movie. They’re a billboard poster for a hip clothing brand.

As a boy I’d been afraid of the dark—or, more specifically, of monsters. I knew they only inhabited the world of movies, but sometimes in the dark it would occur to me that I, too, might be performing, all unwittingly, in a movie, perhaps even in the dread role of victim. There were two things movie victims never did, at least (alas) in my day: they never swore, and they never uttered brand names. Knowing this, I’d hit upon an ingenious way to keep my courage up. Whenever I was forced to brave the darkness, whether in the cellar or the attic or even my own room, I’d chant the magic words “Fuck” and “Pepsi-Cola” and I knew that I’d be safe.

You are all more or less wearing the same types of clothes—look around the room and you will see it’s true. Now imagine you’re the only one not wearing a cool symbol. How would that make you feel? The Nike swoop, the three Adidas stripes, the little Polo player on a horse, the Hollister seagull, the symbols of Philadelphia’s professional sports teams, even our high school mascot that you athletes wear to battle other schools—some of you wear our Mustang to class even when there is no sporting event scheduled. These are your symbols, what you wear to prove that your identity matches the identity of others. Much like the Nazis had their swastika. We have a very loose dress code here and yet most of you pretty much dress the same. Why? Perhaps you feel it’s important not to stray too far from the norm. Would you not also wear a government symbol if it became important and normal to do so? If it were marketed the right way? If it was stitched on the most expensive brand at the mall? Worn by movie stars? The president of the United States?

Branding is something designers think about a lot. You take something like a perfume or car tire, or butt-flavored bubblegum, and you ask questions about it that you shouldn't be able to ask. What kind of tuxedo would this car tire wear to the prom? What is this perfume's favorite movie? You try to end up in a place where you understand a product as if it is a person. The reverse of this, where people become brands, should be easy right? They're already people... End at the beginning. Except that really what you're doing when you brand is a process of simplification. You come to understand the essence of that fucking tire. And so branding a person also benefits dramatically from simplicity. People are complicated, but brands are simple.

In psychology, they call the holistic view you form about another person your global evaluation. As you can see, your global evaluation about the height or beauty of another person greatly affects your other estimations, but many other global evaluations can produce the halo effect. When it comes to your favorite bands, directors, brands, or companies, you often lie to yourself about their shortcomings. For example, if you really, truly love a particular musician or band, you will forgive their poorer works much more readily than will a less-devoted fan. You may find yourself defending their latest album, explaining the nuances to the uninitiated, wondering why they can’t appreciate it. Or maybe you absolutely love a particular director or author, and believe her to be a genius who can do no wrong. When critics slam her latest movie or book, how do you react? Like most fanatics, you probably see the dissenters as naysayers and nitpickers drunk on their own haterade. The halo effect nullifies your objectivity.

In a letter to Pixar shareholders, Jobs explained that winning the right to have equal branding with Disney on all the movies, as well as advertising and toys, was the most important aspect of the deal. “We want Pixar to grow into a brand that embodies the same level of trust as the Disney brand,” he wrote. “But in order for Pixar to earn this trust, consumers must know that Pixar is creating the films.” Jobs was known during his career for creating great products. But just as significant was his ability to create great companies with valuable brands. And he created two of the best of his era: Apple and Pixar.

Toyota wasn’t really worried that it would give away its “secret sauce.” Toyota’s competitive advantage rested firmly in its proprietary, complex, and often unspoken processes. In hindsight, Ernie Schaefer, a longtime GM manager who toured the Toyota plant, told NPR’s This American Life that he realized that there were no special secrets to see on the manufacturing floors. “You know, they never prohibited us from walking through the plant, understanding, even asking questions of some of their key people,” Schaefer said. “I’ve often puzzled over that, why they did that. And I think they recognized we were asking the wrong questions. We didn’t understand this bigger picture.” It’s no surprise, really. Processes are often hard to see—they’re a combination of both formal, defined, and documented steps and expectations and informal, habitual routines or ways of working that have evolved over time. But they matter profoundly. As MIT’s Edgar Schein has explored and discussed, processes are a critical part of the unspoken culture of an organization. 1 They enforce “this is what matters most to us.” Processes are intangible; they belong to the company. They emerge from hundreds and hundreds of small decisions about how to solve a problem. They’re critical to strategy, but they also can’t easily be copied. Pixar Animation Studios, too, has openly shared its creative process with the world. Pixar’s longtime president Ed Catmull has literally written the book on how the digital film company fosters collective creativity2—there are fixed processes about how a movie idea is generated, critiqued, improved, and perfected. Yet Pixar’s competitors have yet to equal Pixar’s successes. Like Toyota, Southern New Hampshire University has been open with would-be competitors, regularly offering tours and visits to other educational institutions. As President Paul LeBlanc sees it, competition is always possible from well-financed organizations with more powerful brand recognition. But those assets alone aren’t enough to give them a leg up. SNHU has taken years to craft and integrate the right experiences and processes for its students and they would be exceedingly difficult for a would-be competitor to copy. SNHU did not invent all its tactics for recruiting and serving its online students. It borrowed from some of the best practices of the for-profit educational sector. But what it’s done with laser focus is to ensure that all its processes—hundreds and hundreds of individual “this is how we do it” processes—focus specifically on how to best respond to the job students are hiring it for. “We think we have advantages by ‘owning’ these processes internally,” LeBlanc says, “and some of that is tied to our culture and passion for students.

I want to say something else about desire. I really do not know what it is. I experience something which, sometimes, if I pull it apart, I cannot make reason of. The word seems to me to fall apart under the pull and drag of its commodified shapes, under the weight of our artifice and our conceit. It is sometimes impossible to tell what is real from what is manufactured. We live in a world filled with commodified images of desire. Desire clings to widgets, chairs, fridges, cars, perfumes, shoes, jackets, golf clubs, basketballs, telephones, water, soap powder, houses, neighbourhoods. Even god. It clings to an endless list of objects. It clings to the face of television sets and movie screens. It is glaciered in assigned objects, it is petrified in repetitive cliched gestures. Their repetition is tedious, the look and sound of them tedious. We become the repetition despite our best efforts. We become numb. And though against the impressive strength of this I can't hope to say all that desire might be, I wanted to talk about it not as it is sold to us but as one collects it, piece by piece, proceeding through a life. I wanted to say that life, if we are lucky, is a collection of aesthetic experiences as it is a collection of pratical experiences, which may be one and the same sometimes, and which if we are lucky we make a sense of. Making sense may be what desire is. Or, putting the senses back together.

Sitting at the edge of his bed those days, weaving and watching television movies – movies themselves, mostly made from the seasickness of misguided creative endeavor. Normalization of commercial compromise had left his medium as one of dominantly irrelevant fantasies adding nothing to the world, and instead providing a perfect storm of merchanteering thespians and image builders now less identifiable as creators of valued products than of products built for significant sales. Their masses of fans as happy as hustled, bustled, and rustled sheep. A country without culture? Nothing more than a shopping mall with a flag? Still, business is branding buoyantly, leaving Bob to yet another bout of that old society-is-sinking sensation.

