Chronicle Film Quotes

We've searched our database for all the quotes and captions related to Chronicle Film. Here they are! All 42 of them:

They began by controlling books of cartoons and then detective books and, of course, films, one way or another, one group or another, political bias, religious prejudice, union pressure; there was always a minority afraid of something, and a great majority afraid of the dark, afraid of the future, afraid of the past, afraid of the present, afraid of themselves and shadows of themselves.
Ray Bradbury (The Martian Chronicles)
There was a smell of Time in the air tonight. He smiled and turned the fancy in his mind. There was a thought. What did time smell like? Like dust and clocks and people. And if you wondered what Time sounded like it sounded like water running in a dark cave and voices crying and dirt dropping down upon hollow box lids, and rain. And, going further, what did Time look like? Time look like snow dropping silently into a black room or it looked like a silent film in an ancient theater, 100 billion faces falling like those New Year balloons, down and down into nothing. That was how Time smelled and looked and sounded. And tonight-Tomas shoved a hand into the wind outside the truck-tonight you could almost taste time.
Ray Bradbury (The Martian Chronicles)
Like a primitive savage, who sets out to tame the wilderness armed with nothing but a knife and his indomitable will, I will persevere. I will wrestle victory from the greedy jaws of defeat. I shall rise like a bird of prey upon the current of the wind, my talons raised for the kill, and I shall strike true.” Oh wow. I hope the inn filmed that.
Ilona Andrews (Sweep in Peace (Innkeeper Chronicles, #2))
Anyhow, I took every stitch of clothing off and got out of bed. And I got down on my knees on the floor in the white moonlight. The heat was off and the room must have been cold, but I didn’t feel cold. There was some kind of special something in the moonlight and it was wrapping my body in a thin, skintight film. At least that’s how I felt. I just stayed there naked for a while, spacing out, but then I took turns holding different parts of my body out to be bathed in the moonlight. I don’t know, it just seemed like the most natural thing to do. The moonlight was so absolutely, incredibly beautiful that I couldn’t not do it. My head and shoulders and arms and breasts and tummy and bottom and, you know, around there: one after another, I dipped them in the moonlight, like taking a bath.
Haruki Murakami (The Wind-Up Bird Chronicle)
So called art films. Movies like that never explained what was going on. Explanations were rejected as some kind of evil that could only destroy the films "reality".
Haruki Murakami (The Wind-Up Bird Chronicle)
to expect films to conform to objective evaluations based on abject realities of the world around us is to do the medium a great disservice. Art is too valuable to be consigned to the stultifying chore of chronicling the truth.
Baradwaj Rangan (Dispatches from the Wall Corner: A Journey through Indian Cinema)
They began by controlling books of cartoons and then detective books and, of course, films, one way or another, one group or another, political bias, religious prejudice, union pressures; there was always a minority afraid of something, and a great majority afraid of the dark, afraid of the future, afraid of the past, afraid of the present, afraid of themselves and shadows of themselves.
Ray Bradbury (The Martian Chronicles)
While the characters drive the epic story of Robotech, it’s the robotic mecha that capture the imagination.
Tommy Yune (The Art of Robotech: The Shadow Chronicles)
There was never a mention, never a declaration or a decision. But the long hours of talking stopped. No more reading aloud, or music, or films. And after that there was simple physical affection, the two walking arm in arm, or Maharet at her reading with Mekare sitting motionless on a bench nearby.
Anne Rice (Prince Lestat (The Vampire Chronicles #11))
People played with fact and fancy. Waitresses wrote novels at night that would make them famous. Laborers fell in love with naked movie queens in rented cassette films. The rich wore paper jewelry, and the poor bought tiny diamonds. And princesses sallied forth onto the Champs Elysées in carefully faded rags.
Anne Rice (The Queen of the Damned (The Vampire Chronicles, #3))
Seems I’d read somewhere, or heard it in a film, that the Jews believe each life is a universe, and if you take a life, well, then you are destroying a universe. And I thought, Yes, this is true of us, this is why we must love one another, because we are each an entire world.
