Creator Movie Quotes

If you want the motivation back, you must feed it Feed it everything. Books, television, movies, paintings, stage plays, real-life experience. Sometimes feeding simply means working, working through nonmotivation, working even when you hate it. We create art for many reasons - wealth, fame, love, admiration - but I find the one thing that produces the best results is desire. When you want the thing you're creating, the beauty of it will shine through, even if the details aren't all in order. Desire is the fuel of creators, and when we have that, motivation will come in its wake.

Life isn’t happening to you; life is responding to you. Life is your call! Every area of your life is your call. You are the creator of your life. You are the writer of your life story. You are the director of your life movie. You decide what your life will be – by what you give out.

Cowards say it can't be done, critics say it shouldn't have been done, creator say well done.

When people see things that are strange & creative & they're like "the creator must have been on drugs!" it's like "no. you are just boring

Walk around after a good rain has given nice bath to everything. You may feel like you're walking inside a movie. You may even get a glimpse of the creator.

This safety from harm might cause the imaginative experience of reading a book to be judged inferior to real experience. But that is not the case. Making contact with memes, in the forms of books or movies or other media, provides knowledge and wisdom necessary for going out into the real world; they are legitimate experiences all the same.

A creator used to create' You got me young... You told what to want; you showed me in your movies and your shows. And I faithfully did your work. I created... I willingly clipped my wings and built myself a golden cage and you smiled and said, "well done." I let your fear tactics rule my actions until I could no longer hear my heart song. I took your medication and I ate your poison until my body was too sick to fight back. Ah, but I'm onto your game. I see it now and my only regret is that I didn't see it sooner. I made a life for myself only to realize it's never really what I wanted. My soul didn't want this hectic, materialistic life- your greed and your thirst for power wanted this. I don't belong here, but you've always known that, haven't you? You figured if you kept me caged long enough, kept me sick enough, kept me scared enough that I would eventually forget what I am. You slipped up with this one. So, hear me now. You had your fun with me, but I've had about enough of your bullshit for one lifetime. Watch me fly.

The next phase of the Digital Revolution will bring even more new methods of marrying technology with the creative industries, such as media, fashion, music, entertainment, education, literature, and the arts. Much of the first round of innovation involved pouring old wine—books, newspapers, opinion pieces, journals, songs, television shows, movies—into new digital bottles. But new platforms, services, and social networks are increasingly enabling fresh opportunities for individual imagination and collaborative creativity. Role-playing games and interactive plays are merging with collaborative forms of storytelling and augmented realities. This interplay between technology and the arts will eventually result in completely new forms of expression and formats of media. This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.

He lied,” she said. “There is no way for us to seize bitcoins. Well, there is no current way for the federal government to seize bitcoins at will; in order to do that we’d need one of the creators of the currency.” She paused and watched me very closely for a reaction. This was all still gibberish to me. This was something out of a science fiction novel, or a Stephen King movie with Tom Cruise where Tom Cruise has to run someplace from some people—because that’s what Tom Cruise does, he runs while looking concerned and futuristic. Therefore, I decided to look surprised and thoughtful. “Yes.” She nodded; she believed I was following her train of thought. I wasn’t following her train because mine had derailed on thoughts of a running Tom Cruise…weird little man.

Her gaze went with her, into a room with walls of frozen earth, and a floor the same, the latter split from corner to corner, and a fissure opened in it from which a flame column rose four or five times the size of a man. There was bitter cold off it rather than heat, and no reassuring flicker in its heart. Instead its innards churned upon themselves, turning over and over some freight of stuff which she failed to recognize at first, but her appalled stare rapidly interpreted. There was a body in the fire, hacked limb from limb, human enough that she recognized it as flesh, but no more than that. Baphomet's doing presumably, some torment visited on a transgressor. Boone said the Baptizer's name even now, and she readied herself for sight of its face. She had it too, but from inside the flame, as the creature there--not dead, but alive, not Midian's subject, but its creator--rolled its head over in the turmoil of flame and looked her way. This was Baphomet. This diced and divided thing. Seeing its face, she screamed. No story or movie screen, no desolation, no bliss, had prepared her for the maker of Midian. Sacred it must be, as anything so extreme must be sacred. A thing beyond things. Beyond love or hatred or their sum, beyond the beautiful or the monstrous or their sum. Beyond, finally, her mind's power to comprehend or catalog.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

Stories allow you to experience places you could never go - the past, the future, or distant worlds. You can become a different ethnicity or gender. Even when you're reading all by yourself, you're sharing those stories as they unfold before you with countless people whom you've never met. We are alone, but we are connected.