... the scent emanating from her skin not only because she was born with a glandular constitution suited to giving off that scent but also because of everything she has eaten in her life and the brands of soap she has used, in other words because of what is called, in quotes, culture, and also her way of walking and of sitting down which comes to her from the way she has moved among those who move in the cities and houses and streets where she's lived, all this but also the things she has in her memory, after having seen them perhaps just once and perhaps at the movies, and also the forgotten things which still remain recorded somewhere in the back of the neurons like all the psychic trauma a person has to swallow from infancy on.

nine-hour flight to California aboard a TWA Super Constellation, with room for no fewer than sixty-four passengers. Next we see the simple funfair of the original Disneyland. At the hotel, the Barstows are jubilant that the chic swimming pool is open to them. Yes, the days when such luxury was reserved for the stylish elite are over. The family deals with its budgetary constraints by not eating in restaurants but picnicking outdoors. There is no hint of any doubt or cynicism. Every minute of the movie is filled with sun, innocence and boundless enthusiasm. It’s true, Barstow says at the end, Walt Disney is right: Disneyland is ‘the happiest place on earth’. The entire family is ‘forever grateful to Scotch brand cellophane tape’ for the experience. The closing chorus of this charming cantata

When she finally reached it, she bent forward and looked through the peephole. Jay was grinning back at her from outside. Her heart leaped for a completely different reason. She set aside her crutches and quickly unbolted the door to open it. "What took you so long?" Her knee was bent and her ankle pulled up off the ground. She balanced against the doorjamb. "What d'you think, dumbass?" she retorted smartly, keeping her voice down so she wouldn't alert her parents. "You scared the crap out of me, by the way. My parents are already in bed, and I was all alone down here." "Good!" he exclaimed as he reached in and grabbed her around the waist, dragging her up against him and wrapping his arms around her. She giggled while he held her there, enjoying everything about the feel of him against her. "What are you doing here? I thought I wouldn't see you till tomorrow." "I wanted to show you something!" He beamed at her, and his enthusiasm reached out to capture her in its grip. She couldn't help smiling back excitedly. "What is it?" she asked breathlessly. He didn't release her; he just turned, still holding her gently in his arms, so that she could see out into the driveway. The first thing she noticed was the officer in his car, alert now as he kept a watchful eye on the two of them. Violet realized that it was late, already past eleven, and from the look on his face, she thought he must have been hoping for a quiet, uneventful evening out there. And then she saw the car. It was beautiful and sleek, painted a glossy black that, even in the dark, reflected the light like a polished mirror. Violet recognized the Acura insignia on the front of the hood, and even though she could tell it wasn't brand-new, it looked like it had been well taken care of. "Whose is it?" she asked admiringly. It was way better than her crappy little Honda. Jay grinned again, his face glowing with enthusiasm. "It's mine. I got it tonight. That's why I had to go. My mom had the night off, and I wanted to get it before..." He smiled down at her. "I didn't want to borrow your car to take you to the dance." "Really?" she breathed. "How...? I didn't even know you were..." She couldn't seem to find the right words; she was envious and excited for him all at the same time. "I know right?" he answered, as if she'd actually asked coherent questions. "I've been saving for...for forever, really. What do you think?" Violet smiled at him, thinking that he was entirely too perfect for her. "I think it's beautiful," she said with more meaning than he understood. And then she glanced back at the car. "I had no idea that you were getting a car. I love it, Jay," she insisted, wrapping her arms around his neck as he hoisted her up, cradling her like a small child." "I'd offer to take you for a test-drive, but I'm afraid that Supercop over there would probably Taser me with his stun gun. So you'll have to wait until tomorrow," he said, and without waiting for an invitation he carried her inside, dead bolting the door behind him. He settled down on the couch, where she'd been sitting by herself just moments before, without letting her go. There was a movie on the television, but neither of them paid any attention to it as Jay reclined, stretching out and drawing her down into the circle of his arms. They spent the rest of the night like that, cradled together, their bodies fitting each other perfectly, as they kissed and whispered and laughed quietly in the darkness. At some point Violet was aware that she was drifting into sleep, as her thoughts turned dreamlike, becoming disjointed and fuzzy and hard to hold on to. She didn't fight it; she enjoyed the lazy, drifting feeling, along with the warmth created by the cocoon of Jay's body wrapped protectively around her. It was the safest she'd felt in days...maybe weeks... And for the first time since she'd been chased by the man in the woods, her dreams were free from monsters.

Racism was a constant presence and absence in the Obama White House. We didn’t talk about it much. We didn’t need to—it was always there, everywhere, like white noise. It was there when Obama said that it was stupid for a black professor to be arrested in his own home and got criticized for days while the white police officer was turned into a victim. It was there when a white Southern member of Congress yelled “You lie!” at Obama while he addressed a joint session of Congress. It was there when a New York reality show star built an entire political brand on the idea that Obama wasn’t born in the United States, an idea that was covered as national news for months and is still believed by a majority of Republicans. It was there in the way Obama was talked about in the right-wing media, which spent eight years insisting that he hated America, disparaging his every move, inventing scandals where there were none, attacking him for any time that he took off from work. It was there in the social media messages I got that called him a Kenyan monkey, a boy, a Muslim. And it was there in the refusal of Republicans in Congress to work with him for eight full years, something that Obama was also blamed for no matter what he did. One time, Obama invited congressional Republicans to attend a screening of Lincoln in the White House movie theater—a Steven Spielberg film about how Abraham Lincoln worked with Congress to pass the Thirteenth Amendment abolishing slavery. Not one of them came. Obama didn’t talk about it much. Every now and then, he’d show flashes of dark humor in practicing the answer he could give on a particular topic. What do you think it will take for these protests to stop? “Cops need to stop shooting unarmed black folks.” Why do you think you have failed to bring the country together? “Because my being president appears to have literally driven some white people insane.” Do you think some of the opposition you face is about race? “Yes! Of course! Next question.” But he was guarded in public. When he was asked if racism informed the strident opposition to his presidency, he’d carefully ascribe it to other factors.

Guys like him…they aren’t the flowers-and-candy type. He probably won’t take you out to a romantic dinner. I don’t see him renting a plane and having it fly a banner declaring his love for you.” Rayne giggled and nodded in agreement. “But if you pay attention, you’ll see the signs that he cares. A hand against your back. Asking if you need anything. He’ll make sure you eat before him. He’ll walk on the outside of the sidewalk, making sure you’re away from traffic. The signs will be there, but they won’t ever be the big romantic gestures most women crave.” “He wraps my wrists and ankles every morning. He took my nasty snot-filled tissues yesterday without making a big deal out of it. He let me have as much cream cheese on my bagel this morning as I wanted, even though it meant I used most of it and he only had a little bit.” Penelope nodded. “Exactly. They’ll swear until they’re dead as a doornail that they aren’t romantic, when in reality, what we see in the movies and on TV as ‘romance’ is just smoke and mirrors. I don’t know about you, but I’d much rather have their brand of romance than Hollywood’s.

Saul had seen the rash of demonic-children entertainments as a symptom of deeper underlying fears and hatreds; the “me-generation’s” inability to shift into the role of responsible parenthood at the cost of losing their own interminable childhood, the transference of guilt from divorce—the child is not really a child, but an older, evil thing, capable of deserving any abuse resulting from the adult’s selfish actions—and the anger of an entire society revolting after two decades of a culture dominated by and devoted to youthful looks, youth-oriented music, juvenile movies, and the television and movie myth of the adult-child inevitably wiser, calmer, and more “with-it” than the childish adults in the house hold. So Saul had lectured that the child-fear and child-hatred becoming visible in popular shows and books had its irrational roots in common guilts, shared anxieties, and the universal angst of the age. He had warned that the national wave of abuse, neglect, and callousness toward children had its historical antecedents and that it would run its course, but that everything possible must be done to avoid and eliminate that brand of violence before it poisoned America.

It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.

