Carol Movie Quotes

Mad Matter: "Have I gone mad?" Alice: "I'm afraid so. You're entirely bonkers. But I'll tell you a secret. All the best people are.

How long is forever? Sometimes just one second

She thought of people she had seen holding hands in movies, and why shouldn't she and Carol?

This was no peck on the lips. This was a real first kiss, a movie-star-knock-her-socks-off-fireworks-light-up-the-sky kind of kiss. A girl could live to be a hundred and never forget that kiss.

I go to the movies whenever I get the chance, because the movie theater is like the woods. It's another place that's like a time machine.

Worrying about clothes, though, is easy to understand. When it comes to clothes, people are very competitive, especially if they're movie stars. I think every smart woman devises a look for herself. Margaret Sullivan had a look: romantic, young, pretty, smart. Katharine Hepburn made a look for herself as this wonderful old salty character. Marilyn Monroe had a look; it was like, "Fuck me with sadness"...

For, in movie logic, aesthetics has the authority of ethics: to be less than beautiful is sad, but to be willfully less than beautiful is immoral.

They segued into a more general piece about AIDS. As usual, they started out with footage of some kind of sweaty nightclub in the city with a bunch of gay men dancing around in stupid leather outfits. I couldn't even begin to imagine Finn dancing the night away like some kind of half-dressed cowboy. It would have been nice if for once they show some guys sitting in their living rooms drinking tea and talking about art or movies or something. If they showed that, then maybe people would say, "Oh, okay, that's not so strange.

How was it possible to be afraid and in love, Therese thought. The two things did not go together. How was it possible to be afraid, when the two of them grew stronger together every day? And every night. Every night was different, and every morning. Together they possessed a miracle.

but was this funny? was this funny? was this funny? why was this funny? why was Sugar Kane funny? why were men dressed as women funny? why were men made up as women funny? why were men staggering in high heels funny? why was Sugar Kane funny, was Sugar Kane the supreme female impersonator? was this funny? why was this funny? why is female funny? why were people going to laugh at Sugar Kane & fall in love with Sugar Kane? why, another time? why would Sugar Kane Kovalchick girl ukulelist be such a box office success in America? why dazzling-blond girl ukulelist alcoholic Sugar Kane Kovalchick a success? why Some Like It Hot a masterpiece? why Monroe's masterpiece? why Monroe's most commercial movie? why did they love her? why when her life was in shreds like clawed silk? why when her life was in pieces like smashed glass? why when her insides had bled out? why when her insides had been scooped out? why when she carried poison in her womb? why when her head was ringing with pain? her mouth stinging with red ants? why when everybody on the set of the film hated her? resented her? feared her? why when she was drowning before their eyes? I wanna be loved by you boop boopie do! why was Sugar Kane Kovalchick of Sweet Sue's Society Syncopaters so seductive? I wanna be kissed by nobody else but you I wanna! I wanna! I wanna be loved by you alone but why? why was Marilyn so funny? why did the world adore Marilyn? who despised herself? was that why? why did the world love Marilyn? why when Marilyn had killed her baby? why when Marilyn had killed her babies? why did the world want to fuck Marilyn? why did the world want to fuck fuck fuck Marilyn? why did the world want to jam itself to the bloody hilt like a great tumescent sword in Marilyn? was it a riddle? was it a warning? was it just another joke? I wanna be loved by you boop boopie do nobody else but you nobody else but you nobody else

Loretta folded her arms. She felt like a heroine in a movie, confronted by a jealous husband in a kitchen while outside the camera is aching to draw back and show a wonderland of adventures waiting for her—long, frantic rides on trains, landscapes of wounded soldiers, a lovely white desert across which a camel caravan draped voluptuously in veils moves slowly with a kind of mincing melancholy, the steamy jungles of India opening before British officers in white, young officers, the mysteries of English drawing-rooms cracking before the quick, humorless smirk of a wise young woman from America. . . .

The more a man learns, Dickens said, “the better, gentler, kinder man he must become. When he knows how much great minds have suffered for the truth in every age and time… he will become more tolerant of other men’s belief in all matters, and will incline more leniently to their sentiments when they chance to differ from his own.

