Companion Movie Quotes

You can make up your own story when you look at a photo.

Stupid religion makes stupid beliefs, stupid leaders make stupid rules, stupid environment makes stupid health, stupid companions makes stupid behaviour, stupid movies makes stupid acts, stupid food makes stupid skin, stupid bed makes stupid sleep, stupid ideas makes stupid decisions, stupid clothes makes stupid appearance. Lets get rid of stupidity from our stupid short lives.

maybe the questions are more powerful than the answers.

My spouse is my shield, my spouse is my strength.

Now there’s us, staking out our piece of cinematic turf (might be small but it’s ours). And the music has to fit the vision as specifically as it did for [Star Wars and The Matrix.] OUR music comes from THEIR music, this scrappled bunch. It is spare, intimate, mournful and indefatigable.

(Golden Globe acceptance speech in the style of Jane Austen's letters): "Four A.M. Having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding, was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. Miss Lindsay Doran, of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly apppeared to understand me better than I undersand myself. Mr. James Schamus, a copiously erudite gentleman, and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behavior one has lernt to expect from that race. Mr. Mark Canton, an energetic person with a ready smile who, as I understand it, owes me a vast deal of money. Miss Lisa Henson -- a lovely girl, and Mr. Gareth Wigan -- a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing that it proved impossible to get within ten feet of him. The room was full of interesting activitiy until eleven P.M. when it emptied rather suddenly. The lateness of the hour is due therefore not to the dance, but to the waiting, in a long line for horseless vehicles of unconscionable size. The modern world has clearly done nothing for transport. P.S. Managed to avoid the hoyden Emily Tomkins who has purloined my creation and added things of her own. Nefarious creature." "With gratitude and apologies to Miss Austen, thank you.

I didn’t go to the moon, I went much further — for time is the longest distance between two places. Not long after that I was fired for writing a poem on the lid of a shoe-box. I left Saint Louis. I descended the steps of this fire escape for a last time and followed, from then on, in my father’s footsteps, attempting to find in motion what was lost in space. I traveled around a great deal. The cities swept about me like dead leaves, leaves that were brightly colored but torn away from the branches. I would have stopped, but I was pursued by something. It always came upon me unawares, taking me altogether by surprise. Perhaps it was a familiar bit of music. Perhaps it was only a piece of transparent glass. Perhaps I am walking along a street at night, in some strange city, before I have found companions. I pass the lighted window of a shop where perfume is sold. The window is filled with pieces of colored glass, tiny transparent bottles in delicate colors, like bits of a shattered rainbow. Then all at once my sister touches my shoulder. I turn around and look into her eyes. Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger — anything that can blow your candles out! For nowadays the world is lit by lightning! Blow out your candles, Laura — and so goodbye. . .

In The Hunger Games, there's something for everyone. A gripping adventure. A political commentary. A love story. A cautionary tale. Some call it science fiction, some call it potential reality. Some say it's for teenagers, some say it's for adults. The book--and now the film--captures themes and concerns that seem timely. But its real strength, in the end, is that it's timeless. It speaks to us today, and it will speak--even more powerfully--tomorrow.

The Hunger Games gets people invested in a contest. People are rooting for their favorites, rooting for their survival. And suddenly, unwittingly, the people being oppressed are actually engaged in this form of entertainment...The way you get control of people is to make them participate, not just subjugate them.

I felt that Lionsgate really understood the material and that they would let us make a faithful adaptation; that they wouldn't soften it, they wouldn't age up the characters, to make them older so that it would be more palatable. I felt that the power of the book was in the youth of these protagonists and that you couldn't cheat on that in terms of their age in the story. Lionsgate was on board for, of course, the PG-13 version of the movie, not something full of blood and guts, but something more thematically driven.