Anne Rice (Blood Communion (The Vampire Chronicles, #13))
How must it have felt, Pikes, the night they seized your films, like entrails yanked from the camera, out of your guts, clutching them in coils and wads to stuff them up a stove to burn away! Did it feel as bad as having some fifty thousand books annihilated with no recompense? Yes. Yes. Stendahl felt his hands grow cold with the senseless anger.
Ray Bradbury (The Martian Chronicles)
Thorn swept a speculative glance over Nick’s body. “My girl’s calling you a liar.” “If my girl was here, she’d be calling you an idiot.” Thorn growled. Nick growled back. Caleb laughed at them both. “Simi, we should be filming this. We could make a killing on it.” “Already recorded, akri-demon. Just let the Simi know whenever you want the full-color playback.
Sherrilyn Kenyon (Illusion (Chronicles of Nick, #5))
They passed a law. Oh, it started very small. In 1950 and '60 it was a grain of sand. They began by controlling books of cartoons and then detective books and, of course, films, one way or another, one group or another, political bias, religious prejudice, union pressures; there was always a minority afraid of something, and a great majority afraid of the dark, afraid of the future, afraid of the past, afraid of the present, afraid of themselves and shadows of themselves.
Ray Bradbury (The Martian Chronicles)
There was a smell of Time in the air tonight. He smiled and turned the fancy in his mind. There was a thought. What did Time smell like? Like dust and clocks and people. And if you wondered what Time sounded like it sounded like water running in a dark cave and voices crying and dirt dropping down upon hollow box lids, and rain. And, going further, what did Time look like? Time looked like snow dropping silently into a black room or it looked like a silent film in an ancient theater, one hundred billion faces falling like those New Year balloons, down and down into nothing. That was how Time smelled and looked and sounded. And tonight—Tomás shoved a hand into the wind outside the truck—tonight you could almost touch Time.
Ray Bradbury (The Martian Chronicles)
C'era come un odore di Tempo, Nell'aria della notte. Tomàs sorrise all'idea, continuando a rimuginarla. Era una strana idea. E che odore aveva il Tempo, poi? Odorava di polvere, di orologi e di gente. E che suono aveva il Tempo? Faceva un rumore di acque correnti nei recessi bui d'una grotta, di voci querule, di terra che risuonava con un tonfo cavo sui coperchi delle casse, e battere di pioggia. E, per arrivare alle estreme conseguenze: che aspetto aveva il Tempo? Era come neve che cade senza rumore in una camera buia, o come un film muto in un'antica sala cinematografica, cento miliardi di facce cadenti come palloncini di capodanno, giù, sempre più giù, nel nulla. Così il tempo odorava, questo era il rumore che faceva, era così che appariva. E quella notte – Tomàs immerse una mano nel vento fuori della vettura – quella notte tu quasi lo potevi toccare, il Tempo. (Cronache Marziane, trad. Giorgio Monicelli)
Ray Bradbury (The Martian Chronicles)
Smoke! Did all human passion burn away and drift in a blue film over the fields, obscure for a moment the sight of the sun and the shapes of the crops and the trees, then fade into air and leave the clear hard day; and no difference anywhere? Not quite! For smoke was burnt tissue, and where fire had raged there was alteration.