Without rich people who want it done now, who would animate the free world? In theory, you want everyone to live peacefully according to their needs, along the banks of a river. In fact, you worry that you'd die of boredom there. In fact, you get a buzz from someone like Carole Potter, who keeps prize chickens and could teach a graduate course in landscaping; who maintains a staff of four (more in the summers, during High Guest Season); a handsome, slightly ridiculous husband; a beautiful daughter at Harvard and an incorrigible son doing something or other on Bondi Beach; Carole who is charming and self-deprecating and capable, if pushed, of a hostile indifference crueler than any form of rage; who reads novels and goes to movies and theater and yes, yes, bless her, buys art, serious art, about which she actually fucking knows a thing or two.

From the race’s conception, the press viewed it with skepticism. Sportswriters argued that the rich event was a farce arranged to pad Seabiscuit’s bankroll. Del Mar, conscious of the potential conflict of interest for the Howards and Smiths, barred public wagering on the race. But the press’s distrust and the absence of gambling did nothing to cool the enthusiasm of racing fans. On the sweltering race day, special trains and buses poured in from San Diego and Los Angeles, filling the track with well over twenty thousand people, many more than the track’s official capacity. Lin plastered a twenty-foot LIGAROTI sign on the wall behind the “I’m for Ligaroti” section, and scores of Crosby’s movie friends, including Clark Gable and Carole Lombard, Spencer Tracy and Ray Milland, took up their cerise and white pennants and filed in. “Is there anyone left in Hollywood?” wondered a spectator. Dave Butler led a chorus of Ligaroti cheers, and the crowd grew boisterous. Crosby perched on the roof with Oscar Otis, who would call the race for a national radio broadcast. In the jockeys’ room, Woolf suited up to man the helm on Seabiscuit while Richardson slipped on Ligaroti’s polka dots. Just before the race, Woolf and Richardson made a deal. No matter who won, they would “save,” or split, the purse between them.

This is a field in which there is in some sense no original, no real or right text, but only variants; a world in which, therefore, the meaning of the individual example lies outside itself. The "art" of the horror film, like the "art" of pornography, is to a very large extent the art of rendition or performance, and it is understood as such by the competent audience. A particular example may have original features, but its quality as a horror film lies in the way it delivers the cliché.

Let’s take a look at one couple. Carol and Jim have a long-running quarrel over his being late to engagements. In a session in my office, Carol carps at Jim over his latest transgression: he didn’t show up on time for their scheduled movie night. “How come you are always late?” she challenges. “Doesn’t it matter to you that we have a date, that I am waiting, that you always let me down?” Jim reacts coolly: “I got held up. But if you are going to start off nagging again, maybe we should just go home and forget the date.” Carol retaliates by listing all the other times Jim has been late. Jim starts to dispute her “list,” then breaks off and retreats into stony silence. In this never-ending dispute, Jim and Carol are caught up in the content of their fights. When was the last time Jim was late? Was it only last week or was it months ago? They careen down the two dead ends of “what really happened”—whose story is more “accurate” and who is most “at fault.” They are convinced that the problem has to be either his irresponsibility or her nagging. In truth, though, it doesn’t matter what they’re fighting about. In another session in my office, Carol and Jim begin to bicker about Jim’s reluctance to talk about their relationship. “Talking about this stuff just gets us into fights,” Jim declares. “What’s the point of that? We go round and round. It just gets frustrating. And anyway, it’s all about my ‘flaws’ in the end. I feel closer when we make love.” Carol shakes her head. “I don’t want sex when we are not even talking!” What’s happened here? Carol and Jim’s attack-withdraw way of dealing with the “lateness” issue has spilled over into two more issues: “we don’t talk” and “we don’t have sex.” They’re caught in a terrible loop, their responses generating more negative responses and emotions in each other. The more Carol blames Jim, the more he withdraws. And the more he withdraws, the more frantic and cutting become her attacks. Eventually, the what of any fight won’t matter at all. When couples reach this point, their entire relationship becomes marked by resentment, caution, and distance. They will see every difference, every disagreement, through a negative filter. They will listen to idle words and hear a threat. They will see an ambiguous action and assume the worst. They will be consumed by catastrophic fears and doubts, be constantly on guard and defensive. Even if they want to come close, they can’t. Jim’s experience is defined perfectly by the title of a Notorious Cherry Bombs song, “It’s Hard to Kiss the Lips at Night that Chew Your Ass Out All Day Long.