I think we all collectively have gone a little crazy. We worry about the wrong things. I have an acquaintance, Christy, whose twelve–year–old son managed to get into a very violent PG–13 movie. I don’t know how many machine–gunnings, explosions, and killings this boy wound up witnessing. As I recall, the boy had nightmares for a week afterward. That disturbed his mother—but not as much as if her son had stumbled into a different kind of movie. “At least there wasn’t any sex,” she said with dead–serious concern. “No,” I said, “probably not a single bare breast.” I didn’t add that most societies do not regard the adult female breast as being primarily an object of sexual desire. After all, it’s just a big gland that makes milk in order to feed hungry babies. “You know what I’m talking about,” she snapped. “I mean graphic sex.” We were sitting in a café drinking tea. She cut off the volume of her speech at the end of her sentence, whispering and exaggerating the consonants of S–E–X as if she needed me to read her lips—as if giving voice to this word might disturb our neighbors and brand her as a deviant. “I don’t think children should see that kind of thing,” she added. “What should children see?” I asked her. I am not arguing that we should let our children buy tickets to raunchy movies. I never let my daughters bring home steamy videos or surf the Internet for porn. But something is wrong when sex becomes a dirty word that we don’t even want our children to hear. Why must we regard almost anything sexual as tantamount to obscene? I think many of us are like Christy. We wouldn’t want our children—even our very sexual teenagers—to see certain kinds of movies, even if they happened to be erotic masterpieces, true works of art. It wouldn’t matter if a movie gave us a wonderful scene of a wife and a husband very lovingly making love with the conscious intention of engendering new life. It wouldn’t matter that sex is life, and therefore must be regarded as sacred as anything could possibly be. It wouldn’t even matter that not one of us could have come into the world but for the sexual union of our fathers and our mothers. If a movie portrayed a man and woman in the ecstatic dance of love—actually showed naked bellies and breasts, burning lips and adoring eyes and the glistening, impassioned organs of sex—most people I know would rather their children watch the vile action movie. They would rather their “innocent” sons and daughters behold the images of bloody, blasted bodies, torture, murder, and death.

The only thing I knew about pickups was this: growing up, I always inwardly mocked the couples I saw who drove around in them. The girl would be sitting in the middle seat right next to the boy, and the boy’s right arm would be around her shoulders, and his left arm would be on the wheel. I’m not sure why, but there was something about my golf course upbringing that had always caused me to recoil at this sight. Why is she sitting in the middle seat? I’d wonder. Why is it important that they press against each other as they drive down the road? Can’t they wait until they get home? I looked at it as a sign of weakness--something pitiable. They need to get a life may have even crossed my mind once or twice, as if their specific brand of public affection was somehow directly harming me. But that’s what happens to people who, by virtue of the geography of their childhood, are deprived of the opportunity to ride in pickup trucks. They become really, really judgmental about otherwise benign things. Still, every now and then, as Marlboro Man showed me the beauty of the country in his white Ford F250, I couldn’t help but wonder…had he been one of those boys in high school? I knew he’d had a serious girlfriend back in his teenage years. Julie. A beautiful girl and the love of his adolescent life, in the same way Kev had been mine. And I wondered: had Julie scooched over to the middle seat when Marlboro Man picked her up every Friday night? Had he hooked his right arm around her neck, and had she then reached her left hand up and clasped his right hand with hers? Had they then dragged Main in this position? Our hometowns had been only forty miles apart; maybe he’d brought her to my city to see a movie. Was it remotely possible I’d actually seen Marlboro Man and Julie riding around in his pickup, sitting side by side? Was it possible this man, this beautiful, miraculous, perfect man who’d dropped so magically into my life, had actually been one of the innocent recipients of my intolerant, shallow pickup-related condemnation? And if he had done it, was it something he’d merely grown out of? How come I wasn’t riding around in his middle seat? Was I supposed to initiate this? Was this expected of me? Because I probably should know early on. But wouldn’t he have gestured in that direction if he’d wanted me to move over and sit next to him? Maybe, just maybe, he’d liked those girls better than he liked me. Maybe they’d had a closeness that warranted their riding side by side in a pickup, a closeness that he and I just don’t share? Please don’t let that be the reason. I don’t like that reason. I had to ask him. I had to know.

You don’t know me! You know Miss Erstwhile, but--” “Come now, ever since I witnessed your abominable performance in the theatrical, it’s been clear that you can’t act to save your life. All three weeks, that was you.” He smiled. “And I wanted to keep knowing you. Well, I didn’t at first. I wanted you to go away and leave me in peace. I’ve made a career out of avoiding any possibility of a real relationship. And then to find you in that circus…it didn’t make sense. But what ever does?” “Nothing,” said Jane with conviction. “Nothing makes sense.” “Could you tell me…am I being too forward to ask?...of course, I just bought a plane ticket on impulse, so worrying about being forward at this point is pointless…This is so insane, I am not a romantic. Ahem. My question is, what do you want?” “What do I…?” This really was insane. Maybe she should ask that old woman to change seats again. “I mean it. Besides something real. You already told me that. I like to think I’m real, after all. So, what do you really want?” She shrugged and said simply, “I want to be happy. I used to want Mr. Darcy, laugh at me if you want, or the idea of him. Someone who made me feel all the time like I felt when I watched those movies.” It was hard for her to admit it, but when she had, it felt like licking the last of the icing from the bowl. That hopeless fantasy was empty now. “Right. Well, do you think it possible--” He hesitated, his fingers played with the radio and light buttons on the arm of his seat. “Do you think someone like me could be what you want?” Jane smiled sadly. “I’m feeling all shiny and brand new. In all my life, I’ve never felt like I do now. I’m not sure yet what I want. When I was Miss Erstwhile, you were perfect, but that was back in Austenland. Or are we still in Austenland? Maybe I’ll never leave.” He nodded. “You don’t have to decide anything now. If you will allow me to be near you for a time, then we can see.” He rested his head back, and they looked at each other, their faces inches apart. He always was so good at looking at her. And it occurred to her just then that she herself was more Darcy than Erstwhile, sitting there admiring his fine eyes, feeling dangerously close to falling in love against her will. “Just be near…” she repeated. He nodded. “And if I don’t make you feel like the most beautiful woman in the world every day of your life, then I don’t deserve to be near you.” Jane breathed in, taking those words inside her. She thought she might like to keep them for a while. She considered never giving them up. “Okay, I lied a little bit.” He rubbed his head with even more force. “I need to admit up front that I don’t know how to have a fling. I’m not good at playing around and then saying good-bye. I’m throwing myself at your feet because I’m hoping for a shot at forever. You don’t have to say anything now, no promises required. I just thought you should know.” He forced himself to lean back again, his face turned slightly away, as if he didn’t care to see her expression just then. It was probably for the best. She was staring straight ahead with wide, panicked eyes, then a grin slowly took over her face. In her mind was running the conversation she was going to have with Molly. “I didn’t think it was possible, but I found a man as crazy intense as I was.

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A few months later, Procter & Gamble tried something similar. Its CEO, A. G. Lafley, had begun talking about the need for P&G to get closer to its consumers. After reading about this, Facebook ad salesman Colleran did one of his masterful cold calls to find out if P&G was targeting any of its brands at the college market. It turned out that while P&G’s Crest White Strips teeth-whitening product had never been aimed specifically at college students, company data showed that the strips sold particularly well at Wal-Marts located near campuses. Colleran and P&G marketers came up with a Facebook campaign called Smile State. Much as Chase and Apple had done, P&G created a sponsored group on Facebook for Crest White Strips. It advertised the Smile State group only to users who were students at one of twenty large state universities located near Wal-Marts. Any student who joined got tickets to an upcoming college-oriented Matthew McConaughey movie called We Are Marshall. In addition, the schools that enrolled the most members in the Crest White Strips group got a concert organized by Def Jam Records. Over 20,000 people joined. To have 20,000 people explicitly expressing affinity for Crest White Strips using their real name is the kind of thing that gives marketers goose bumps. It was a huge win for P&G and for Facebook.