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.

If you need some inspiration to push back against those sponsors, consider the case of George Lucas. When he was filming the original Star Wars, he wanted a bold launch for his movie. The Directors Guild of America protested. Most films at the time started by naming the writer and director in the opening title sequence—in this case, thanking the film’s creators rather than its sponsors. It was how things were done. Despite the protests of the Directors Guild, Lucas decided to forgo opening credits entirely. The result was one of the most memorable beginnings in movie history. And he paid for it—the Directors Guild fined him $250,000 for his daring. His loyalty was to his audience’s experience, and he was willing to sacrifice for it. You should be, too.

We live in the era of the search engine. Gone is the era of finding things on your own. If you want to find something, you can use your computer or phone to easily google it. You can find popular restaurants, movies, novels, and fashion anywhere in the world with no challenge. Ours is now a life of passive acquisition. But the joy of finding is gone, as is the catharsis of going to great trouble in searching for something and finding it.

Some very eminent critics writing in the decades immediately after the novel's publication felt that Eliot failed to maintain sufficient critical distance in her depiction of Ladislaw--that she fell in love with her own creation in a way that shows a lack of artistic control and is even unseemly, like a hoary movie director whose lens lingers too long on the young flesh of a favored actress. Lord David Cecil calls Ladislaw 'a schoolgirl's dream, and a vulgar one at that,' while Leslie Stephen complained 'Ladislaw is almost obtrusively a favorite with his creator,' and depreciated him as 'an amiable Bohemian.

It is so easy to slip into “right thinking” mode—that we have arrived at full faith. We know what church God goes to, what Bible translation God prefers, how God votes, what movies God watches, and what books God reads. We know the kinds of people God approves of. God has winners and loser, and we are the winners, the true insiders. God likes all the things we like. We speak for God and think nothing of it. All Christians I’ve ever met who take their faith seriously sooner or later get caught up in thinking that God really is what we think God is, that there is little more worth learning about the Creator of the cosmos. God becomes the face in the mirror. By his mercy, God doesn’t leave us there.

Science fiction creators taught me not to take the machine personally: the wear and tear, day in and day out, of microaggressions and weird looks and empty bank accounts, and off conversations and news reports and movies and some drunk guy trying to holla at me and another cop found not guilty for shooting a Black boy who wasn't even old enough to vote and our water tasting like rusty metal. While we do need to constantly unplug from the violence of the invisible machines, we aren't going to survive simply by boycotting products made in Isreali settlements or having multiracial babies. We aren't going survive by "voting with our dollars," and we aren't going to make a revolution through the purity of our lifestyles.

Sitting at the edge of his bed those days, weaving and watching television movies – movies themselves, mostly made from the seasickness of misguided creative endeavor. Normalization of commercial compromise had left his medium as one of dominantly irrelevant fantasies adding nothing to the world, and instead providing a perfect storm of merchanteering thespians and image builders now less identifiable as creators of valued products than of products built for significant sales. Their masses of fans as happy as hustled, bustled, and rustled sheep. A country without culture? Nothing more than a shopping mall with a flag? Still, business is branding buoyantly, leaving Bob to yet another bout of that old society-is-sinking sensation.

