Casino Movie Quotes

David had a way of walking - a way that suggested that he belonged anywhere he went. In this, he had his father's manner, which was gross and horrific. But there was something else, something of the rake in a casino movie, who has come in to knock the place over, or an entertainer who might at any point somersault into the center of the room. Or maybe he was just walking in and her brain chemistry was telling her stories.

And this is the Marilyn section,” says Budge. “You can have five different hairstyles, and in the outfits you get a choice too, depending on what movie. That’s from Gentlemen Prefer Blondes, the pink dress; there’s the black suit from Niagara, and over there is the all-girl jazz band one from Some Like It Hot…” “Where are these headed for?” says Stan. “The Oprahs. Are they that into Oprah, in Holland?” “You name it, someone’s gonna be fetishistic about it,” says Derek. “Our biggest customers are the casino operations,

When I work with Godfrey, I don’t spend a lot of time looking at the image. I look at it once. Maybe twice, but not more than twice. Then I depend on the inaccuracy of my memory to create the appropriate distance between the music and the image. I knew right away that the image and the music could not be on top of each other, because then there would be no room for the spectators to invent a place for themselves. Of course, in commercials and propaganda films, the producers don’t want to leave a space: the strategy of propaganda is not to leave a space, not to leave any question. Commercials are propaganda tools in which image and music are locked together in order to make an explicit point, like “Buy these shoes” or “Go to this casino.” The strategy of art is precisely the opposite. I would describe it this way: When you listen to a piece of music and you look at an image at the same time, you are metaphorically making a journey to that image. It’s a metaphorical distance, but it’s a real one all the same, and it’s in that journey that the spectator forms a relationship to the music and the image. Without that, it’s all made for us and we don’t have to invent anything. In works like Godfrey’s, and in works, for that matter, like Bob Wilson’s, the spectators are supposed to invent something. They are supposed to tell the story of Einstein. In Godfrey’s movies Koyaanisqatsi and Powaqqatsi, the words in the title are the only words there are. The journey that we make from the armchair to the image is the process by which we make the image and the music our own. Without that, we have no personal connection. The idea of a personal interpretation comes about through traversing that distance.

Finally, he looked sideways at Vaughn. “So. I guess this is probably a good time to mention that Isabelle is pregnant.” That got a small chuckle out of Vaughn. “I kind of figured that already. I’ve had my suspicions for a few weeks.” Simon nodded. “Isabelle wondered if you knew.” “You could’ve told me, Simon,” Vaughn said, not unkindly. “I get why you might not want Mom to know yet, but why not talk to me about it?” Simon leaned forward, resting his elbows on his knees. “I guess I didn’t think you’d understand.” “I wouldn’t understand that you want to marry the woman who’s pregnant with your child? I think that’s a concept I can grasp.” “See, that’s just it.” Simon gestured emphatically. “I knew that’s how you would see it. That I’m marrying Isabelle because I got her pregnant. And I don’t want you, or Mom, or anyone else to think about Isabelle that way—that she’s the woman I had to marry, because it was the right thing to do. Because the truth is, I knew I wanted to marry Isabelle on our second date. She invited me up to her apartment that night, and I saw that she had the entire James Bond collection on Blu-ray. Naturally, being the Bond aficionado that I am, I threw out a little test question for her: ‘Who’s the best Bond?’” Vaughn scoffed. “Like there’s more than one possible answer to that.” “Exactly. Sean Connery’s a no-brainer, right? But get this—she says Daniel Craig.” Simon caught Vaughn’s horrified expression. “I know, right? So I’m thinking the date is over because clearly she’s either crazy or has seriously questionable taste, but then she starts going on and on about how Casino Royale is the first movie where Bond is touchable and human, and then we get into this big debate that lasts for nearly an hour. And as I’m sitting there on her couch, I keep thinking that I don’t know a single other person who would relentlessly argue, for an hour, that Daniel Craig is a better Bond than Sean Connery. She pulled out the DVDs and showed me movie clips and everything.” He smiled, as if remembering the moment. “And somewhere in there, it hit me. I thought to myself, I’m going to marry this woman.

The next section is the journal I wrote while under the strict rules -- No casinos, No porn, no sex, no masturbation, no weed, no cigarettes, no cigars, no tobacco, no alcohol, no fast food, no greasy food, no artificial processed foods, no pop, no coffee, no chocolate, no refined sugar, no tv, no movies (only documentaries), and no video games. I also later added on no shopping, only two daily social media and email checks, and low amounts of music

Look at this. Do you know what this says?” “Travis and Etty, surrounded by little glittery hearts?” he answers. “No, it says we are safe. We need to do something that is unsafe.” The frown on Travis’s face makes me think he isn’t getting it. “The best love stories have action… adventure!” I argue. Also, action usually raises tension. And tension usually equals a good argument. So, that’s it. That’s my answer. We go to the Congo; we stumble upon some drug lords and bam− if that’s not conflict I don’t know what is. Except, I can’t go the Congo because I have to work tomorrow. But the theory is still valid. “I would suggest skydiving, but I know because of the height issue that’s out,” I put my finger to my mouth in concentration. “Because that’s the only reason why that wouldn’t be a good idea,” Travis says. “Should we go to the casino and bet it all on red?” I ask. “Have you forgotten you’re still taking overtime shifts to pay off the inflatable day of fun?” Travis argues. “I’ve got it!” I exclaim, shooting my arms up in victory. “Let’s go drive down to the docks and see if we can witness a crime.” “Where are ‘the docks’?” Travis says, smiling indulgently at my new idea. “I’ve heard people say that in movies,” I say, shrugging. “I was hoping you would know where it is.