Tori sighed. “And now I’m friends with a woman who wears makeup and new hiking boots on a wilderness adventure.” “The better I look, the better I feel and I thought I’d need the boost.” She looked down at her feet, trying not to wince. “Pretty sure my blisters are reaching horror movie proportions, though.” “I told you it would be better to wear sneakers than brand-new hiking boots.” “I wanted to be fashionable.” “Yes, because limping is totally the new black.

Positioning yourself and effective branding should not be left to sports and movie stars. Your need a personal coach, manager or mentor otherwise your expertise, skills or talent will not go far. You might have what it takes but sometimes you lack strategy and some finer elements.

The best unplanned product plug for any brand in a Hindi movie must be the one for Black Dog whiskey in Shahenshah. To explain the lusty feelings he had on seeing ‘fair butterflies’ like Meenakshi Sheshadri, Amrish Puri intoned ‘Jis din main koi gori titli dekh leta hoon, mere khoon mein sainkro kaale kutte ek saath bhaunkne lagte hain. Uss din main Black Dog peeta hoon…’ Wow—what articulation of brand benefits. ========== Kitnay Aadmi Thay (Chaudhuri, Diptakirti)

There used to be well over a dozen A-list directors working in Hollywood at any given time who could get most any movie they wanted greenlit at any studio where they chose to work. Today there are only three: Steven Spielberg, James Cameron, and Christopher Nolan. In the franchise age, directors increasingly resemble hired hands who are brought in to helm a single sequel or spinoff but aren’t integral to the brand. The fourteen Marvel Studios films released through 2016, for instance, had eleven different directors. The model is similar to that of a television series. Directors come and go for different episodes and are valued largely for their ability to maintain the tone of the series and bring their installment in on time and on budget. In TV, the power has traditionally lain with writers and producers—many of whom serve both roles—who work on every episode, maintaining long-running story arcs and the consistency and coherence of story lines and characters.

Movie stars didn’t become irrelevant, but they became very inconsistent in attracting an audience. People used to go to almost any movie with Tom Cruise in it. Between 1992 and 2006, Cruise starred in twelve films that each grossed more than $100 million domestically. He was on an unparalleled streak, with virtually no flops. But in the decade since then, five of Cruise’s nine movies—Knight and Day, Rock of Ages, Oblivion, Edge of Tomorrow, and The Mummy—were box-office disappointments. This was an increasingly common occurrence for A-listers. Will Ferrell and Ben Stiller couldn’t convince anyone to see Zoolander 2. Brad Pitt didn’t attract audiences to Allied. Virtually nobody wanted to see Sandra Bullock in Our Brand Is Crisis. It’s not that they were being replaced by a new generation of stars. Certainly Jennifer Lawrence and Chris Pratt and Kevin Hart and Melissa McCarthy have risen in popularity in recent years, but outside of major franchises like The Hunger Games and Jurassic World, their box-office records are inconsistent as well. What happened? Audiences’ loyalties shifted. Not to other stars, but to franchises. Today, no person has the box-office track record that Cruise once did, and it’s hard to imagine that anyone will again. But Marvel Studios does. Harry Potter does. Fast & Furious does. Moviegoers looking for the consistent, predictable satisfaction they used to get from their favorite stars now turn to cinematic universes. Any movie with “Jurassic” in the title is sure to feature family-friendly adventures on an island full of dinosaurs, no matter who plays the human roles. Star vehicles are less predictable because stars themselves get older, they make idiosyncratic choices, and thanks to the tabloid media, our knowledge of their personal failings often colors how we view them onscreen (one reason for Cruise’s box-office woes has been that many women turned on him following his failed marriage to Katie Holmes).

A few months later, Sandler got word that Netflix, newly interested in movies, had set its sights squarely on him. Using data gathered from Sony movies that Netflix had played through its Starz deal, Sarandos’s team knew that even as his box-office power waned, Sandler remained one of the most popular stars on the streaming service. His aging audience might be less likely to pay to see him in a theater, but they still loved laughing at his antics at home. “We knew he was popular in markets where his movies had never even opened,” Sarandos said. The mid-budget star vehicle, in other words, still worked great for Netflix. When people went to theaters, they preferred brand-name franchises. But when they were browsing for something to stream rather than pay fifty dollars for a night out, a familiar face doing the familiar shtick was perfect. Movies without massive visual effects were just as enjoyable at home, after all, if not more so. And if the stars had chosen to stretch their wings and you didn’t like the movie you clicked on, you could turn it off immediately. You lost a little bit of time, but not any money. And though there may not be as many fans of Adam Sandler, or any movie star, as there used to be, that didn’t necessarily matter to Netflix. All studios care about is how many people buy tickets or DVDs. They get their money whether you loved the movie or hated it. But Netflix measures success by how many people finish a movie and are satisfied enough to keep subscribing as a result, or who sign up just in order to watch it. Adam Sandler’s fan base may have shrunk, but those who remained were loyal and they were global—just what Netflix wanted. Additionally, Netflix wouldn’t have to spend millions of dollars on billboards and TV ads to market each film. Its algorithm would prominently suggest each Sandler movie to his fans on their home screen the moment it was available.

What does True Wireless Earbuds Mean Where are my earphones? Ahh!! There they are….and they are tangled (with irksome scream inside your head). There is nothing more frustrating than going on a search operation for your headphones and finally finding them entangled. Well thanks to the advance technology these days one of your daily struggles is gone with the arrival of wireless earphones in the market. No wire means no entanglement. ‘Kill the problem before it kills you’, you know the saying. Right! So what actually truly wireless earbuds are? Why should you replace your old headphones and invest in wireless ones? Without any further delay let’s dig deep into it. image WHAT ARE TRUE WIRELESS EARBUDS? A lot of people misunderstand true wireless earbuds and wireless earphones as the same thing. When it’s not. A true wireless earbuds which solely connects through Bluetooth and not through any wire or cord or through any other source. While wireless earphones are the ones which are connected through Bluetooth to audio source but the connection between the two ear plugs is established through a cable between them. Why true wireless earbuds? Usability: Who doesn’t like freedom! With no wire restrictions, it’s easier to workout without sacrificing your music motivation. From those super stretch yoga asanas to marathon running, from weight training to cycling - you actually can do all those without worrying about your phone safety or the dilemma of where to put them. With no wire and smooth distance connection interface, you have the full freedom of your body movement. They also comes with a charging case so you don’t have to worry about it’s battery. Good audio quality and background noise cancellation: With features like active noise cancellation, which declutter the unwanted background voice giving you the ultimate audio quality. These earbuds has just leveled up the experience of music and prevents you from getting distracted. Comfort and design: These small ear buddies are friendly which snuggles into your ear canal and don’t put too much pressure on your delicate ears as they are light weight. They are style statement maker and are comfortable to use even when you are on move, they stick to your ear and don’t fall off easily. Apart from all that you can easily answer your call on go, pause your music or whatever you are listening, switch to next by just touching your earplugs. image Convenience: You don’t necessarily have to have your phone on you like the wired ones. The farthest distance you could go was the length of the cable. But with wireless ones this is not the case, they could transmit sound waves from 8 meter upto 30 meters varying from model to model. Which allows you multi-task and make your household chores interesting. You can enjoy your podcasts or music or follow the recipe while cooking in your kitchen when your phone is lying in your living room. Voice assistance: How fascinating was it to watch all those detective/ secret agent thriller movies while they are on run and getting directions from their computer savvy buddies. Ethan Hunt from Mission Impossible….. Remember! Many wireless earphones comes with voice assistance feature which makes it easy to go around the places you are new to. You don’t have to stop and look to your phone screen for directions which makes it easier to move either on foot or while driving. Few things for you to keep in mind and compare before investing in a true wireless earphones :- Sound Quality Battery Life Wireless Range Comfort and design Warranty Price Gone are those days when true wireless earbuds were expensive possession. They are quite economical now and are available with various features depending upon different brands in your price range.