The “pale blue dot” image and Carl’s prose meditation on it have been beloved the world over ever since. It exemplifies just the kind of breakthrough that I think of as a fulfillment of Einstein’s hope for science. We have gotten clever enough to dispatch a spacecraft four billion miles away and command it to send us back an image of Earth. Seeing our world as a single pixel in the immense darkness is in itself a statement about our true circumstances in the cosmos, and one that every single human can grasp instantly. No advanced degree required. In that photo, the inner meaning of four centuries of astronomical research is suddenly available to all of us at a glance. It is scientific data and art equally, because it has the power to reach into our souls and alter our consciousness. It is like a great book or movie, or any major work of art. It can pierce our denial and allow us to feel something of reality—even a reality that some of us have long resisted. A world that tiny cannot possibly be the center of a cosmos of all that is, let alone the sole focus of its creator. The pale blue dot is a silent rebuke to the fundamentalist, the nationalist, the militarist, the polluter—to anyone who does not put above all other things the protection of our little planet and the life that it sustains in the vast cold darkness. There is no running away from the inner meaning of this scientific achievement.

In a stunning 1971 paper, Twenty Things to Do with a Computer, Seymour Papert and Logo co-creator Cynthia Solomon proposed educative computer-based projects for kids. They included composing music, controlling puppets, programming, movie making, mathematical modeling, and a host of other projects that schools should aspire to more than 40 years later. Papert and Solomon also made the case for 1:1 computing and stressed the three game changers discussed later in this book. The school computer should have a large number of output ports to allow the computer to switch lights on and off, start tape recorders, actuate slide projectors and start and stop all manner of little machines. There should also be input ports to allow signals to be sent to the computer. In our image of a school computation laboratory, an important role is played by numerous “controller ports” which allow any student to plug any device into the computer… The laboratory will have a supply of motors, solenoids, relays, sense devices of various kids, etc. Using them, the students will be able to invent and build an endless variety of cybernetic systems.

Remember now your Creator in the days of your youth, before the difficult days come, and the years draw near when you say, “I have no pleasure in them.” —Ecclesiastes 12:1 (NKJV) I was making rounds at the veterans hospital where I work, when an elderly gentleman in a wheelchair pointed his cane to a sign on a bulletin board. “Look, hon,” he said to his wife, “they’re having an old-fashioned Easter egg hunt on Saturday. It says here that the kids can compete in a bunny-hop sack race for prizes.” He barely came up for air. “Remember when we used to have those Easter egg hunts on our farm? The kids would color eggs at our kitchen table and get dye all over everything.” Just then, his wife noticed the smell of popcorn in the air. Volunteers sell it for a bargain price—fifty cents a sack. The veteran didn’t miss a beat. “Remember when we used to have movie night and you would pop corn? We’ve got to start doing that again, hon. I love popcorn. Movies too.” As I took in this amazingly joyful man, I thought of things I used to be able to do before neurofibromatosis took over my body. It was nothing to run a couple of miles; I walked everywhere. Instead of rejoicing in the past, I too often complain about my restrictions. Rather than marvel how I always used to walk downtown, shopping, I complain about having to use a handicap placard on my car so I can park close to the mall, which I complain about as well. But today, with all my heart, I want to be like that veteran and remember my yesterdays with joy. Help me, dear Lord, to recall the past with pleasure. —Roberta Messner Digging Deeper: Eph 4:29; Phil 2:14

In a time of feminism taken into account, there's a sense that if one's choices--even in something as minor as a favorite chill-out show--can't be rationalized, they should probably be kept quiet. As with most-feminist movies and most-feminist underpants, this suggests that feminism is a unvarying foundation of a larger system. It suggests feminism is something that either is or is not okay to consume, rather than a sense through which creators and audiences see stories, characters, and communication.

On the other side of the lot, beyond the corroding replica of “David” that fronted the piazza named after his creator, lay the city of Florence, a spooned circle of terra cotta and stone and pastel, split horizontally by the nearby River Arno and surrounded by verdant hills like a lush hood framing the face of a movie star. Jacoby felt wonder rise through his sternum and out his nose. It seemed like a model, a tiny replica of plastic pieces, of a make believe place, not a real place in real size made by the hands of men many centuries ago. A city of domes and towers and palaces, of ceramic tiles and stone, of four bridges that spanned the Arno, including the famous Ponte Vecchio, lined with shops of pastel facades. From high above, Jacoby wandered through the tourists who snapped pictures and pointed. He stood atop the paved slope that led down the hill toward the magnificent city, but he held still, fighting the current of enticement, the beckoning, savoring the feeling of anticipation like a child has atop a long water slide above an enormous pool.