...I think a book adaptation doesn't have to be just like the book, it has to feel like the book. That's what you want. You wand to get the feeling from the movie that you got from the book, and you want the characters to evoke the characters that you fell in love with." -Nina Jacobson

Life is dangerous,Gary," Gregori said softly. "You are Rambo, remember?" Savannah's laughter rang out, rivaling the jazz quartet playing on the corner. Heads turned to listen to he, then to watch her, stealing away the attention of the audience gathered in a loose semi-circle around the quartet. She moved in the human world, completely comfortable in it,a part of it. Gregori had walked unseen, and that was how he preferred it.She was dragging him into her world. He could hardly believe he was walking down a crowded street with a mortal wwith half the block staring openly at them. "I didn't know you knew who Rambo was," Savannah said, trying not to giggle. She couldn't imagine Gregori in a theater watching a Rambo movie. "You saw a Rambo flick?" Gary was incredulous. Gregori made a sound somewhere between contempt and derision. "I read Gary's memories on the subject. Interesting. Silly,but interesting." He glanced at Gary. "This is your hero?" Gary's grin was as michievous as Savannah's. "Until I met you, Gregori." Gregori growled, a low rumble of menace. His two companions just laughed disrespectfully, not in the least intimidated. "I'll bet he's a secret Rambo fan," Savannah whispered confidentially. Gary nodded. "He probably sneaks into movie theaters for every old showing.

We are offered glimpses, even deep searches, into the questions that haunt people the most. We experience a level of intimacy with our clients that few will ever know. We are exposed to levels of drama and emotional arousal that are at once terrifying and captivating. We get to play detective and help solve mysteries that have plagued people throughout their lives. We hear stories so amazing that they make television shows, novels, and movies seem tedious and predictable by comparison. We become companions to people who are on the verge of making significant changes— and we are transformed as well. We go to sleep at night knowing that, in some way, we have made a difference in people’s lives. There is almost a spiritual transcendence associated with much of the work we do.

Opportunity to suspend disbelief is often why we watch movies. The stories and images touch us and shift perspectives in ways we may not allow in our daily lives. As readily as you check your “this isn’t real” attitude at the ticket counter – when transformers are defending earth against aliens and 21st century vampires frolic by daylight – on the big screen of your heart and mind train for, run and celebrate finishing your first marathon.

A major defining factor was my wanting him to be part of the DC Universe. Because if someone as powerful as the Sandman was running all the dreams in the world, a natural question would be “Why haven’t we heard about him by now?” The answer I came up with was “He’s been locked away.” And that solution formed an image in my head of a naked man in a glass cell. My next question was “How long had he been trapped there?” The movie Awakenings hadn’t been made yet, but I’d read Oliver Sacks’s book a few months earlier, so I knew about the encephalitis lethargica, or “sleepy sickness,” that had swept Europe in 1916. Scientists to this day don’t understand what caused it, and I loved the idea of blaming it on the Sandman’s imprisonment, so I determined the length of his stay to be seventy-two years—ending in late 1988, when the series debuted. And so on; each plot point just seemed to naturally lead to the next one.

We are offered glimpses, even deep searches, into the questions that haunt people the most. We experience a level of intimacy with our clients that few will ever know. We are exposed to levels of drama and emotional arousal that are at once terrifying and captivating. We get to play detective and help solve mysteries that have plagued people throughout their lives. We hear stories so amazing that they make television shows, novels, and movies seem tedious and predictable by comparison. We be come companions to people who are on the verge of making significant changes— and we are transformed as well. We go to sleep at night knowing that, in some way, we have made a difference in people’s lives. There is al most a spiritual transcendence associated with much of the work we do.

Steven’s words slush together as he gets to his feet. “Crossing this one off the bucket list.” Then he unbuckles his belt and grabs the waist of his pants—yanking the suckers down to his ankles—tighty whities and all. Every guy in the car holds up his hands to try to block the spectacle. We groan and complain. “My eyes! They burn!” “Put the boa constrictor back in his cage, man.” “This is not the ass I planned on seeing tonight.” Our protests fall on deaf ears. Steven is a man on a mission. Wordlessly, he squats and shoves his lilywhite ass out the window—mooning the gaggle of grannies in the car next to us. I bet you thought this kind of stuff only happened in movies. He grins while his ass blows in the wind for a good ninety seconds, ensuring optimal viewage. Then he pulls his slacks up, turns around, and leans out the window, laughing. “Enjoying the full moon, ladies?” Wow. Steven usually isn’t the type to visually assault the elderly. Without warning, his crazy cackling is cut off. He’s silent for a beat, then I hear him choke out a single strangled word. “Grandma?” Then he’s diving back into the limo, his face grayish, dazed, and totally sober. He stares at the floor. “No way that just happened.” Matthew and I look at each other hopefully, then we scramble to the window. Sure enough, in the driver’s seat of that big old Town Car is none other than Loretta P. Reinhart. Mom to George; Grandma to Steven. What are the fucking odds, huh? Loretta was always a cranky old bitch. No sense of humor. Even when I was a kid she hated me. Thought I was a bad influence on her precious grandchild. Don’t know where she got that idea from. She moved out to Arizona years ago. Like a lot of women her age, she still enjoys a good tug on the slot machine—hence her frequent trips to Sin City. Apparently this is one such trip. Matthew and I wave and smile and in fourth-grader-like, singsong harmony call out, “Hi, Mrs. Reinhart.” She shakes one wrinkled fist in our direction. Then her poofy-haired companion in the backseat flips us the bird. I’m pretty sure it’s the funniest goddamn thing I’ve ever seen. The two of us collapse back into our seats, laughing hysterically.