Imagine a story in which nothing bad could befall the hero. Imagine a love story in which everything went well for the couple straight through to the beautiful and tension-free wedding. Imagine an action movie in which the bomb the hero had to destroy was actually a dud and nobody was in danger. Would an audience care? Brands that don’t warn their customers about what could happen if they don’t buy their products fail to answer the “so what” question every customer is secretly asking.

When you’re a director whose name people know, whose movies they go to see, in their millions, a guy who’s known as a family entertainer, a family guy – there’s a lot of money at stake. A lot of money. And it’s not just your brand, either. Marianne’s got her things going on, her public persona to protect. And they’ve got this set-up, the ranch, those kids – their kids, adopted kids – already. It’s always been her dream to have this big family . . .

and plays on your vulnerabilities — you are not smart or strong or tall enough. Does it claim to be rich in a nutrient or have extra doses of a nutrient? Iron, fibre, protein, vitamin D? Textbook nutritionism (read previous chapter or ask your parents about it once they have read it). Is it giving you a free toy for buying the product or a chance to win an iPhone or an all-expenses paid foreign trip? Illegal in a lot of countries where governments are active in protecting children from the cheap and unethical marketing practices of food companies. Does your favourite movie star or cricketer endorse the product? Truth be told, you are only engaged as a brand ambassador of junk food when you have a fit and agile body. Essentially, it means that you have had the mental and physical discipline to stay away from the very food that you are endorsing. And to tell you a secret, the celebs won’t even consume it on the day of the shoot; they

Robin Hood is a high-tech and well-made violent action picture using the name of Robin Hood for no better reason than that it’s an established brand not protected by copyright

Social media can be an incredibly useful tool if used properly. It can help you build a brand. It can help you connect with people with similar interests whom you may never have met otherwise. But those benefits have to be weighed against the cost. That cost can be as little as the three minutes of your life you’ll never get back after reading a high school classmate’s Facebook screed about the last Superman movie he saw. It might be higher.

Dammit. Forgot my clothes. Again. My brain truly is the Bermuda triangle. Info comes in and poof, it vanishes. I have excellent recall for the oddest things. Mating rituals? Check. Football stats? Locked and loaded. Movie quotes? Branded in my skull. My classes at Braxton? Freaking ghost town with tumbleweeds blowing through it. That plane has flown over thr triangle and disappeard.

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Don’t hate me for filling up your feeds. Don’t hate me for the brands I convinced you to buy, the movies I goaded you to see. Don’t resent me for the gossip I dropped, breadcrumb-like, for you to devour, obsess over, believe. I was what you needed. I was your guiding light, people. That was why they called me an influencer

Our beliefs drive the bets we make: which brands of cars better retain their value, whether critics knew what they were talking about when they panned a movie we are thinking about seeing, how our employees will behave if we let them work from home.

The man is completely addictive. If I were in a cheesy teenage vampire movie, you might even say he was my own personal brand of heroin.

The final form of leverage is brand new—the most democratic form. It is: “products with no marginal cost of replication.” This includes books, media, movies, and code.

Everything we do starts with a sonic strategy,” he explains. “We need to deeply understand the client’s brand objectives, the experience objectives and experience challenges. We also need to know exactly who the audience is and their expectations for the experience. We also research the cultural context for the project – what relevant trends do we see in culture that might inspire our work? Then we present all this back to the client for discussion and set a plan.

Content is like a movie trailer for your brand. It allows people to get a sense of your overall vibe and what they can expect from you. Especially if it’s a personal brand, content is the only place outside of advertisements where people can really start to know, like, and trust you.

He imagined a reality show host selling Los Angeles to a live audience: “Are you a surfer dude hitting the waves? You’ll fit right in. How about a hipster starting a gluten-free cookie brand or a new church? Of course. And is there a place for a young family raising small children? You bet. How about a retired couple wanting to play bingo all day? Indeed. High-powered executives? Yes! Lawyers, doctors, agents, and managers? Best place to thrive. Gym buffs, starlets, chefs, yoga teachers, students, writers, healers, misfits, trainers, nurses? Right this way, please. Are you into cosplay, improv, porn, Roller Derby, voyeurism, cemetery movie screenings, food truck drag racing, AA, relapse, rehab, open mic, plastic surgery, wine tastings, biker meetups, karaoke, clubbing, S and M, or escape rooms? Come on over!” Every race, religion, nationality, gender, sexual orientation, and food preference was well represented within Los Angeles County, and this is what Oscar loved most about his city;

Omaxe, a well-trusted brand adds another innovative and magnificent commercial gem to its realty market. Omaxe Group's creative commercial project Omaxe World Street, situated in Sector 79, Faridabad, a popular destination for shopping, tourism, Movies, and Music Albums Shoots.

Movies take years to bring to theater, but hours to watch. Strikingly similar to success.

At no point should we be able to pause a movie and be unable to answer three questions: 1.​What does the hero want? 2.​Who or what is opposing the hero getting what she wants? 3.​What will the hero’s life look like if she does (or does not) get what she wants?

FINALLY—YOU ARE A SWEEPSTAKES WINNER! I don’t know about you, but I enter all those darned magazine company sweepstakes. I go for the Reader’s Digest sweepstakes and I buy my weekly lottery tickets—after all, as a character in the movie Let It Ride said, “You could be walking around lucky and not know it.” In a lot of years, though, I have gone winless. The guys with the balloons and the giant-sized check have not shown up at my door. So the headline FINALLY—YOU ARE A SWEEPSTAKES WINNER! got me. I read that letter. And if you send a letter to every one of your customers with that headline on it, every one of them will read it. What should the letter say? Here’s an example, courtesy of the late, great copywriter, my friend Gary Halbert: Dear Valued Customer:    I am writing to tell you that your name was entered into a drawing here at my store and you have won a valuable prize.    As you know, my store, ABC Jewelry, specializes in low-cost, top-quality diamond rings and diamond earrings. Well, guess what? The other day we got in a small shipment of fake diamonds that are made with a new process that makes them look so real they almost fooled me!    Anyway, I don’t want to sell these fakes because they could cause a lot of trouble for the pawnbrokers around town. So I’ve decided to give them away to some of my good customers whose names were selected at random by having my wife, Janet, put all the names in a jar and pull out the winners.    So, you’re one of the winners—and all you’ve got to do is drop in sometime before 5:00 P.M. Friday and you’ll have a 1-karat “diamond” that looks so good it’ll knock your eyes out! Sincerely, John Jones P.S.: After 5:00 P.M. Friday, I reserve the right to give your prize to someone else. Thank you.

It’s part of my brand. It encourages my fans to stay focused and the importance of self care” Reggie said exasperated by these questions. “The only self care your fans are focused on is keeping a roof over their heads, paying bills, feeding their kids and not getting COVID-19” he sat on the weight bench and motioned her over.

Scarlett never sold her movie rights,” I said slowly. “Not until six years ago.” “Bingo. And then she only sold ten books’ worth of rights for almost no money to a brand-new, no-name production company that’s owned by…” “Damian Ellsworth. Fuck me.” “No thanks, you’re not my type. But do you get it now?” We reached the edge of the park and threw our empty bottles into the recycling before merging onto the crowded sidewalk. Ellsworth was more than a decade older than Georgia but had only managed to get his foot through the Hollywood door… Shit. It had been right around the time they’d gotten married. “He used his marriage to Georgia to get to Scarlett.” Asshole.