The psychology of sanction.’ ‘If you’re right, then why does anyone protest against torture? Why don’t we all just go, “Oh well, we’ve seen how well it works in the movies, let’s just go along with it”?’ Carol leaned on her fists on the edge of his bed as she spoke, her tumbled blonde hair falling into her eyes. ‘Carol, you might not have noticed, but there’s a significant number of people out there who do say just that. Look at the opposition in the US when the Senate decided to outlaw torture just the other year. People believe in its efficacy precisely because they’ve seen it in the movies. And some of those believers are in positions of power. The reason we don’t all fall for it is that we’re not all equally credulous. Some of us are much more critical of what we see and read than others. But you can fool some of the people all of the time. And when spooks and cops go bad, that’s what they rely on.’ She

Movies teach us how to do that,' Carole had confided. 'Create a set, sprinkle a touch of stardust. Who gives a shit if it's real? Just make it good enough to believe.

One summer when Carol was attending day camp, Greta had an affair with a man named Mel Carter. He was an Eastern publicity representative for a film studio, and often instructed dinner parties to which we went in those days with accounts of the movies' coming of age. 'We have a picture coming up,' he said once, 'in which a character says "son of a bitch." Lots of exciting things are happening. Still, it's only a beginning. Much remains to be done.

Daniel Maclise (whose 1839 oil of Dickens hangs today at the National Portrait Gallery).

If you’re right, then why does anyone protest against torture? Why don’t we all just go, “Oh well, we’ve seen how well it works in the movies, let’s just go along with it”?’ Carol leaned on her fists on the edge of his bed as she spoke, her tumbled blonde hair falling into her eyes. ‘Carol, you might not have noticed, but there’s a significant number of people out there who do say just that. Look at the opposition in the US when the Senate decided to outlaw torture just the other year. People believe in its efficacy precisely because they’ve seen it in the movies. And some of those believers are in positions of power. The reason we don’t all fall for it is that we’re not all equally credulous. Some of us are much more critical of what we see and read than others. But you can fool some of the people all of the time. And when spooks and cops go bad, that’s what they rely on.

and with a more than adequate cast, with the ubiquitous Lloyd Nolan, Carole Landis, Cornel Wilde (not yet of star status), James Gleason, Ralph Byrd, Martin Kosleck (not a Nazi villain for a welcome change), Elisha Cook Jr. and Harold Huber. It faced the situation squarely, as did most of the Pacific-localed films of that bleak time, and did not sugar-coat its patriotic message. It told of a band of guerrillas waging a hit-and-run offensive against the enemy, gradually decimated until only three are left by the unrelenting conclusion. Herbert I. Leeds kept the heroics believable with his direction. Chetniks—the Fighting Guerrillas (1943) paid tribute

We are not referring here to the garden-variety kind of self-justification that we are all inclined to use when we make a mistake or disagree about relatively trivial matters, like who left the top off the salad dressing or who forgot to pay the water bill or whose memory of a favorite scene in an old movie is correct. In those circumstances, self-justification momentarily protects us from feeling clumsy, incompetent, or forgetful. The kind that can erode a marriage, however, reflects a more serious effort to protect not what we did but who we are, and it comes in two versions: “I’m right and you’re wrong” and “Even if I’m wrong, too bad; that’s the way I am.

Don’t let anyone think less of you because YOU ARE young. Be AN EXAMPLE to all believers in what you teach, IN THE WAY YOU LIVE, in your love, YOUR FAITH, and your purity. 1 Timothy 4:12

She could not testify against Zachary Lundt for she could not recall with any degree of accuracy, the sequence of events of the early hours of Sunday February 14, nor even herself during that time. It was like a movie where something has gone wrong with the film, images continue to flutter past, but dim, confused, out of focus.