University, where she is an adjunct professor of education and serves on the Veterans Committee, among about a thousand other things. That’s heroism. I have taken the kernel of her story and do what I do, which is dramatize, romanticize, exaggerate, and open fire. Hence, Game of Snipers. Now, on to apologies, excuses, and evasions. Let me offer the first to Tel Aviv; Dearborn, Michigan; Greenville, Ohio; Wichita, Kansas; Rock Springs, Wyoming; and Anacostia, D.C. I generally go to places I write about to check the lay of streets, the fall of shadows, the color of police cars, and the taste of local beer. At seventy-three, such ordeals-by-airport are no longer fun, not even the beer part; I only go where there’s beaches. For this book, I worked from maps and Google, and any geographical mistakes emerge out of that practice. Is the cathedral three hundred yards from the courthouse in Wichita? Hmm, seems about right, and that’s good enough for me on this. On the other hand, I finally got Bob’s wife’s name correct. It’s Julie, right? I’ve called her Jen more than once, but I’m pretty sure Jen was Bud Pewtie’s wife in Dirty White Boys. For some reason, this mistake seemed to trigger certain Amazon reviewers into psychotic episodes. Folks, calm down, have a drink, hug someone soft. It’ll be all right. As for the shooting, my account of the difficulties of hitting at over a mile is more or less accurate (snipers have done it at least eight times). I have simplified, because it is so arcane it would put all but the most dedicated in a coma. I have also been quite accurate about the ballistics app FirstShot, because I made it up and can make it do anything I want. The other shot, the three hundred, benefits from the wisdom of Craig Boddington, the great hunter and writer, who looked it over and sent me a detailed email, from which I have borrowed much. Naturally, any errors are mine, not Craig’s. I met Craig when shooting something (on film!) for another boon companion, Michael Bane, and his Outdoor Channel Gun Stories crew. For some reason, he finds it amusing when I start jabbering away and likes to turn the camera on. Don’t ask me why. On the same trip, I also met the great firearms historian and all-around movie guy (he knows more than I do) Garry James, who has become

The culture we have does not make people feel good about themselves. And you have to be strong enough to say if the culture doesn’t work, don’t buy it.” Morrie, true to these words, had developed his own culture—long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted no time in front of TV sitcoms or “Movies of the Week.” He had created a cocoon of human activities—conversation, interaction, affection—and it filled his life like an overflowing soup bowl.I had also developed my own culture. Work. I did four or five media jobs in England, juggling them like a clown. I spent eight hours a day on a computer, feeding my stories back to the States. Then I did TV pieces, traveling with a crew throughout parts of London. I also phoned in radio reports every morning and afternoon. This was not an abnormal load. Over the years, I had taken labor as my companion and had moved everything else to the side.

Life does not offer gifts or rewards, but opportunities. Nobody is entitled to anything. Only behavior and labor defines us and what we have. Whenever you make a choice, you follow one path and move apart from another. If your job occupies more importance in your mind, time and actions, than your dream, then you will not accomplish your dream but maybe receive a raise in your salary instead and be happy with that loss. If you look at relationships as a toy store, if you look at your companion as easily replaceable, then you will very likely lose the one you have. If you rather enjoy life with your friends than with your companion, you will end up alone. If you insult the wise, you then end up surrounded by fools. If you neglect your wealth, you will likely end up poor. If you destroy love, you will end up feeling unloved. If you destroy the good that comes to you, you will end up experiencing evil. Life will always reflect your actions, words and thoughts. You are what you spend most of your time doing, saying and thinking. Your life is always a reflection of your priorities. If you spend your time partying, insulting and occupying your mind with nonsense from social media, music with degrading lyrics, and movies that promote antisocial values, you get zero from life.