Cinemas always go way up in my estimation if their bar stocks interesting beers like Texels Skuumkoppe rather than just the big mass-market brands.

Saul took a deep breath. He had lectured at Columbia and other universities on the peculiar and perverse strain of modern violence in such books and movies as The Exorcist, The Omen, and innumerable imitations, going back to Rosemary’s Baby. Saul had seen the rash of demonic-children entertainments as a symptom of deeper underlying fears and hatreds; the “me-generation’s” inability to shift into the role of responsible parenthood at the cost of losing their own interminable childhood, the transference of guilt from divorce—the child is not really a child, but an older, evil thing, capable of deserving any abuse resulting from the adult’s selfish actions—and the anger of an entire society revolting after two decades of a culture dominated by and devoted to youthful looks, youth-oriented music, juvenile movies, and the television and movie myth of the adult-child inevitably wiser, calmer, and more “with-it” than the childish adults in the house hold. So Saul had lectured that the child-fear and child-hatred becoming visible in popular shows and books had its irrational roots in common guilts, shared anxieties, and the universal angst of the age. He had warned that the national wave of abuse, neglect, and callousness toward children had its historical antecedents and that it would run its course, but that everything possible must be done to avoid and eliminate that brand of violence before it poisoned America.

the Godzilla brand was soon losing its bite. One online discussion group even included a list of 63 fundamental flaws within the movie (typical example: ‘Godzilla can outrun helicopters but he can’t keep up with a taxicab’).

A brand new pie is waiting for me each night after work, as if he knows he hit his stride and he is going to exploit that knowledge. Fudge pie, pumpkin, apple, pecan, chocolate, strawberry, rhubarb, lemon, peach... I go through a week of pies, then two. I dream about our pretty baby, and end up sobbing over Mama every time I take a shower. Why can't things be right? Like books or movies. Why can't things just ever, once, be right? That afternoon, I find the pinnacle of pies: a peanut butter Reese's one. I'm glad I've got a reason for the growing belly. Truthfully, I think it's mostly pie.

What made the movie business unique in the history of corporate capitalism is captured in the screenwriter William Goldman’s maxim, true for many decades: “nobody knows anything.” No other industry pumped out so many products so frequently with so little foreknowledge of whether they would be any good. The only feasible business strategy, it appeared, was to sign up the best creative talent, trust your strongest hunches about what looked likely to appeal to millions of people, and hope you ended up with Back to the Future instead of Ishtar. Over the past few years, however, something big has happened: finally, people in Hollywood do know something. What they know is that branded franchises work. People say they want new ideas and fresh concepts, but in reality they most often go to the multiplex for familiar characters and concepts that remind them of what they already know they like. Big name brands like Marvel, Harry Potter, Fast & Furious, and Despicable Me consistently gross more than $1 billion at the global box office, not only raking in huge profits, but justifying studios’ very existence and the jobs of everyone who works on their glamorous lots. This change has happened slowly over about a decade in Hollywood, making it hard to appreciate its magnitude. But now it is undeniable that the dawn of the franchise film era is the most meaningful revolution in the movie business since the studio system ended, in the 1950s.

I was greenly jealous of my peers’ moms with their bleach-blonde hair, tanning-bed arms, toothpick waists, and closets full of brand-new clothes: blouses and skirts and pants and designer jeans that some of the mothers let their daughters borrow. I didn’t know whether Mom’s lack of interest in all things fashionable came from being an immigrant from Scotland—where the media-saturated and commodity-rich beauty industry didn’t take over until the end of the twentieth century—or because she was a reader, a writer, and a teacher: mind over matter. All I knew was that, while she would buy me any book I asked for or take me to any play I might want to see, she couldn’t explain how to contour eye shadow or tell me whether my sweater complemented my complexion. She didn’t diet, she didn’t read women’s magazines, and she refused to buy me the enormous gold earrings or the pair of spiky red shoes I coveted, stilettos sharp enough to skewer fi sh. And even though her disinterest meant I didn’t have to participate in a daily beauty competition—one with a trophy mom sacrifi cing her body on the altar of loveliness—I also didn’t have a beauty mentor that I could trust. So I was left to try to copy the popular girls at school, tv and movie icons, or the breathtaking stars in magazines. Even the curling iron was a purchase I had to negotiate on my own.

Leverage is the overachiever’s approach to getting more bang for her proverbial buck. It’s how brand-new startups scale and young sci-fi geeks become movie directors. It’s how below-average school systems turn around and revolutions are won. It’s how surfers take championships and artists go from homeless to the Grammys.

culture critic Lee Moon-won opined, “Hallyu started with Samsung.” In other words, the popularity of Korean music and movies is hard to separate from the confidence that Samsung created in Korea the Brand.

Even before the first Soviet tanks crossed into Afghanistan in 1979, a movement of Islamists had sprung up nationwide in opposition to the Communist state. They were, at first, city-bound intellectuals, university students and professors with limited countryside appeal. But under unrelenting Soviet brutality they began to forge alliances with rural tribal leaders and clerics. The resulting Islamist insurgents—the mujahedeen—became proxies in a Cold War battle, with the Soviet Union on one side and the United States, Pakistan, and Saudi Arabia on the other. As the Soviets propped up the Afghan government, the CIA and other intelligence agencies funneled millions of dollars in aid to the mujahedeen, along with crate after crate of weaponry. In the process, traditional hierarchies came radically undone. When the Communists killed hundreds of tribal leaders and landlords, young men of more humble backgrounds used CIA money and arms to form a new warrior elite in their place. In the West, we would call such men “warlords.” In Afghanistan they are usually labeled “commanders.” Whatever the term, they represented a phenomenon previously unknown in Afghan history. Now, each valley and district had its own mujahedeen commanders, all fighting to free the country from Soviet rule but ultimately subservient to the CIA’s guns and money. The war revolutionized the very core of rural culture. With Afghan schools destroyed, millions of boys were instead educated across the border in Pakistani madrassas, or religious seminaries, where they were fed an extreme, violence-laden version of Islam. Looking to keep the war fueled, Washington—where the prevailing ethos was to bleed the Russians until the last Afghan—financed textbooks for schoolchildren in refugee camps festooned with illustrations of Kalashnikovs, swords, and overturned tanks. One edition declared: Jihad is a kind of war that Muslims fight in the name of God to free Muslims.… If infidels invade, jihad is the obligation of every Muslim. An American text designed to teach children Farsi: Tey [is for] Tofang (rifle); Javed obtains rifles for the mujahedeen Jeem [is for] Jihad; Jihad is an obligation. My mom went to the jihad. The cult of martyrdom, the veneration of jihad, the casting of music and cinema as sinful—once heard only from the pulpits of a few zealots—now became the common vocabulary of resistance nationwide. The US-backed mujahedeen branded those supporting the Communist government, or even simply refusing to pick sides, as “infidels,” and justified the killing of civilians by labeling them apostates. They waged assassination campaigns against professors and civil servants, bombed movie theaters, and kidnapped humanitarian workers. They sabotaged basic infrastructure and even razed schools and clinics. With foreign backing, the Afghan resistance eventually proved too much for the Russians. The last Soviet troops withdrew in 1989, leaving a battered nation, a tottering government that was Communist in name only, and a countryside in the sway of the commanders. For three long years following the withdrawal, the CIA kept the weapons and money flowing to the mujahedeen, while working to block any peace deal between them and the Soviet-funded government. The CIA and Pakistan’s spy agency pushed the rebels to shell Afghan cities still under government control, including a major assault on the eastern city of Jalalabad that flattened whole neighborhoods. As long as Soviet patronage continued though, the government withstood the onslaught. With the collapse of the Soviet Union in late 1991, however, Moscow and Washington agreed to cease all aid to their respective proxies. Within months, the Afghan government crumbled. The question of who would fill the vacuum, who would build a new state, has not been fully resolved to this day.