John Galsworthy (Flowering Wilderness (The Forsyte Chronicles, #8))
That was not all. When the Jamaican government wanted to buy the country’s oil refinery from an Exxon subsidiary, Marc Rich + Co lent it the money. The trading company even helped to fund Jamaica’s team at the 1984 Olympics in Los Angeles, and paid for it to send a bobsled team to participate in the 1988 Winter Olympics – whose unlikely journey to the Games was chronicled in the Disney film Cool Runnings.15
Javier Blas (The World for Sale: Money, Power, and the Traders Who Barter the Earth's Resources)
Remember all those classic books you HAD to read in school? They sucked, right? Well, guess what? They are actually . . . classics. 'Brave New World', '1984', 'The Martian Chronicles' and even 'Animal Farm' are pretty cool it you're not told you HAVE to read them. If you discover them on your own or if you reread them without having a report due that sends you scurrying to buy CliffNotes or access Wikipedia, then you can actually relax and enjoy them. - Chris Mancini
Graham Elwood (The Comedy Film Nerds Guide to Movies: Featuring Dave Anthony, Lord Carrett, Dean Haglund, Allan Havey, Laura House, Jackie Kashian, Suzy Nakamura, ... Schmidt, Neil T. Weakley, and Matt Weinhold)
Most remember Hitchcock as a skilled storyteller, but what few know is that the director shot his movies using two separate scripts. The first, known as “the Blue Script,” was entirely functional. In it were all the tangible onscreen components, including dialogue, props, camera angles and set descriptions. The second script, which Hitchcock referred to as “the Green Script,” chronicled in fine detail the emotional arc, or “beats,” of the film he was shooting. Hitchcock relied on both scripts, but the Green Script reminded him how he wanted moviegoers to feel, and at what point,
Martin Lindstrom (Small Data: The Tiny Clues That Uncover Huge Trends)
BARRY GIFFORD, Author of "Wild at Heart", on DANGEROUS ODDS by Marisa Lankester: "Marisa Lankester's unique chronicle of high crimes and low company is as wild a ride as any reader is likely to be taken on. She was the lone woman in the eye of a predatory hurricane that blew across continents and devastated countless lives. That she survived is testament to her brains and bravery. The old-timers who invented violence as a second language contended that nothing is deadlier than the female, to cross her was to buck dangerous odds, and this book tells you why." Film "Wild at Heart" won Palme D’Or at the Cannes Film Festival, Film by David Lynch
Barry Gifford
I picture myself at the surface of an ocean: the course of my life is played out as a descent to the sea bed. As I drop down I clutch at and try to reach blurred but alluring images representing the vocation of writer, actor, comedian, film director, politician or academic, but they all writhe and ripple flirtatiously out of reach, or rather it would be truer to say that I am afraid to leap forward and hug one of them to me. By being afraid to commit to one I commit to none and arrive at the bottom empty and unfulfilled. This is a self-aggrandizing, pitiful and absurd fantasy of regret, I know, but it is a frequent one. I close whatever book I have been reading in bed, and that same film plays out again and again in my mind before I sleep.
Stephen Fry (The Fry Chronicles)
I picture myself at the surface of an ocean: the course of my life is played out as a descent to the sea bed. As I drop down I clutch at and try to reach blurred but alluring images representing the vocation of writer, actor, comedian, film director, politician or academic, but they all writhe and ripple flirtatiously out of reach, or rather it would be truer to say that I am afraid to leap forward and hug one of them to me. By being afraid to commit to one I commit to none and arrive at the bottom empty and unfulfilled. This is a self-aggrandizing, pitiful and absurd fantasy of regret, I know, but it is a frequent one. I close whatever book I have been reading in bed, and that same film plays out again and again in my mind before I sleep.
Stephen Fry (The Fry Chronicles)
The Sherwood Forest Chronicles . 1. If Robin Hood steals from the rich, doesn't that make them poor? Does he give them their money back? I mean, what the point of robbing to begin with if your mission statement is logically flawed? 2. If the Sheriff of Nottingham is such an asshole, why isn’t he the Prime Minister of Nottingham? 3. Why don’t I see elves here? Did all the elves of Sherwood Forest migrate to New Zealand to become extras on the Peter Jackson’s Hobbit films? 4. Does Little John even know what an oxymoron is? 5. If Smokey the Bear came to Sherwood Forest to make a public service announcement about preventing forest fires, would he leave with arrows in his ass or would the Merry Men feast on bear meat for several days? And what makes the Merry Men merry in the first place? 6. What do you think? Does Robin Hood shop at Walmart or Target?
