Canon Movie Quotes

Life in Japan, nowadays, is nothing like a Kurosawa movie, and only the contemptible Weeaboo thinks that it is. In order to be a whole, well-rounded Otaku, you need to be up on Japanese popular culture, as much as you may be up on anime, samurai philosophy or the canon of Square Enix games.

I believe in happy endings,” I tell him. “And it feels like this movie has gone on for the right amount of time.” “Movie?” Dr. Patel says, and I think he would look exactly like Gandhi if he had those wire-rim glasses and a shaved head, which is weird, especially since we are in leather recliners in such a bright, happy room and well, Gandhi is dead, right? “Yeah,” I say. “Haven’t you ever noticed that life is like a series of movies?

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

Is Twee the right word for it, for the strangely persistent modern sensibility that fructifies in the props departments of Wes Anderson movies, tapers into the waxed mustache-ends of young Brooklynites on bicycles, and detonates in a yeasty whiff every time someone pops open a microbrewed beer? Well, it is now. An across-the-board examination of this thing is long overdue, and the former Spin writer Marc Spitz is to be congratulated on having risen to the challenge. With Twee: The Gentle Revolution in Music, Books, Television, Fashion, and Film , he’s given it a name, and he’s given it a canon. (The canon is crucial, as we shall see.) And if his book is a little all over the place—well, so is Twee. Spitz hails it as “the most powerful youth movement since Punk and Hip-Hop.” He doesn’t even put an arguably in there, bless him. You’re Twee if you like artisanal hot sauce. You’re Twee if you hate bullies. Indeed, it’s Spitz’s contention that we’re all a bit Twee: the culture has turned. Twee’s core values include “a healthy suspicion of adulthood”; “a steadfast focus on our essential goodness”; “the cultivation of a passion project” (T-shirt company, organic food truck); and “the utter dispensing with of ‘cool’ as it’s conventionally known, often in favor of a kind of fetishization of the nerd, the geek, the dork, the virgin.

[P]erhaps you are a longtime fan and do not like one of the new Star Wars movies: too bad!

The affable Feige would never admit it to Pascal’s face, but he and his team at Marvel had for years disliked what Sony had been doing with the character. He thought that restarting with The Amazing Spider-Man, rather than moving on from Raimi’s mistakes in Spider-Man 3, had been a big mistake. “In a million years I would never advocate rebooting . . . Iron Man,” Feige wrote to Marvel Entertainment’s president, Alan Fine, and its vice president of production, Tom Cohen. “To me it’s James Bond and we can keep telling new stories for decades even with different actors.” Fine concurred: “I think that it is a mistake to deny the original trilogy its place in the canon of the Spider-Man cinematic universe. What are you telling the audience? That the original trilogy is a mistake, a total false-hood?” He had even harsher words for the script of The Amazing Spider-Man 2 that the Marvel trio had recently read: “I found this draft tedious, boring, and had to force myself to read it through . . . This story is way too dark, way too depressing. I wanted to burn the draft after I read it never mind thinking about buying the DVD.” The

For years, films had suggested this plot development by having one woman whisper into the ear of another, but some audiences snickered at this, so studios had begun using the actual words. “There must be a sweeter phrase for motherhood in pictures,” wrote B. P. McCormick of Canon City, Colorado. “Don’t say a mother is ‘having a baby.’ Let’s get above the level of the cow having a calf. Motherhood is worthy of a sweeter expression.

4. Random examples of items which are part of the canon of Camp: Zuleika Dobson Tiffany lamps Scopitone films The Brown Derby restaurant on Sunset Boulevard in LA The Enquirer, headlines and stories Aubrey Beardsley drawings Swan Lake Bellini's operas Visconti's direction of Salome and 'Tis Pity She's a Whore certain turn-of-the-century picture postcards Schoedsack's King Kong the Cuban pop singer La Lupe Lynn Ward's novel in woodcuts, God's Man the old Flash Gordon comics women's clothes of the twenties (feather boas, fringed and beaded dresses, etc.) the novels of Ronald Firbank and Ivy Compton-Burnett stag movies seen without lust

I grew up speaking two languages, mother tongue and national tongue, then in my late teens I assimilated English from pirated dvds of American movies; soon after I absorbed another language, from the South of India, again from movies. Years later when I started writing and got WiFi, that's when an entire new horizon opened up. This time I found myself drawn to Turkish and Spanish, which became second languages in the canon, after my first English. I don't describe, I embody - I don't study a culture, I disappear into the culture.

【V信83113305】：The American Film Institute (AFI) stands as a cornerstone of cinematic preservation and education in the United States. Established in 1967, its mission is to champion the moving image as an art form. Beyond its world-renowned conservatory, where it trains the next generation of storytellers, AFI is celebrated for its annual Life Achievement Award gala, honoring the finest talents in film history. Its meticulously curated lists of the greatest American movies serve as an essential critical canon. By archiving endangered film heritage and fostering new voices through labs and festivals, AFI profoundly shapes both the past and future of American storytelling, ensuring its vitality for years to come.，AFI毕业证成绩单原版定制, 一比一定制-AFI毕业证美国电影学院学位证书, 在线办理美国电影学院毕业证本科硕士成绩单方法, AFI毕业证办理周期和加急方法, AFI毕业证成绩单专业服务, 硕士美国电影学院文凭定制AFI毕业证书, 办理美国美国电影学院毕业证American Film Institute文凭版本, 美国电影学院毕业证成绩单学历认证最安全办理方式, AFI毕业证书美国电影学院毕业证诚信办理