REMEMBER THE FIRST TIME I saw the 1996 movie Independence Day in the theaters. I was blown away by the creative imagination of the movie’s creators,

Our bodies have been created not only by God but also for God..We are driven today by whatever can bring our bodies the most pleasure. What can we eat, touch, watch, do listen to, or engage in to satisfy the cravings of our bodies?..in his love, gives us boundaries for our bodies: he loves us and knows what is best for us..[there are] clear and critical distinctions between different types of laws in Leviticus. Some of the laws are civil in nature, and they specifically pertain to the government of ancient Israel..Other laws are ceremonial..However, various moral laws..are explicitly reiterated in the New Testament..Jesus himself teaches that the only God-honoring alternative to marriage between a man and a woman is singleness..the Bible also prohibits all sexual looking and thinking outside of marriage between a husband and a wife..it is sinful even to look at someone who is not your husband or wife and entertain sexual thoughts about that person..it is also wrong to provoke sexual desires in others outside of marriage..God prohibits any kind of crude speech, humor, or entertainment that remotely revolves around sexual immorality..often watch movies and shows, read books and articles, and visit Internet sites that highlight, display, promote, or make light of sexual immorality..God prohibits sexual worship-- the idolization of sex and infatuation with sexual activity as a fundamental means to personal fulfillment..Don't rationalize it, and don't reason with it-- run from it. Flee it as fast as you can..We all have a sinful tendency to turn aside from God's ways to our wants. This tendency has an inevitable effect on our sexuality..every one of us is born with a bent toward sexual sin. But just because we have that bent doesn't mean we must act upon it. We live in a culture that assumes a natural explanation implies a moral obligation. If you were born with a desire, then it's essential to your nature to carry it out. This is one reason why our contemporary discussion of sexuality is wrongly framed as an issue of civil rights..Ethnic identity is a morally neutral attribute..Sexual activity is a morally chosen behavior..our sexual behavior is a moral decision, and just because we are inclined to certain behaviors does not make such behaviors right. His disposition toward a behavior does not mean justification for that behavior. "That's the way he is" doesn't mean "that's how he should act." Adultery isn't inevitable; it's immoral. This applies to all sexual behavior that deviates from God's design..We do not always choose our temptations. But we do choose our reactions to those temptations..the assumption that God's Word is subject to human judgement..Instead of obeying what God has said, we question whether God has said it..as soon as we advocate homosexual activity, we undercut biblical authority..we are undermining the integrity of the entire gospel..We take this created gift called sex and use it to question the Creator God, who gave us the gift in the first place..[Jesus] was the most fully human, fully complete person who ever lived, and he was never married. He never indulged in any sort of sexual immorality..This was not a resurrection merely of Jesus' spirit or soul but of his body..Repentance like this doesn't mean total perfection, but it does mean a new direction..in a culture that virtually equates identity with sexuality..Naturally this becomes our perception of ourselves, and we subsequently view everything in our lives through this grid..When you turn to Christ, your entire identity is changed. You are in Christ, and Christ is in you. Your identity is no longer as a heterosexual or a homosexual, an addict or an adulterer.

As the country’s most powerful creator of mass culture, Hollywood was considered an especially potent threat by Wheeler and other isolationist leaders. There was little doubt about the influence of movies: more than half of the American people saw at least one movie a week in the late 1930s and early 1940s.

Warhol never tires himself. The agnostic isn't going to tire himself out working for the glory of God, or to prove his existence. Warhol isn't going to tire himself out proving the existence of art. Because, fundamentally, there is no need. We no more need the pathos of art than we need the pathos of suffering or the pathos of desire. A Stoic trait, this. What is good about Warhol is that he is Stoical, agnostic, puritanical and heretical all at the same time. Having all the qualities, he generously credits all around him with them. The world is there, and it's excellent. People are there, and they're OK. They have no need to believe in what they are doing, they're perfect. He is the best, but everyone's a genius. Never before has the privilege of the creator been quashed in such a way, by a kind of maximalist irony. And all without contempt or demagogy: there is in him a kind of airy innocence, a gracious form of the abolition of privileges. There is in him something of the Cathars and the theory of the Perfect.