Beryl Dov
The current popular image of Zeus as a cheerful, avuncular type perplexes me. I know it comes from a silly kids’ movie, but I’m not sure they could have gotten it more wrong. Zeus was never avuncular. He killed his father, raped his sister, and then married her, calculating that sanctified incest was marginally better than the unsanctified kind. After that he conducted a series of what are generously called “affairs” with mortal women, though sometimes tales will admit he “ravished” them, which is to say he raped them. He turned into a swan once for a girl with an avian fetish, and another time he manifested as a golden shower over a woman imprisoned in a hole in the ground. His actions clearly paint him as skeevy to the max and the most despicable of examples. He’s not the kind of god that belongs in kids’ films. He’s the kind that releases the kraken.
Kevin Hearne (Hunted (The Iron Druid Chronicles, #6))
Tommy, Ewoks suck. They’ve always sucked and they always will suck. Four has Peter Cushing in it. If in doubt, always go with a film that has Peter Cushing in it.” Petra appeared to be very smug in her victory. Tommy looked mortified. “But six has Jedi Luke and that awesome bit with the Emperor at the end.” “And Ewoks,” I said. “Who, I’m pretty sure I pointed out, suck.” “And to think I was going to get you your own lightsaber,” Tommy said in mock outrage. Petra’s face lit up like a child’s on Christmas morning. “You have your own lightsaber?” Tommy nodded. “Two of them.” “Why?” Kurt asked. “Why do you need a lightsaber? What can you possibly use it for?” “I think the question is,” Tommy said, “why wouldn’t I need a lightsaber? And as for what I can use it for, I use it to look awesome. Really, really awesome.” “You just don’t understand, my dear,” Petra told Kurt. Kurt didn’t appear to want or need to understand anytime soon. “So, you got beat up by some humans and a witch,” Tommy said, barely containing his laughter. “Do you have CCTV?” he asked Petra, who chuckled. “Are you both done?” I asked. They nodded in unison. “This witch used a huge amount of magic on me,” I informed them both. “To use runes to drain my magic is one thing, but an effete curse is a whole other league of power. That’s a decade of her life, right there.” “I don’t understand why anyone would ever use a blood magic curse,” Tommy said. “It’s not like it’s fun for the person casting it either.” “What do you mean?” Petra asked. “There are several different blood magic curses you can cast on another person, and a few you can cast on yourself,” I explained. “All of the curses do various things to the person they’re cast upon, but the caster has to take some of the curse back onto him- or herself. So, in this case, Sarah cast the effete spell, making me exhausted and utterly useless, but a small portion of that will bounce back onto her. How long was I out?” “Six hours,” Kurt said. “If I’d cast that spell, I could have expected maybe three or four hours of exhaustion. Witches are basically human, so she’s going to be about as much use as a chocolate teapot, for the best part of a day. It was a huge decision for her to make.
Steve McHugh (Prison of Hope (Hellequin Chronicles, #4))
I have come to think of the UFO problem in terms of three distinct levels. The first level is physical. We now know that the UFO behaves like a region of space, of small dimensions (about ten meters), within which a very large amount of energy is stored. This energy is manifested by pulsed light phenomena of intense colors and by other forms of electromagnetic radiation. The second level is biological. Reports of UFOs show all kinds of psychophysiological effects on the witnesses. Exposure to the phenomenon causes visions, hallucinations, space and time disorientation, physiological reactions (including temporary blindness, paralysis, sleep cycle changes), and long-term personality changes. The third level is social. Belief in the reality of UFOs is spreading rapidly at all levels of society throughout the world. Books on the subject continue to accumulate. Documentaries and major films are being made by men and women who grew up with flying-saucer stories. Expectations about life in the universe have been revolutionized. Many modern themes in our culture can be traced back to the "messages from space" coming from UFO contactees of the forties and fifties. The experience of a close encounter with a UFO is a shattering physical and mental ordeal. The trauma has effects that go far beyond what the witnesses recall consciously. New types of behavior are conditioned, and new types of beliefs are promoted. Aside from any scientific consideration, the social, political, and religious consequences of the experience are enormous if they are considered over the timespan of a generation. Faced with the new wave of experiences of UFO contact that are described in books like Communion and Intruders and in movies like Close Encounters of the Third Kind, our religions seem obsolete. Our idea of the church as a social entity working within rational structures is obviously challenged by the claim of a direct communication in modern times with visible beings who seem endowed with supernatural powers. This idea can shake our society to the very roots of its culture. Witnesses are no longer afraid to come forward with personal stories of abductions, of spiritual exchanges with aliens, even of sexual interaction with them. Such reports are folklore in the making. I have discovered that they form a striking parallel to the tales of meetings with elves and jinn of medieval times, with the denizens of "Magonia," the land beyond the clouds of ancient chronicles. But they are something else, too: a portent of important things to come.