My former girlfriend said: ‘You don’t deserve the house you have; it’s too good for you.’ I replied: “I found a house that matched all your criteria, to make you happy. If you lost it, and ended up sleeping in a filthy room in a shared apartment, is because you don’t deserve me, I was too good for you, you disappointed me by trying to find a guy that matches you better, and you made me very unhappy. Your priories were wrong.’ Life does not offer gifts or rewards, but opportunities. Nobody is entitled to anything. Only behavior and labor defines us and what we have. Whenever you make a choice, you follow one path and move apart from another. If your job occupies more importance in your mind, time and actions, than your dream, then you will not accomplish your dream but maybe receive a raise in your salary instead and be happy with that loss. If you look at relationships as a toy store, if you look at your companion as easily replaceable, then you will very likely lose the one you have. If you rather enjoy life with your friends than with your companion, you will end up alone. If you insult the wise, you then end up surrounded by fools. If you neglect your wealth, you will likely end up poor. If you destroy love, you will end up feeling unloved. If you destroy the good that comes to you, you will end up experiencing evil. Life will always reflect your actions, words and thoughts. You are what you spend most of your time doing, saying and thinking. Your life is always a reflection of your priorities. If you spend your time partying, insulting and occupying your mind with nonsense from social media, music with degrading lyrics, and movies that promote antisocial values, you get zero from life.

Steven’s words slush together as he gets to his feet. “Crossing this one off the bucket list.” Then he unbuckles his belt and grabs the waist of his pants—yanking the suckers down to his ankles—tighty whities and all. Every guy in the car holds up his hands to try to block the spectacle. We groan and complain. “My eyes! They burn!” “Put the boa constrictor back in his cage, man.” “This is not the ass I planned on seeing tonight.” Our protests fall on deaf ears. Steven is a man on a mission. Wordlessly, he squats and shoves his lilywhite ass out the window—mooning the gaggle of grannies in the car next to us. I bet you thought this kind of stuff only happened in movies. He grins while his ass blows in the wind for a good ninety seconds, ensuring optimal viewage. Then he pulls his slacks up, turns around, and leans out the window, laughing. “Enjoying the full moon, ladies?” Wow. Steven usually isn’t the type to visually assault the elderly. Without warning, his crazy cackling is cut off. He’s silent for a beat, then I hear him choke out a single strangled word. “Grandma?” Then he’s diving back into the limo, his face grayish, dazed, and totally sober. He stares at the floor. “No way that just happened.” Matthew and I look at each other hopefully, then we scramble to the window. Sure enough, in the driver’s seat of that big old Town Car is none other than Loretta P. Reinhart. Mom to George; Grandma to Steven. What are the fucking odds, huh? .... Matthew and I wave and smile and in fourth-grader-like, singsong harmony call out, “Hi, Mrs. Reinhart.” She shakes one wrinkled fist in our direction. Then her poofy-haired companion in the backseat flips us the bird. I’m pretty sure it’s the funniest goddamn thing I’ve ever seen. The two of us collapse back into our seats, laughing hysterically.