Tho was Buffalo Bill Cody? Most people know, at the very least, that he was a hero of the Old West, like Daniel Boone, Davy Crockett, and Kit Carson-one of those larger-than-life figures from which legends are made. Cody himself provided such a linkage to his heroic predecessors in 1888 when he published a book with biographies of Boone, Crockett, Carson-and one of his own autobiographies: Story of the Wild West and Campfire Chats, by Buffalo Bill (Hon. W.F. Cody), a Full and Complete History of the Renowned Pioneer Quartette, Boone, Crockett, Carson and Buffalo Bill. In this context, Cody was often called "the last of the great scouts." Some are also aware that he was an enormously popular showman, creator and star of Buffalo Bill's Wild West, a spectacular entertainment of the late nineteenth and early twentieth centuries. It has been estimated that more than a billion words were written by or about William Frederick Cody during his own lifetime, and biographies of him have appeared at irregular intervals ever since. A search of "Buffalo Bill Cody" on amazon.com reveals twenty-seven items. Most of these, however, are children's books, and it is likely that many of them play up the more melodramatic and questionable aspects of his life story; a notable exception is Ingri and Edgar Parin d'Aulaire's Buffalo Bill, which is solidly based on fact. Cody has also shown up in movies and television shows, though not in recent years, for whatever else he was, he was never cool or cynical. As his latest biographer, I believe his life has a valuable contribution to make in this new millennium-it provides a sense of who we once were and who we might be again. He was a commanding presence in our American history, a man who helped shape the way we look at that history. It was he, in fact, who created the Wild West, in all its adventure, violence, and romance. Buffalo Bill is important to me as the symbol of the growth of our nation, for his life spanned the settlement of the Great Plains, the Indian Wars, the Gold Rush, the Pony Express, the building of the transcontinental railroad, and the enduring romance of the American frontier-especially the Great Plains. Consider what he witnessed in his lifetime: the invention of the telephone, the transatlantic cable, the automobile, the airplane, and the introduction of modem warfare, with great armies massed against each other, with tanks, armored cars, flame-throwers, and poison gas-a far cry from the days when Cody and the troopers of the Fifth Cavalry rode hell-for-leather across the prairie in pursuit of hostile Indians. Nor, though it is not usually considered

[from 'Blade Runner 2049' review in 'Cut The Kink'] Here, in a reversal of 'The Force Awakens,' Harrison Ford survives and Gosling, his surrogate son, dies. The last shot of the film shows baby-boomer Ford creepily watching his daughter, a maker of memory implants, through a glass partition. Somehow, this generic version of the female has become the creator and repository of false memories, a scrapbooker of all the unnecessary backstories that have been weighing down screenplays since the original 'Blade Runner' came out. At one point we meet some official Hollywood-movie Tribal Scavengers, followed later by some official Hollywood-movie Meaningless Revolutionaries. Since at least the Matrix movies, such figures have heralded a revolution that never comes, though President Donald Sutherland did get trampled to death by rebels in 'The Hunger Games: Mockingjay, Part 2.

1.​Identify the messages that are being presented. They all have one or more. (Except maybe that song about there being millions of peaches… I think those dudes were just high.) 2.​Along with your kids, identify which values the creators are elevating. (Freedom? Autonomy? Sex? Drugs? Pride?) Which values are they demeaning? (Humility? Responsibility? Traditional gender roles?) 3.​Try to piece together the worldview behind the message. What do you think the artist’s definition of good and bad is? What about moral and immoral? What is the good life—the life that reflects success (according to their art or writing)? Is it money? Lots of romantic relationships? Freedom from rules? 4.​If you are watching a movie, identify which characters and qualities are presented in an attractive way. Pay attention to the traits that are exhibited by the villains. The protagonist and antagonist are often archetypes, or representations of ideas.