Jacques F. Vallée (Dimensions: A Casebook of Alien Contact)
FACT 4 – There is more to the creation of the Manson Family and their direction than has yet been exposed. There is more to the making of the movie Gimme Shelter than has been explained. This saga has interlocking links to all the beautiful people Robert Hall knew. The Manson Family and the Hell’s Angels were instruments to turn on enemy forces. They attacked and discredited politically active American youth who had dropped out of the establishment. The violence came down from neo-Nazis, adorned with Swastikas both in L.A. and in the Bay Area at Altamont. The blame was placed on persons not even associated with the violence. When it was all over, the Beatles and the Rolling Stones were the icing on this cake, famed musicians associated with a racist, neo-Nazi murder. By rearranging the facts, cutting here and there, distorting evidence, neighbors and family feared their own youth. Charles Manson made the cover of Life with those wide eyes, like Rasputin. Charles Watson didn’t make the cover. Why not? He participated in all the killings. Manson wasn’t inside the house. Manson played a guitar and made records. Watson didn’t. He was too busy taking care of matters at the lawyer’s office prior to the killings, or with officials of Young Republicans. Who were Watson’s sponsors in Texas, where he remained until his trial, separate from the Manson Family’s to psychologically distance him from the linking of Watson to the murders he actually committed. “Pigs” was scrawled in Sharon Tate’s house in blood. Was this to make blacks the suspects? Credit cards of the La Bianca family were dropped intentionally in the ghetto after the massacre. The purpose was to stir racial fears and hatred. Who wrote the article, “Did Hate Kill Tate?”—blaming Black Panthers for the murders? Lee Harvey Oswald was passed off as a Marxist. Another deception. A pair of glasses was left on the floor of Sharon Tate’s home the day of the murder. They were never identified. Who moved the bodies after the killers left, before the police arrived? The Spahn ranch wasn’t a hippie commune. It bordered the Krupp ranch, and has been incorporated into a German Bavarian beer garden. Howard Hughes knew George Spahn. He visited this ranch daily while filming The Outlaw. Howard Hughes bought the 516 acres of Krupp property in Nevada after he moved into that territory. What about Altamont? What distortions and untruths are displayed in that movie? Why did Mick Jagger insist, “the concert must go on?” There was a demand that filmmakers be allowed to catch this concert. It couldn’t have happened the same in any other state. The Hell’s Angels had a long working relationship with law enforcement, particularly in the Oakland area. They were considered heroes by the San Francisco Chronicle and other newspapers when they physically assaulted the dirty anti-war hippies protesting the shipment of arms to Vietnam. The laboratory for choice LSD, the kind sent to England for the Stones, came from the Bay Area and would be consumed readily by this crowd. Attendees of the concert said there was “a compulsiveness to the event.” It had to take place. Melvin Belli, Jack Ruby’s lawyer, made the legal arrangements. Ruby had complained that Belli prohibited him from telling the full story of Lee Harvey Oswald’s murder (another media event). There were many layers of cover-up, and many names have reappeared in subsequent scripts. Sen. Philip Hart, a member of the committee investigating illegal intelligence operations inside the US, confessed that his own children told him these things were happening. He had refused to believe them. On November 18, 1975, Sen. Hart realized matters were not only out of hand, but crimes of the past had to be exposed to prevent future outrages. How shall we ensure that it will never happen again? It will happen repeatedly unless we can bring ourselves to understand and accept that it did go on.