The franchise film era is, in many ways, a return to the studio system. Only now the major entertainment companies don’t own the most important talent—they own the most important cinematic brands.

The rise of original, risk-taking television is directly tied to the decline of original, risk-taking filmmaking and the dawn of the franchise age of film—one in which studios no longer coddle creative talent, release movies of every type for everyone, or pride themselves for taking risks on quality and new ideas. Instead, movie studios now exist primarily for the purpose of building and supporting branded franchises that continue in sequels, toys, and theme-park attractions.

Jenna, you are halfway to freedom from Wayne. A few more months and you can hand him back to us, and not have to deal with him anymore. If you launch this business with him, you are locked in, day in and day out, for a minimum of four or five years. And really, can you imagine him really helping at these events? I just see him knocking over ice sculptures, and tipping over cakes, and generally being a bull in the china shop everywhere he goes. A bull on steroids. With an inner ear imbalance. On roller skates." "Enough, lawdouche, she gets it." "I know. But again, Wayne is pretty clear that his area here would be identifying and helping land clients, and consulting on thematic details and event brainstorming, and keeping up with all industry aspects of the target market." "You mean going to movies, reading comics, and playing video games." "Yep, something like that." "You can't really be thinking you are going to do this." "I can be thinking that. And I'm pretty sure that the only opinion I asked you for on this was legal ramifications and financial obligations. I don't really care about your personal opinions." "Well, that hurts my feelings, because I still care about you on a personal level, and I think this is a huge mistake for you personally." I wait for my heart to race, for the sweats to start, for my colon to twist itself into a pretzel. And when none of that happens, I look at Brian. "I think, that being the case, that perhaps you ought to speak to your partners about who might be the best attorney to work with me moving forward." "You're firing me? Because I care about you?" "I'm firing you because I need an attorney who is less personally interested in the decisions I make. I'm a big girl, and I have a dad. And clearly, this is no longer a good fit. I'll appreciate a call from the other partners by the end of the week with a plan that I can review." "Seriously, I feel like you've completely lost your mind!" "Careful, Brian. At the moment, I'm asking you be removed from my account. However uncomfortable that may be for you with your partners, I assume you would rather that, than having to explain why I'm leaving the firm entirely. And I will be advising Wayne to shift to the same person I am with, obviously, for convenience." His chiseled jaw snaps shut, and while I can see a dozen retorts on the tip of his tongue, he doesn't speak. "Thank you. I'll review this further, and will discuss my decision with my new attorney. You'll get formal word from Wayne on his choice soon, I'm sure.

The transformation of Hollywood into a foreign-first business has also made sequels, spinoffs, and cinematic universes the smartest bet in the movie business. Newly minted middle-class customers in developing nations like China love prestige Western brands like Apple, Louis Vuitton, and Gucci. The same logic applies in cinemas. American cineastes may reach for the Advil when offered the choice between the latest superhero, dinosaur, or talking robot spinoff, but to many foreign moviegoers, that response is somewhere between condescending and confounding—the equivalent of complaining that there aren’t enough modern art installations at Disneyland. One more trend fundamentally changed the movie business this decade: the golden age of television. As TV has gotten better, the pressure on major movie studios is not to keep up with Breaking Bad, Orange Is the New Black, and Fargo (a property that was perfect for the movie business of the 1990s and for the TV business of today), but rather to stand out by offering something different. Most people, particularly middle-aged adults, simply don’t go to the movies for sophisticated character dramas anymore. Why would they, when there are so many on their DVR and Netflix and Amazon queues at home?

Why go to the movie theater at all, audiences have asked over the past few years, when movie tickets, snacks, and a babysitter can easily cost a hundred bucks and there is so much good TV to watch and so many apps on their tablets to interact with? Moviegoing is no longer a habit the way it used to be, particularly for people ages eighteen through forty-nine. They saw two fewer films per year on average in 2016 than they did in 2012. When they do go to the cinema, modern consumers increasingly prefer to know what they’re in for, which means a brand-name franchise. Even big-budget, star-driven action movies with stellar reviews, like Tom Cruise’s excellent Edge of Tomorrow, have struggled. And in the same year, Star Wars: The Force Awakens destroyed box-office records by essentially re-creating a movie from forty years ago.

Movie stars didn’t become irrelevant, but they became very inconsistent in attracting an audience. People used to go to almost any movie with Tom Cruise in it. Between 1992 and 2006, Cruise starred in twelve films that each grossed more than $100 million domestically. He was on an unparalleled streak, with virtually no flops. But in the decade since then, five of Cruise’s nine movies—Knight and Day, Rock of Ages, Oblivion, Edge of Tomorrow, and The Mummy—were box-office disappointments. This was an increasingly common occurrence for A-listers. Will Ferrell and Ben Stiller couldn’t convince anyone to see Zoolander 2. Brad Pitt didn’t attract audiences to Allied. Virtually nobody wanted to see Sandra Bullock in Our Brand Is Crisis.

Many in Hollywood view Disney as a soulless, creativity-killing machine that treats motion pictures like toothpaste and leaves no room for the next great talent, the next great idea, or the belief that films have any meaning beyond their contribution to the bottom line. By contrast, investors and MBAs are thrilled that Disney has figured out how to make more money, more consistently, from the film business than anyone ever has before. But actually, Disney isn’t in the movie business, at least as we previously understood it. It’s in the Disney brands business. Movies are meant to serve those brands. Not the other way around. Even some Disney executives admit in private that they feel more creatively limited in their jobs than they imagined possible when starting careers in Hollywood. But, as evidenced by box-office returns, Disney is undeniably giving people what they want. It’s also following the example of one of the men its CEO, Bob Iger, admired most in the world: Apple’s cofounder, Steve Jobs. Apple makes very few products, focuses obsessively on quality and detail, and once it launches something that consumers love, milks it endlessly. People wondering why there’s a new Star Wars movie every year could easily ask the same question about the modestly updated iPhone that launches each and every fall. Disney approaches movies much like Apple approaches consumer products. Nobody blames Apple for not coming out with a groundbreaking new gadget every year, and nobody blames it for coming out with new versions of its smartphone and tablet until consumers get sick of them. Microsoft for years tried being the “everything for everybody” company, and that didn’t work out well. So if Disney has abandoned whole categories of films that used to be part of every studio’s slates and certain people bemoan the loss, well, that’s simply not its problem.

The University of Michigan opened its new Computer Center in 1971, in a brand-new building on Beal Avenue in Ann Arbor, with beige-brick exterior walls and a dark-glass front. The university’s enormous mainframe computers stood in the middle of a vast white room, looking, as one faculty member remembers, “like one of the last scenes in the movie 2001: A Space Odyssey.” Off to the side were dozens of keypunch machines—what passed in those days for computer terminals. In 1971, this was state of the art. The University of Michigan had one of the most advanced computer science programs in the world, and over the course of the Computer Center’s life, thousands of students passed through that white room, the most famous of whom was a gawky teenager named Bill Joy.

On the same day that Marcelle Navratil arrived in New York, a brand-new movie entitled Saved from the Titanic was announced on the marquees of the city’s nickelodeons. The ten-minute silent film had been made in three weeks at Éclair’s studios in New Jersey and starred a real-life survivor of the shipwreck, Miss Dorothy Gibson, wearing the same white silk dress and black pumps in which she had escaped from the sinking liner. Dorothy had at first been unwilling to relive her ordeal so soon after the disaster and according to one newspaper there were times during the filming when she had “practically lost her reason by virtue of the terrible strain she had been under.” The one-reeler, which was produced by Jules Brulatour, would be Dorothy’s last film since she then embarked on a career in opera. This would prove to be short-lived, as would her marriage to Brulatour in 1917. Following a generous divorce settlement in 1919, the prettiest girl retreated from public attention and was never seen on stage or screen again.

