Copyrighted Movie Quotes

Every time I go past a cinema and see a queue out the door, I think, look at those fools, every penny they spend is turned into profits that are used to pass laws imprisoning their own children. Can't they see?

Some people are finicky about going to the theater alone, but I’m not. Because when the lights go down, the only relationship left in the room is the one between the movie and me. Excerpt From: Perkins, Stephanie. “Anna and the French Kiss.” Dutton Juvenile, 2010-12-02T06:00:00+00:00. iBooks. This material may be protected by copyright.

While there are certainly informational spillovers as ideas move from person to person, it is hard to see why in most instances they are not priced. Although it is possible to imagine examples such as the wheelbarrow where an idea cannot be used without revealing the secret, relatively few ideas are of this type. For copyrightable creations such as books, music, plays, movies and art, unpriced spillovers obviously play little role. A book, a CD or a work of art must be purchased before it can be used, and the creator is free to make use of his creation in the privacy of his home without revealing the secret to the public at large. Similarly with movies or plays. In all cases, the creation must effectively be purchased before the “secret” is revealed.

the club had provided for music was a lone pianist who had no idea what kind of piece might accompany such an exotic dance. Bloom thought a moment, hummed a tune, then plinked it out on the keyboard one note at a time: Over the next century this tune and its variations would be deployed in a succession of mostly cheesy movies, typically as an accompaniment to the sinuous emergence of a cobra from a basket. It would also drive the schoolyard lyric, “And they wear no pants in the southern part of France.” Bloom regretted his failure to copyright the tune. The royalties would have run into the millions.

However this future evolves, we will have to answer a pressing question: How will writers (or anyone else who creates content that can be digitized, from movies to music to apps to journalism) make a living in an era in which digital content can be freely replicated? That is now my greatest worry as I contemplate the so-called writing life that I hope to continue—and that I hope my daughter and all future generations will continue. For three hundred years, ever since the Statute of Anne was established in Britain, there has been a system under which people who created things, such as books or articles or music or pictures, had a right to benefit from copies that were made of them. Because of this “copyright” system, we have encouraged and rewarded three centuries of creativity in various fields of endeavor, and this has produced a flourishing economy based on the creation by talented individuals of intellectual property. Among other things, this allowed all sorts of people, ranging from Walker Percy on down to me, to make a living at the so-called writing life. May the next generation enjoy that delightful opportunity as well.

The US traded its manufacturing sector’s health for its entertainment industry, hoping that Police Academy sequels could take the place of the rustbelt. The US bet wrong. But like a losing gambler who keeps on doubling down, the US doesn’t know when to quit. It keeps meeting with its entertainment giants, asking how US foreign and domestic policy can preserve its business-model. Criminalize 70 million American file-sharers? Check. Turn the world’s copyright laws upside down? Check. Cream the IT industry by criminalizing attempted infringement? Check. It’ll never work. It can never work. There will always be an entertainment industry, but not one based on excluding access to published digital works. Once it’s in the world, it’ll be copied. This is why I give away digital copies of my books and make money on the printed editions: I’m not going to stop people from copying the electronic editions, so I might as well treat them as an enticement to buy the printed objects. But there is an information economy. You don’t even need a computer to participate. My barber, an avowed technophobe who rebuilds antique motorcycles and doesn’t own a PC, benefited from the information economy when I found him by googling for barbershops in my neighborhood. Teachers benefit from the information economy when they share lesson plans with their colleagues around the world by email. Doctors benefit from the information economy when they move their patient files to efficient digital formats. Insurance companies benefit from the information economy through better access to fresh data used in the preparation of actuarial tables. Marinas benefit from the information economy when office-slaves look up the weekend’s weather online and decide to skip out on Friday for a weekend’s sailing. Families of migrant workers benefit from the information economy when their sons and daughters wire cash home from a convenience store Western Union terminal. This stuff generates wealth for those who practice it. It enriches the country and improves our lives. And it can peacefully co-exist with movies, music and microcode, but not if Hollywood gets to call the shots. Where IT managers are expected to police their networks and systems for unauthorized copying – no matter what that does to productivity – they cannot co-exist. Where our operating systems are rendered inoperable by “copy protection,” they cannot co-exist. Where our educational institutions are turned into conscript enforcers for the record industry, they cannot co-exist. The information economy is all around us. The countries that embrace it will emerge as global economic superpowers. The countries that stubbornly hold to the simplistic idea that the information economy is about selling information will end up at the bottom of the pile. What country do you want to live in?

Why Are Terrorists into Piracy? Well, they are movie buffs too!

I am Not a Pirate, I merely watch movies and delete them. Never store them on my computer.

Turnbull flipped the channels on the Vizio monitor. Star Trek: Victory was the latest US version of the old TV series, the copyright issues having been rendered largely moot by the Split and the subsequent cold war between the United States and the People’s Republic. The new Star Trek shows in the new United States, produced in the heart of the red movie business, Atlanta, reflected the attitudes of their country. Conversely, the characters in the version produced inside the blue in Hollywood spent a lot of time confronting intergalactic human privilege and the systemic racism of the Federation.

Production of the new format was delayed by disagreements between the Hollywood studios, with Warners in particular balking at the lack of adequate protection against copyright theft. With release dates of their films being staggered across the world, it was possible for a movie to be available on video in the US before it had received its theatrical outing in some countries. If pirates made a digital copy – an exact copy – of a title, they could distribute it quicker and wider than ever, owing to the emergence of the World Wide Web. After much discussion, the global market was divided into six regions and discs were digitally locked. A chip inside each player decoded only those discs appropriate to the region in which they were sold.

Robin Hood is a high-tech and well-made violent action picture using the name of Robin Hood for no better reason than that it’s an established brand not protected by copyright

Then I realized that the history of the world is largely a history of sustainable systems. Every so often a system comes along that completely changes the world. People never notice these systems until they're right there in their faces and all the alarm bells are going off. Agriculture. Christianity. Guns. The Industrial Age economy. P2P networks. Take any major event in history and I'll show you a system behind it. “Consider Bitcoin. Monetary revolution. A chance to break out of a rigged system. P2P and the pirate sites? Copyright, theft, yes, but they also moved American culture around the world without bottleneck of price or service availability. American movies, American TV shows now projected American dreams and nightmares onto the rest of the world. Every great system had a far more powerful effect hidden beneath this obvious layer of icing. “Just like agriculture for humans, all of these systems have repercussions far beyond the first few decades of their existence. The trick is that these systems have to be sustainable. There has to be enough incentive, on a human level, to keep them running. If there is - well, there you go: that's your history-maker right there.

if you start to talk about you do I buy you a mirror for your birthday? Robert Sherriff-Australian - Actor-Model-Poet- Author-Singer- Historian - Photographer Robert Sherriff Author of NOBODY'S HOME Robert Sherriff Author of Dirkbell – CHILDREN'S BOOK Part of Wolf Creek TV series 2015 Part of Movie 'Maurice’s Symphony’ 2015 Motivation Speaker Movie - Snuff 2016 Movie - CULT 2016 Australian Copyright Act 1968 0466246021