Mae Brussell (The Essential Mae Brussell: Investigations of Fascism in America)
Let's grab something for you from the kitchen, and then we'll go find Magnus." The "something" turned out to be a wedge of the most amazing cake he'd ever tasted. It had cream in the middle, a crust of honey and almonds on top. He crammed half a wedge into his mouth and moaned aloud. "Damn, that's good," he said around the mouthful. "Damn." "I already ordered it for my wedding breakfast," said Tess. "It's called Bienenstich- bee sting cake," said Isabel, coming into the kitchen. "Appropriate, under the circumstances." He turned to face her, his cheeks stuffed with food like a chipmunk's. Then he swallowed the bite of food. "It's delicious. Did you make it?" he asked, not taking his eyes off her. While Tess had red hair and freckles, Isabel had olive-toned skin, dark eyes and full lips, like a flamenco dancer or maybe an Italian film star swathed in veils. "I did," she said. "It's a German tradition.
Susan Wiggs (The Beekeeper's Ball (Bella Vista Chronicles, #2))
A once-great filmmaker has taken on a new avatar less heroic than Parzival. It is the avatar of a pandering crowd-pleaser. Spielberg, the D. W. Griffith of the sound era—who ironically, when the politically correct putsch began in 1999, turned his back on Griffith by failing to speak up as the Directors Guild of America stripped Griffith’s name and legacy from its awards—now celebrates Hollywood’s most craven tendencies. The crowd-pleaser has outdone himself.
Armond White (Make Spielberg Great Again: The Steven Spielberg Chronicles)
I’m a rare fox-human, with the souls of witches inside me. Can you imagine what a certain mindset would like to do with me? I’ll give you a clue; it’s not to re-create a cherished Roald Dahl novel.” I could imagine. It wasn’t a pleasant thought. “And to make matters worse, there was a movie with a talking fucking raccoon in it. Did you know that Camelot has a cinema? That they import movies from Earth? Well, they fucking well do. For months all I heard was how maybe for the sequel they could have me be his stunt double, or that they should paint me brown and make me a star. I began to get angry with the rabid little fucker. And he’s not even real! I was angry at a fucking comic book character.” I didn’t really know what else to say. “Good film though.” Remy stared at me. “You’re sort of missing the point of my anger, here.” “No, I get it. You know, even for my life it’s a little weird that I’m talking to a fox about how unhappy he is that people compared him to a raccoon in a science fiction film about a bunch of comic book characters saving the galaxy.” “When you put it like that, I sound downright silly.” “Yeah, wording, that’s the issue here.” Remy chuckled for a moment,
Steve McHugh (Lies Ripped Open (Hellequin Chronicles #5))
In 1931 Ilf and Petrov published another novel, The Golden Calf (Золотой телёнок), chronicling the further adventures of Ostap Bender. In the sequel, he is as enterprising as ever in pursuing the money of a clandestine Soviet millionaire, although possibly his lust for life seems to have dimmed a bit. The Twelve Chairs was still read and quoted by my classmates in the 1980s. In post-Soviet Russia the figure of Ostap Bender was elevated to “предприниматель” – entrepreneur – rather than crook, and his statue adorns several Russian towns. In his creators’ native city, Odessa, there is a commemorative plaque to Bender, and a statue of a chair from the novel on one of the main streets, Deribasovskaya. The novel has been turned into a film three times in Russia, in 1971, in 1976 and 2004; there is also a 1970 US version by Mel Brooks.