PARTNERS IN CRIME HOW THE CLINTONS WENT FROM DEAD BROKE TO FILTHY RICH And the money kept rolling in from every side. —Song from the musical Evita The quotation above refers to the Juan and Evita Peron Foundation, established in 1948 by Evita Peron for the purpose of helping Argentina’s poor. Evita professed to be a champion of the campesinos—the wretched workers who lived in shanties on the outskirts of Buenos Aires—and they trusted Evita. She had, after all, risen up herself from poverty and obscurity. Her fame was the result of her marriage to the general who became the military leader of the country, Juan Peron. Long before the Clintons, Argentina had its own power couple that claimed to do good and ended up doing very well for themselves. There are, obviously, differences between the Clintons and the Perons. Despite her personal popularity, Evita remained an appendage of her husband, seeking but never obtaining political office. At one point, Evita had her eye on an official position, but the political establishment vigorously opposed her, and her husband never supported her in this effort. Hillary, by contrast, was elected senator and now, having deployed her husband on the campaign trail, seeks election to the nation’s highest office previously held by him. The Perons also had a foundation that took in millions of pesos—the equivalent of $200 million—from multiple foreign sources, Argentine businesses, as well as contributions from various individuals and civic groups. With its 14,000 employees, the foundation was better equipped and more influential than many agencies within the Argentinian government. Evita and her cronies were experts at shaking down anyone who wanted something from the government; donations became a kind of tax that opened up access to the Peron administration. Trade unions sent large contributions because they saw Evita and her husband as champions of their cause. In 1950, the government arranged that a portion of all lottery, movie, and casino revenues should go to the foundation. While the foundation made symbolic, highly publicized gestures of helping the poor, in reality only a fraction of the money went to the underprivileged. Most of it seems to have ended up in foreign bank accounts controlled by the Perons, who became hugely wealthy through their public office profiteering. When Evita died in 1954 and the foundation was shut down, Argentines discovered stashes of undistributed food and clothing. No one from the foundation had bothered to give it away, so it sat unused for years. Helping the poor, after all, wasn’t the real reason Evita set up her foundation. No, she had a different set of priorities. Like so many Third World potentates, the Perons used social justice and provision for the poor as a pretext to amass vast wealth for themselves. The Clintons have done the same thing in America; indeed, Hillary may be America’s version of Evita Peron.

The 4-Hour Workweek Films: The Bourne Identity, Shaun of the Dead “Flow” album: Gran Hotel Buenos Aires by Federico Aubele “Wake-up” album: One-X by Three Days Grace The 4-Hour Body Films: Casino Royale, Snatch “Flow” album: Luciano Essential Mix (2009, Ibiza) featuring DeadMau5 “Wake-up” album: Cold Day Memory by Sevendust The 4-Hour Chef Films: Babe (Yes, the pig movie. It was the first thing that popped up for free under Amazon Prime. I watched it once as a joke and it stuck. “That’ll do, pig. That’ll do.” Gets me every time.) “Flow” album: “Just Jammin’” extended single track by Gramatik “Wake-up” album: Dear Agony by Breaking Benjamin Tools of Titans Films: None! I was traveling and used people-watching at late-night cafés in Paris and elsewhere as my “movie.” “Flow” album: I Choose Noise by Hybrid “Wake-up” album: Over the Under by Down

First, I’m telling Mama you called me a nigga… nigga. Second, you the one who got hired by someone from the Quileute Tribe to assist in running a casino. Now if those Quileute people are in the movie, why should I not believe vampires aren’t in Forks too? Again, if I get bit and become a ‘vamtaur’, I’m beating your fucking ass.

49.​TRUE OR FALSE: 2006’S CASINO ROYALE WAS THE FIRST BOND MOVIE THAT COULD BE WATCHED IN CHINA. True. It was the first film in the James Bond series that the Chinese censor board approved. 50.​TRUE OR FALSE: THE FIRST INTERRACIAL KISS IN TELEVISION HISTORY HAPPENED ON STAR TREK. True. Although the network originally didn’t want to air it, William Shatner reportedly sabotaged all of the other shoots, forcing the network to run the kiss. 51.​TRUE OR FALSE: THE FIRST TELEVISION COMMERCIAL EVER WAS A CAR COMMERCIAL. False. It was actually a commercial for watches, and it aired in 1941. 52.​TRUE OR FALSE: ACTOR JIM CAVIEZEL WAS STRUCK BY LIGHTNING WHILE PORTRAYING JESUS IN THE PASSION OF THE CHRIST. True. Caviezel suffered a large number of calamities during the filming, but this one seemed like a bit of an omen. 53.​TRUE OR FALSE: BRYAN ADAMS’ FAMOUS SONG “SUMMER OF ‘69” IS NAMED AFTER THE SEX POSITION, NOT THE YEAR. True. In fact, Adams was just 9 years old during the summer of 1969. 54.​TRUE OR FALSE: THE ROLLING STONES PERFORMED IN BACK TO THE FUTURE 3. False. But ZZ Top did! 55.​TRUE OR FALSE: THE WORD “FUCK” WAS ONCE SAID OVER 1,000 TIMES IN ONE MOVIE. False. But Swearnet: The Movie came close with the word appearing 935 times—a record amount! 56.​TRUE OR FALSE: BATTLEFIELD EARTH WAS WRITTEN BY THE FOUNDER OF SCIENTOLOGY. True. L. Ron Hubbard was a well-known science fiction writer in addition to being the founder of Scientology.