We came to the city because we wished to live haphazardly, to reach for only the least realistic of our desires, and to see if we could not learn what our failures had to teach, and not, when we came to live, discover that we had never died. We wanted to dig deep and suck out all the marrow of life, to be overworked and reduced to our last wit. And if our bosses proved mean, why then we’d evoke their whole and genuine meanness afterward over vodka cranberries and small batch bourbons. And if our drinking companions proved to be sublime then we would stagger home at dawn over the Old City cobblestones, into hot showers and clean shirts, and press onward until dusk fell again. For the rest of the world, it seemed to us, had somewhat hastily concluded that it was the chief end of man to thank God it was Friday and pray that Netflix would never forsake them. Still we lived frantically, like hummingbirds; though our HR departments told us that our commitments were valuable and our feedback was appreciated, our raises would be held back another year. Like gnats we pestered Management— who didn’t know how to use the Internet, whose only use for us was to set up Facebook accounts so they could spy on their children, or to sync their iPhones to their Outlooks, or to explain what tweets were and more importantly, why— which even we didn’t know. Retire! we wanted to shout. We ha Get out of the way with your big thumbs and your senior moments and your nostalgia for 1976! We hated them; we wanted them to love us. We wanted to be them; we wanted to never, ever become them. Complexity, complexity, complexity! We said let our affairs be endless and convoluted; let our bank accounts be overdrawn and our benefits be reduced. Take our Social Security contributions and let it go bankrupt. We’d been bankrupt since we’d left home: we’d secure our own society. Retirement was an afterlife we didn’t believe in and that we expected yesterday. Instead of three meals a day, we’d drink coffee for breakfast and scavenge from empty conference rooms for lunch. We had plans for dinner. We’d go out and buy gummy pad thai and throat-scorching chicken vindaloo and bento boxes in chintzy, dark restaurants that were always about to go out of business. Those who were a little flush would cover those who were a little short, and we would promise them coffees in repayment. We still owed someone for a movie ticket last summer; they hadn’t forgotten. Complexity, complexity. In holiday seasons we gave each other spider plants in badly decoupaged pots and scarves we’d just learned how to knit and cuff links purchased with employee discounts. We followed the instructions on food and wine Web sites, but our soufflés sank and our baked bries burned and our basil ice creams froze solid. We called our mothers to get recipes for old favorites, but they never came out the same. We missed our families; we were sad to be rid of them. Why shouldn’t we live with such hurry and waste of life? We were determined to be starved before we were hungry. We were determined to be starved before we were hungry. We were determined to decrypt our neighbors’ Wi-Fi passwords and to never turn on the air-conditioning. We vowed to fall in love: headboard-clutching, desperate-texting, hearts-in-esophagi love. On the subways and at the park and on our fire escapes and in the break rooms, we turned pages, resolved to get to the ends of whatever we were reading. A couple of minutes were the day’s most valuable commodity. If only we could make more time, more money, more patience; have better sex, better coffee, boots that didn’t leak, umbrellas that didn’t involute at the slightest gust of wind. We were determined to make stupid bets. We were determined to be promoted or else to set the building on fire on our way out. We were determined to be out of our minds.

Kim Dokja x Hansooyoung PART 1 [I shall kill you, Yoo Joonghyuk.] ~ Kim Dokja pg 4110 46. ⸢(Looks like you still don't know how it works. The heroine loses her consciousness, her hand falling away. And the male hero awakens! You see, in all the movies I've seen so far…) pg 4112 47. These idiots, I even died so that you two could talk to each other, but this…' She figured that she really needed to give these two men a harsh earful when she arrived there. But, when she pushed past the bushes and stepped forward, the ensuing spectacle freaked her out in a rather grand manner. Kwa-aaang!! Bang!!! Yoo Joonghyuk was mercilessly slamming his sword down on Kim Dokja, currently sprawled out on the ground. "Hey!! You crazy son of a bitch!!" pg 4125 48. There were plenty of things she wanted to ask, but she chose not to. Instead, she poked Kim Dokja's cheek and spoke up. "Still, this guy looks like he got completely fooled, doesn't he." "Looks that way." "How did it go?" "He went crazy and attacked me." Han Sooyoung smirked and lightly pinched Kim Dokja's cheek as if she was proud of him. pg 4127 49. the events of her dying at Yoo Joonghyuk's sword, me fighting against him, and then, passing out from his attack, and finally, sharing a conversation with Yoo Sangah inside the Library… Han Sooyoung approached the bed before I noticed it and pinched my cheek. "In any case, Kim Dokja. You can be really adorable sometimes." pg 4144 50. The moment Han Sooyoung's fist bumped into mine, she was completely enveloped in bright light. As I watched her figure disappear, I became aware once more that she had become my companion for real. pg 4165 51. ⸢And…⸥ My heart began powerfully pounding away. ⸢The woman that I used to love.⸥ pg 4189 52. Her emotionless eyes; the beauty spot just below one of them; and her lips that always mocked me for fun, now arching up in a smooth line. "Proceed with the execution pg 4191 53. "But, should you be doing something like that? She's originally your bride, isn't she?" "Correction. She was supposed to be one. The throne was usurped on the first day of the wedding, however." Oh, I see. So, it's that sort of development? I felt just a bit relieved now. Han Sooyoung and Yoo Joonghyuk as a couple? hadn't allowed any dating at the workplace yet, so hell no. pg 4202 54. ⸢By the time you're reading this book, I…⸥ I steeled my heart and read the next line of the text. ⸢…I'd still be living a pretty good life, I guess. Hahah, were you scared?⸥ This idiot… pg 4212 55. The following words were eerily similar to a certain body of text that I was familiar with. ⸢The you reading this story will definitely make it out of here alive.⸥ Han Sooyoung's afterwords came to an end there. For the longest time, I couldn't tear my eyes away from the full-stop at the end of the sentencepg4216 56. "Looks like the company's internal rules need to be changed somewhat…" pg 4234 57. She spoke in a fed-up tone of voice. And then, issued an order to me. "Marry me, Ricardo Von Kaizenix." pg 4244 58. "I didn't want to extend her 50 years by even one minute if I could help it." I was being serious here. The moment I arrived in this world and realized that Han Sooyoung had to spend 50 years here, I just couldn't escape from this one overwhelming emotion. Someone was sacrificed again because of me. Han Sooyoung who had to endure the time frame of 50 years – could she still maintain a normal, functioning mind? Was she able to maintain the ego of the Han Sooyoung that I know of?pg4254 59. Her palm smacked me in the back of the head again. God damn it, this punk… "The third method, 'Romance'." "And its contents are?" "Marry Yuri di Aristel." "And just what did you choose?" "The third method?" "And are we currently married?" "Nope." "And why the hell not?!" pg 4256