Olga Fedina (What Every Russian Knows (And You Don't))
In other words, magic in both The Lord of the Rings and The Chronicles of Narnia is not equivalent to the occult practices in which people in the real world can be involved. When the Bible commands against the use of sorcery and divination, it is not referring to the magical things that magical creatures can do in fantasy worlds.
Douglas M. Beaumont (The Message Behind the Movie: How to Engage with a Film Without Disengaging Your Faith)
Lou had been tearful because a special moment – when the family all discovered the presents together – had been ruined. She had been planning to film the whole thing. Lou was, in Neve’s opinion, an obsessive chronicler of her family life. She would have unfollowed her sister on Facebook because of this, had she been able to get away with it.
Cass Green (In a Cottage in a Wood)
With the false claim that the Germans murdered six million Jews, mostly in gas chambers at Auschwitz-Birkenau in Poland during WWII, since the end of WWII, the world has been saturated with films, documentaries and books on the Holocaust. Anyone worldwide who dares to investigate the Jewish Holocaust claims, is branded an Anti-Semite and Holocaust Denier. In our democratic world, a person who is accused of a crime is deemed innocent until irrefutable evidence proves them guilty. What has happened to democracy in Germany, Poland, France and Switzerland where people accused of Holocaust Denial are not allowed to provide any evidence that would prove that they are not guilty? In the Middle Ages, people accused of being witches, were also allowed no defence and were burned at the stake. As burning at the stake and crucifiction is not allowed in today's world, the best that the Jewish leaders and holocaust promoters can achieve is incarceration where no one can hear claims backed by years of very thorough research. The Jewish success in blocking my book "The Answer Justice", their failed attempts to stop the book "Chutzpah" written by Norman Finkelstein whose mother and father were held in German concentration camps, the incarceration of revisionists Ernst Zundel and Germar Rudolf in Germany and David Irving in Austria: these are all desperate attempts to end what they call Holocaust Denial. The English historian David Irving was refused entry to Australia in 2003 at the behest of the Jewish community (representing only 0.4% of the Australian population) thus denying the right of the other 99.6% to hear what David Irving has to say. Proof of Jewish power was the blocking of the public viewing of David Irving's film. The Jewish owners of the building locked the film presentation out which resulted in the headline in the "Australian" newspaper of: " Outrage at Jewish bid to stop the film by David Irving called "The Search For Truth in History" . Sir Zelman Cowan who was Governor General of Australia and a man much reverred in the Jewish community, has stated in the Jewish Chronicle (London) that "The way to deal with people who claim the holocaust never happened, is to produce irrefutable evidence that it did happen". I agree 100% with Sir Zelman Cowan. I am quite certain that he and other Zionist Jewish (Ashkenazim) world leaders are aware that a United Nations or International forensic examination of the alleged gas chamber at No. 2 Crematorium at Auschwitz-Birkenau in Poland, would irrefutably prove the truth to the world that xyclon B cyanide has never been used as alleged by world Jewry to kill Jews. In 1979 Professor W.D. Rubenstein stated: "If the Holocaust can be shown to be a Zionist myth, the strongest of all weapons in Israels's propaganda armory collapses. The Falsification of history by Zionist Jews in claiming the murder of six million Jews by Germany, constitutes the GREATEST ORGANISED CRIME that the world has known.
Alexander McClelland
The philosophers have only interpreted the world in various ways; the point is to change it” The most widely accepted view of history is also the most childish. History is seen as the doings of Great Men (and occasionally Great Women), of kings and politicians, generals and churchmen, artists and film stars. Such a conception of history can be traced back to the medieval chroniclers, who recorded the doings of monarchs and noblemen, their feasts, wars and adulteries. We are still served up with the same view, by courtesy of the most advanced technology, on the television screen and in the headlines of the daily tabloids.
Alex Callinicos (The Revolutionary Ideas of Karl Marx)
the country life. Like in Miyazaki’s film My Neighbor Totoro, do you know it?