wants to be a zombie, but finds that she can’t get bit to save her life.” Madison thought about that for a minute. “You are a strange man. But I mean that in a good way.” She looked up, seeing the surprise that she had arranged for him walking down the aisle toward his booth. With a little prodding, Spenser and Target had agreed to be zombies hanging around ExBoy’s booth. Target in particular was quite eager. But best of all, Crystal had agreed to try to get Toonie out of the house by bringing her to the convention, and Madison could see now that they were doing more than just attending. They, too, were walking toward them, made up as zombies. Crystal, her beautiful complexion drained to a deathly pallor, was dressed like a cheerleader with her little pleated skirt and sleeveless shell top in bloody tatters, carrying what Madison had thought was a dirtied pom-pom but now realized was a head with long bloody hair. Spenser wore a nurse’s old fashioned white uniform, with a little white hat attached to her blonde hair pinned up like Tippy Hedren’s in an Alfred Hitchcock movie. Choosing to keep her face its prettiest, she sported a bloody gouge on her left forearm. Instead of sensible nurse’s shoes, she wore high heels. The blood on her uniform

A Tale of Two Places, A Carol at Christmas, and Twisted Oliver given to me in school. Hard to read but try. Loving the movies, even musical about orphan boy.

big part, but I wanted to make some sort of cameo appearance in my own movie. Anyhow, I'd also written

Isn’t that what this time of year is about? Ghosts scaring the shit out of you until you appreciate the season. Or whatever that ancient movie was going on about.

Ortega’s friends traced his troubles to about a year earlier, when he had become agitated watching an antigovernment film. The movie, called The Obama Deception, was written and produced by Alex Jones, a Texas-based conspiracy theorist and talk show host. It claimed that a cluster of wealthy families were engaged in a conspiracy with President Obama and had installed him in the White House to use the government to surveil and hurt the interests of most Americans. Soon Ortega bought a powerful rifle and began practicing his aim.

PERHAPS CHIVALRY LIVES ON: I was 25, and went with a date to a movie. When it was over, we stood up to leave, and my right leg was Asleep! I tried to walk and went down---He lifted me up.....I tried to take another step and went down the second time.... He 'scooped me up' in his arms, and carried me up the isle out of the theater. As he did---people in the theater began clapping and cheering! I was so Embarrassed.....But all of these years later, I pause and think---PERHAPS CHIVALRY STILL LIVES ON!

It would remind her of a line from the movie Hearts in Atlantis when Anthony Hopkins, as Ted Brautigan, told young Bobby that his kiss with Carol Gerber "would be the kiss against which all others in your life would be judged... and left wanting.

Activities to Develop the Proprioceptive System Lifting and Carrying Heavy Loads—Have the child pick up and carry soft-drink bottles to the picnic; laundry baskets upstairs; or grocery bags, filled with nonbreakables, into the house. He can also lug a box of books, a bucket of blocks, or a pail of water from one spot to another. Pushing and Pulling—Have the child push or drag grocery bags from door to kitchen. Let him push the stroller, vacuum, rake, shove heavy boxes, tow a friend on a sled, or pull a loaded wagon. Hard muscular work jazzes up the muscles. Hanging by the Arms—Mount a chinning bar in a doorway, or take your child to the park to hang from the monkey bars. When she suspends her weight from her hands, her stretching muscles send sensory messages to her brain. When she shifts from hand to hand as she travels underneath the monkey bars, she is developing upper-body strength. Hermit Crab—Place a large bag of rice or beans on the child’s back and let her move around with a heavy “shell” on her back. Joint Squeeze—Put one hand on the child’s forearm and the other on his upper arm; slowly press toward and away from his elbow. Repeat at his knee and shoulder. Press down on his head. Straighten and bend his fingers, wrists, elbows, knees, ankles, and toes. These extension and flexion techniques provide traction and compression to his joints and are effective when he’s stuck in tight spaces, such as church pews, movie theaters, cars, trains, and especially airplanes where the air pressure changes. Body Squeeze—Sit on the floor behind your child, straddling him with your legs. Put your arms around his knees, draw them toward his chest, and squeeze hard. Holding tight, rock him forward and back.

Burns continued to work, doing a routine with Carol Channing that was short-lived. For a time it seemed that the old sentiment was to be proved true: that Burns without Gracie was a stale act indeed. Then he got a role in a movie, intended for his friend Jack Benny, who became ill and had to decline it. He won an Academy Award as Best Supporting actor in The Sunshine Boys, a 1975 release. His performance in the title role of the 1977 film Oh, God put to rest the “no-talent” argument.