Social media is where people search for restaurants, shops, brands, movies, and books to read. So there's a hard but true rule: "If you're not there, you don't exist".

The importance of novels and short stories in our society is great. Fiction supplies the only philosophy that many readers know; it establishes their ethical, social, and material standards; it confirms them in their prejudices or opens their minds to a wider world. The movies have not undermined the influence of fiction. On the contrary, they have extended its field, carrying the ideas which are already current among reader to those too young, too impatient, or too uneducated to read.

When clients want to add a bunch of confusion to their marketing message, I ask them to consider the ramifications of doing so if they were writing a screenplay. I mean, what if The Bourne Identity were a movie about a spy named Jason Bourne searching for his true identity but it also included scenes of Bourne trying to lose weight, marry a girl, pass the bar exam, win on Jeopardy, and adopt a cat? The audience would lose interest. When storytellers bombard people with too much information, the audience is forced to burn too many calories organizing the data. As a result, they daydream, walk out of the theater, or in the case of digital marketing, click to another site without placing an order. Why do so many brands create noise rather than music? It’s because they don’t realize they are creating noise. They actually think people are interested in the random information they’re doling out. This is why we need a filter. The essence of branding is to create simple, relevant messages we can repeat over and over so that we “brand” ourselves into the public consciousness.

Just think about the incredible transformation that took place in Steve’s life and career after Pixar. In 1983, Apple launched their computer Lisa, the last project Jobs worked on before he was let go. Jobs released Lisa with a nine-page ad in the New York Times spelling out the computer’s technical features. It was nine pages of geek talk nobody outside NASA was interested in. The computer bombed. When Jobs returned to the company after running Pixar, Apple became customer-centric, compelling, and clear in their communication. The first campaign he released went from nine pages in the New York Times to just two words on billboards all over America: Think Different. When Apple began filtering their communication to make it simple and relevant, they actually stopped featuring computers in most of their advertising. Instead, they understood their customers were all living, breathing heroes, and they tapped into their stories. They did this by (1) identifying what their customers wanted (to be seen and heard), (2) defining their customers’ challenge (that people didn’t recognize their hidden genius), and (3) offering their customers a tool they could use to express themselves (computers and smartphones). Each of these realizations are pillars in ancient storytelling and critical for connecting with customers. I’ll teach you about these three pillars and more in the coming chapters, but for now just realize the time Apple spent clarifying the role they play in their customers’ story is one of the primary factors responsible for their growth. Notice, though, the story of Apple isn’t about Apple; it’s about you. You’re the hero in the story, and they play a role more like Q in the James Bond movies. They are the guy you go see when you need a tool to help you win the day.

Remember, the greatest enemy our business faces is the same enemy that good stories face: noise. At no point should we be able to pause a movie and be unable to answer three questions: 1.​What does the hero want? 2.​Who or what is opposing the hero getting what she wants? 3.​What will the hero’s life look like if she does (or does not) get what she wants?

Hallyu started with Samsung.” In other words, the popularity of Korean music and movies is hard to separate from the confidence that Samsung created in Korea the Brand.

Disney has diversified not through its key skills—after all, running a theme park or a cruise ship has little in common with making a cartoon—but through its audience. The people who go to Disney’s theme parks or buy its branded clothes are the same people who enjoy watching its cartoons and movies. This strategy—launching completely different products, aimed at existing customers—is horizontal diversification in action. How

Oh my god! You still have a crush on Nic don’t you? That’s so cute, brother! You’re like Brand from Adventures in Babysitting.” Miles cackles at this reference but my blood runs cold. Aubrey’s pension for eighties movies has just turned me into a pedophile.

life is not always easy and they try to escape from trouble now and then. This escapism translates into partying all night long, immersing themselves in other worlds such as movies, games or online social networks or e-commerce. They also de-stress by driving fast cars and motors, relaxing on holidays or watching many hours of TV feeds. They are quite confident about their own skills and value intelligence and knowledge.

I’m not married. I do not own a business. I am still working for the same people that I was thirteen years ago, still selling the same shoes for the same feet. All I know is types and colors of leather, cordovan wing tips, loafers, dress shoes, and sandals. I eat the same things from the same places. I go to see a movie once a month. I smoke the same brand of cigarettes as I did when I started back in 1940. Everything about me is predictable, routine, and regular. Now I am not so predictable. Now I have something that is neither routine nor regular, and I kind of like it.

Help should arrive any minute. But I think maybe we should stand up before our circulation gets fucked.” “And do what?” Panic rang in Ryan’s voice. “Stand ass to ass?” Brand’s rumbling laughter against Lexi’s back made her tingle all over. “Ass to ass. Uncle Hank would like that.” Oh my God. Lexi erupted into a fit of giggles. The grouch of the band was making a joking reference to the movie Requiem for a Dream? Quinn groaned. “God damn, that movie was fucked up.” “Ass to ass.” Lexi giggled as Brand pulled her to her feet. Soon the whole band was laughing and echoing, “Ass to ass,” at poor Ryan as they once more huddled with their crew.

Yo, time, where are you? When 'Sorry' used to be atonement 'Progress' meant development 'I do' meant commitment 'Brands' meant advertisement 'TV' meant refreshment 'People' meant government 'Trees' meant environment 'Looks' weren't requirement 'Talent' meant achievement 'Outdoor' meant excitement 'Movies' meant Entertainment And 'Nice' used to be the complement Yo time, today, 'Apology' is just statement 'Social Service' is just department 'Politics' is just argument 'Love' is just arrangement 'J/Bail' is just judgment 'Computer' is just another instrument 'Family' is Adjustment as After all We live in our small apartment Don't give a damn, man, But don't jump in the deep dam, To be good was 90s dream To be good now is just a meme - Nice Guy

Whenever you’re scrolling through your phone deciding what movie you’d like to see tonight, you’re reading through one-liners. Often called a logline, a one-liner is a one-statement description of the story you are inviting people to experience.

A logline is simply a movie’s one-sentence description.

What makes these loglines complete and effective? Two things: imagination and intrigue. They summarize the movie in a way that a viewer can imagine the story, and they do so with enough intrigue that they make the reader want to watch the film.

People love movies about characters who transform, and they love businesses that help them experience transformation themselves.

If a positive scene followed by a negative scene is how enthralling movies work, then why not follow the same formula on our website?

Every word, every image, and every beat in a movie is heading toward a specific scene. Sometimes called the climactic scene or the obligatory scene, this all-important scene happens at the end of the movie and it’s the scene that resolves all the conflict.

Split is doing well at the box office around the world, but it misrepresents people with dissociative identity disorder (DID; previously called multiple personality disorder). The trailer is particularly gripping, luring in audiences by depicting a man with DID kidnapping and preparing to torture three teenage girls. Kevin (played by James McAvoy) juggles 24 personalities that are based on stereotypes: a cutesy 9-year-old infatuated with Kanye West, a flamboyant designer, and the “Beast,” a superhuman monster who sees the girls as “sacred food.” Kevin falsely represents people with DID through exaggerated symptoms, extreme violence, and unrealistic physical characteristics. The senior author, an expert in DID, has not seen any DID patient who is this violent in 25 years of clinical practice. Kevin’s ghastly personalities are so over-the-top that terrifying scenes are making audiences laugh.