…when we go to dinner parties and everyone cleans together afterward with our having to be asked; when I see Caleb help strangers carry their groceries, I fall in love with this life all over agin. It’s only when I try to live it myself that I have trouble.

Steven’s words slush together as he gets to his feet. “Crossing this one off the bucket list.” Then he unbuckles his belt and grabs the waist of his pants—yanking the suckers down to his ankles—tighty whities and all. Every guy in the car holds up his hands to try to block the spectacle. We groan and complain. “My eyes! They burn!” “Put the boa constrictor back in his cage, man.” “This is not the ass I planned on seeing tonight.” Our protests fall on deaf ears. Steven is a man on a mission. Wordlessly, he squats and shoves his lilywhite ass out the window—mooning the gaggle of grannies in the car next to us. I bet you thought this kind of stuff only happened in movies. He grins while his ass blows in the wind for a good ninety seconds, ensuring optimal viewage. Then he pulls his slacks up, turns around, and leans out the window, laughing. “Enjoying the full moon, ladies?” Wow. Steven usually isn’t the type to visually assault the elderly. Without warning, his crazy cackling is cut off. He’s silent for a beat, then I hear him choke out a single strangled word. “Grandma?” .... Matthew and I wave and smile and in fourth-grader-like, singsong harmony call out, “Hi, Mrs. Reinhart.” She shakes one wrinkled fist in our direction. Then her poofy-haired companion in the backseat flips us the bird. I’m pretty sure it’s the funniest goddamn thing I’ve ever seen. The two of us collapse back into our seats, laughing hysterically.

Like an actor preparing for a movie role, I was groomed for my role as a Male Courtesan, or Cicisbeo, to be of service to the Arabian elite and aristocratic Households. Cicisbei or Courtesans were, historically, highly learned and educated companions of the Royal Courts. More often than not, Cicisbei achieved a high quality of life, gaining worldly influences and respect. This is something an average person seldom would have had the privilege to experience. Besides their regular education, Cicisbei were taught the Art of Human Intimacies, Seduction, Flirtation, Health, Fitness, Grooming, Dress, Beauty, Sensuality and, of course, Sexuality.

Leela's happiest childhood memories were of aloneness: reading in her room with the door closed, playing chess on the computer, embarking on long bike rides through the city, going to the movies by herself. You saw more that way, she explained to her parents. You didn't miss crucial bits of dialogue because your companion was busy making inane remarks. Her parents, themselves solitary individuals, didn't object. People– except for a selected handful– were noisy and messy. They knew that.