Hiro Arikawa (The Travelling Cat Chronicles)
Now Mickey is about to take a new step. Starting this month, the mouse actor is making his appearance in color! Mr. Mouse has graduated from the ordinary black and white films. Of course, this is an experiment, Disney frankly admits that his experiment is daring. The public may not like Mickey in his new array of brilliant colors. For that reason, only a few of the cartoon comedies starring the mouse actor will be produced this new way. Then Disney will await the public response. If that response is favorable, Mickey will keep his “coat of colors.” If not, Mickey will be returned to his old black and white formula.
Aaron H. Goldberg (The Disney Story: Chronicling the Man, the Mouse, & the Parks)
I've noticed one of the marks of a good piece - whether it be a book, film, #poem, song or other type of #story - is that you notice something new every time you revisit it.
Sandra Sealy (Chronicles Of A Seawoman: A Collection Of Poems)
He kept his eye open for other events that looked like the place to be and became drawn to them, looking for any opening to create news and enhance his value further. One such event was the Arnold Classic, held on March 2nd in Columbus, Ohio. The Arnold Classic was an annual bodybuilding event traditionally held at the Greater Columbus Convention Center. It served as something of a melting pot, luring agents, pornstars, hustlers, fans and wannabe stars to one venue with its gravitational pull. “If you like fake tits that’s the place to go”, jokes Kim Wood. “It’s a cesspool, there’s drug dealers…you just wallow in the sleaze.” Pillman’s visit was dual-purpose – in addition to hanging out at the expo, he was filming a commercial to plug his hotline to air on Hardcore TV. ECW’s television crew Stonecutter Productions, headed by Steve Karel, put it together with Brian. In what would become an unfortunate, ironic twist of fate, it was Karel, the same man who told Kim Wood about the WCW-ECW connection which led to Pillman becoming the talk of the industry, that took Brian to the Arnold Classic. Of course, a lot of the attendees were wrestling fans and with Brian in character, he was getting almost as much attention as Arnold himself. Brian and Karel took the sleaze a step further, going back and forth between strip shows and nude woman contests, when Pillman came across a model that caught his eye. In this case, however, it wasn’t a female. One of the sponsors of the Arnold Classic was Hummer. Schwarzenegger fell in love seeing a fleet of military Humvees roll past the set of Kindergarten Cop in 1990 and wanted one of his own. Arnie finally convinced AM General to produce them, and it was Schwarzenegger himself who purchased the first Hummer off the assembly line. Since then he was linked with them and with the bodybuilding expo bearing his name, it was only natural to have a number of floor models on display. Pillman loved the look of one of the Hummers in particular and since the ones being showcased had to be gotten rid of, Karel, with his connections, was able to get Brian a pretty good deal if he wanted to purchase it there and then. Despite all his hard work being with the goal of cashing in and making it out on the other end financially better off, Pillman’s focus lapsed amidst the intoxicating vibe of working everybody and living his character. Against his prior instincts, he bought the vehicle.
Liam O'Rourke (Crazy Like A Fox: The Definitive Chronicle of Brian Pillman 20 Years Later)
Time looks like snow dropping silently into a black room or it looked like a silent film in an ancient theater, 100 billion faces falling like those New Year balloons, down and down into nothing. —RAY BRADBURY, The Martian Chronicles
Karen Kilgariff (Stay Sexy & Don't Get Murdered: The Definitive How-To Guide)
BARRY GIFFORD, Author of "Wild at Heart" on DANGEROUS ODDS by Marisa Lankester: "Marisa Lankester's unique chronicle of high crimes and low company is as wild a ride as any reader is likely to be taken on. She was the lone woman in the eye of a predatory hurricane that blew across continents and devastated countless lives. That she survived is testament to her brains and bravery. The old-timers who invented violence as a second language contended that nothing is deadlier than the female, to cross her was to buck dangerous odds, and this book tells you why." Film "Wild at Heart" won Palme D’Or at the Cannes Film Festival, Film by David Lynch
Barry Gifford