ჩვენ წმინდანები გვჭირდება ანაფორებისა და თავსაფრების გარეშე - ჩვენ გვჭირდება წმინდანები ჯინსებსა და კედებში. ჩვენ გვჭირდება წმინდანები, რომლებიც დადიან კინოში და უსმენენ მუსიკას, რომლებიც დასდევენ საკუთარ მეგობრებს (…) ჩვენ გვჭირდება წმინდანები, რომლებიც სვამენ კოკა-კოლას, ჭამენ ჰოთ-დოგებს, მოგზაურობენ ინტერნეტში და უსმენენ მუსიკას აიპოდებში. ჩვენ გვჭირდება წმინდანები რომელთაც უყვართ ევქარისტია, რომლებსაც არც ეშინიათ და არც რცხვენიათ ჭამონ პიცა, ანაც დალიონ ლუდი მათ მეგობრებთან ერთად. ჩვენ გვჭირდება წმინდანები ვისაც უყვართ ფილმები, ცეკვა, სპორტი, თეატრი. ჩვენ გვჭირდება წმინდანები, ვინც არიან გახსნილები, სოციალურები, ნორმალურები, მხიარული კომპანიონები. ჩვენ გვჭიდება წმინდანები ვინც არიან ამ სამყაროში და იციან, როგორ ისიამოვნონ ყველაზე უკეთ უგულობისა და მიწიურობის გარეშე. ჩვენ წმინდანები გვჭირდება”. რომის პაპი ფრანჩისკე, ახალგაზრდების მსოფლიო დღე 2013 "We need saints without cassocks, without veils - we need saints with jeans and tennis shoes. We need saints that go to the movies that listen to music, that hang out with their friends (...) We need saints that drink Coca-Cola, that eat hot dogs, that surf the internet and that listen to their iPods. We need saints that love the Eucharist, that are not afraid or embarrassed to eat a pizza or drink a beer with their friends. We need saints who love the movies, dance, sports, theatre. We need saints that are open, sociable, normal, happy companions. We need saints who are in this world and who know how to enjoy the best in this world without being callous or mundane. We need saints”. Pope Francis, 2013

There have also been a number of movie cycles, of which the most populous featured Alien imitators, cyborgs or post-holocaust road warriors. Such trends are to be expected in a global cinema dominated by the particular production, distribution and exhibition practices of the New Hollywood, with its drive to produce event movies to be resold in various forms in multiple markets. Pre-sold titles, exploitable contents and images, and hybrid narratives with an ability to appeal to multiple audience segments have become the goal.

Japanese anime such as Akira (Otomo, 1988), Oneamisu No Tsubasa (Wings of Honneamise, Yamaga, 1987/1994) and Kokaku kidotai (Ghost in the Shell, Oshii, 1995), and strange live-action movies such as Ganheddo (Gunhed, Harada, 1989), Tetsuo (The Iron Man, Tsukamoto, 1989) and Tetsuo II: Body Hammer (Tsukamoto, 1991) found international success.

Marina leaned her head against him and sniffled. It was common in this day and age, when waiting someplace, to look around at your involuntary companions and imagine you were trapped with them someplace more dire: a hostage situation or a building on fire, something requiring teamwork and survival. Could you build the camaraderie promised in movies about such times, or would you fall apart? Phil Needle looked around and realized, quietly but sharply, that he and his wife would not survive this. Gwen's disappearance would slaughter them. YOU WANT IT WHEN? was the caption on the poster. It was talking about office work, and the sad fact, true at the time, that people want things right away and that other people don't care about that. The poster reminded people that it didn't matter what you wanted. Where was she? Where did somebody put her? Where were those ragged thumbs of hers, and her odd, tiny earlobes? Was he about to become one of those guys, clutching a photograph of Gwen, on the news every year in support of an extreme new crime law? Were they becoming one of those families used as a murmured example of the wickedness of the world, as a worst-case scenario to comfort those whose daughter was merely pregnant or paralyzed? Would there be a funeral, everyone sweating in black clothes in the summer and squinting in sunglasses? Oh God, would there be a hasty peer-group shrine, wherever she was found, with cheap flowers and crappy poetry melting in the rain? Would her college fund sit forgotten for a while in the bank, like a tumor thought benign, and then be emptied impulsively on some toy to cheer himself up? He had seen in a magazine a handsome automobile some months ago, shiny as clean water.

can be “sitting at Jesus feet” when I’m kneeling in prayer or negotiating a contract or fixing my kids lunch or watching a movie. All it requires is my asking him to be my teacher and companion in this moment.

Besides the local residents, Meraud frequently entertained visitors from other parts of the world. There was an extremely eccentric Spanish marquise, a royalist who had fled Franco and was plotting the return of the monarchy to Spain. She was an aggressive lesbian who seemed to expect Meraud to provide her with a female companion. Meraud balked at this, complaining that she had no intention of procuring for any of her guests. One day the marquise showed me the jacket of a book she had written about the Spanish War under a male pseudonym, featuring a photo of the marquise cross-dressed as a man, with a fake mustache to enhance the illusion.

His female companion Andrea Anders (Maud Adams) towels his legs and looks on mournfully. This is the first of three appearances that Adams makes in Bond movies, confusingly playing a different character each time – the others being the titular character in Octopussy and a cameo in A View to a Kill.

I thought of fleeting satisfaction, of happiness, of romance, of perfect silver screen moments shared with a companion, and of perfect blue movie moments too. Yet I had never stopped to wonder whether that one companion might satisfy me completely, having assumed always that there would be another to follow who would touch a different chord in me, who would bring me a different pleasure, and that with all of them taken together I would create for myself a mosaic of experiences that gave me everything that I wanted to experience in the course of my life; everything that I wanted to feel, to enjoy.

After the first time I’d taken Rory down to South Beach for the failed polar plunge, that spot had quickly become a special place we shared. We never talked about it, never brought other friends down with us. It was only for us. All through high school we hiked down the beach trail once or twice a month, even in winter. Sometimes we’d sit in companionable silence, nestled back against that same huge driftwood log, our log. Often we’d bring homework, but we seldom actually cracked a textbook. More often than not we’d end up talking for hours, arguing good-naturedly about books and movies, laughing and goofing around, talking about our hopes for the future. We’d share whatever snacks we had on hand and just enjoy the time together.

Why is it that in all the movies a princess’s only friends are animals that sneak in through the windows or live in the walls? I mean, if they’re your only companions at least allow them the courtesy of using the front door.

A block from his hotel, Gary cleared his throat. “I thought you said going back to my room might be dangerous.” “Life is dangerous, Gary,” Gregori said softly. “You are Rambo, remember?” Savannah’s laughter rang out, rivaling the jazz quartet playing on the corner. Heads turned to listen to her, then to watch her, stealing away the attention of the audience gathered in a loose semi-circle around the quartet. She moved in the human world, completely comfortable in it, a part of it. Gregori had walked unseen, and that was how he preferred it. She was dragging him into her world. He could hardly believe he was walking down a crowded street with a mortal with half the block staring openly at them. “I didn’t know you knew who Rambo was,” Savannah said, trying not to giggle. She couldn’t imagine Gregori in a theater watching a Rambo movie. “You saw a Rambo flick?” Gary was incredulous. Gregori made a sound somewhere between contempt and derision. “I read Gary’s memories on the subject. Interesting. Silly, but interesting.” He glanced at Gary. “This is your hero?” Gary’s grin was as mischievous as Savannah’s. “Until I met you, Gregori.” Gregori growled, a low rumble of menace. His two companions just laughed disrespectfully, not in the least intimidated. “I’ll bet he’s a secret Rambo fan,” Savannah whispered confidentially. Gary nodded. “He probably sneaks into movie theaters for every old showing.

Long-term observers of video games will remember that they went through something of an identity crisis in the mid-'00s, during which they were continually trying to ape films, as if the creative apex of the video game form was to be exactly like a movie... It took a good while for games to emerge from this phase and realise that they didn't actually have to be like film; that they have their own ways of telling stories, their own ways of getting into your head. Dark Souls didn't start that counter-movement, but it was a hugely persuasive example of it.

Long-term observers of video games will remember that they went through something of an identity crisis in the mid-'00s, during which they were continually trying to ape films, as if the creative apex of the video game form was to be exactly like a movie... It took a good while for games to emerge from this phase and realise that they didn't actually have to be like film; that they have their own ways of telling stories, their own ways of getting into your head... An especially interesting aspect of Dark Souls' story is that it could only be told through a video game, making it almost unique. It tells us very little through the mediums of text or film, and vast amounts through context, exploration and environmental storytelling that simply would not be possible in any other format. Nowadays it's widely regarded as a masterclass in interactive narrative design, despite the fact that any given player could bypass the story entirely if they weren't inclined to investigate.

Long-term observers of video games will remember that they went through something of an identity crisis in the mid-'00s, during which they were continually trying to ape films, as if the creative apex of the video game form was to be exactly like a movie... It took a good while for games to emerge from this phase and realise that they didn't actually have to be like film; that they have their own ways of telling stories, their own ways of getting into your head... ...An especially interesting aspect of Dark Souls' story is that it could only be told through a video game, making it almost unique. It tells us very little through the mediums of text or film, and vast amounts through context, exploration and environmental storytelling that simply would not be possible in any other format. Nowadays it's widely regarded as a masterclass in interactive narrative design, despite the fact that any given player could bypass the story entirely if they weren't inclined to investigate.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

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