Anyone who has read enough, explored enough and experienced enough, somewhere in his/ her life will realize that the life is repeating itself again and again and again. He/she will soon understand there is nothing new to discover, all quests of human life have been experience and discovered in the past and all we do to play the game over and over to gain a different result, like an idiot who watches movie several time and hope to see a different ending. In such age, people no to remain enthusiastic, they need to still be excited about the story, which they have heard more than millions of times. Hence, intellectuals and creators create new toys for them. The toys that practically has the same purpose and affect the same result, but ordinary human does not need to know that. They need to be interested to play, because if we stop, the world will stop, and then the age of nothingness will end. And we cannot let that happen can we?

Content creators romanticize adolescent friendships the same way Hallmark movies treat love: there is a lid for every pot, a yin for every yang, and a savior for every screwup.

We advertise good friendships as part of the Complete Teenage Experience, because good friendships make for great stories. Content creators romanticize adolescent friendships the same way Hallmark movies treat love: there is a lid for every pot, a yin for every yang, and a savior for every screwup. Turn on any Netflix original movie about teenagers or read any great YA book, and you will see that the perfect sidekick (funny! supportive! quirky! endlessly loyal!) is a fixture in each teen’s life. In reality, middle school friendships play out less like Netflix originals, and more like those toy commercials that came on during Saturday morning cartoons when we were kids. As an only child, I remember yearning to have the same fun those kids were having, begging my parents for the Barbie Jeep or Hot Wheels Track until they gave in. But soon after ripping the toy from its packaging, I came to the stark realization that it was nothing like advertised. Those kids were only pretending to have fun, the set designers made the toys seem infinitely cooler than they actually were, and more often than not, we didn’t even have the right-sized batteries. What a colossal disappointment! Especially when those kids on TV looked like they were having the time of their lives.

At this moment, my fingers are on a computer keboard. I'm going to type "geimu" and try to decide how I want the computer to convert it. Will it be a positive [...] (artful dream), or a negative [...] (receive nothing)? Or will i remain as it always has: [...] (video game)?

Former pastry chef Sam Mason opened Oddfellows in Williamsburg with two business partners in 2013 and has since developed upwards of two hundred ice cream flavors. Many aren't for the faint of heart: chorizo caramel swirl, prosciutto mellon, and butter, to name a few. Good thing there are saner options in the mix like peanut butter & jelly, s'mores, and English toffee. A retro scoop shop off Bowery, Morgenstern's Finest Ice Cream has been bringing fanciful flavors to mature palettes since opening in 2014. Creator Nicholas Morgenstern, who hails from the restaurant world, makes small batches of elevated offerings such as strawberry pistachio pesto, lemon espresso, and Vietnamese coffee. Ice & Vice hails from the Brooklyn Night Bazaar in Greenpoint, and owners Paul Kim and Ken Lo brought it to the Lower East Side in 2015. Another shop devoted to quality small batches, along with weird and wacky flavors, you'll find innovations like Farmer Boy, black currant ice cream with goat milk and buckwheat streusel, and Movie Night, buttered popcorn-flavored ice cream with toasted raisins and chocolate chips.

During that period, I hardly remember consuming anything other than science fiction—and yet I never suffered from malnutrition.

Andrei avoided the internet as well and this evasion only added to his gloom. He loved music, especially old songs, and he loved movies, of all sorts. If he had the patience, sometimes he would read. While most of the pages he turned bored him to sleep, certain books with certain lines disarranged him. Some literature brought him to his feet, laughing and howling in his room. When the book was right, it was bliss and he wept. His room hushed with serenity and indebtedness. When he turned to his computer, however, or took out his phone, he would inevitably come across a viral trend or video that took the art he loved and turned it into a joke. The internet, in Andrei’s desperate eyes, managed to make fun of everything serious. And if one did not laugh, they were not intelligent. The internet could not be slowed and no protest to criticize its exploitation of art could be made because recreations of art hid perfectly under the veneer of mockery and was thus, impenetrable. It was easy to use Chopin’s ‘Sonata No. 2’ for a quick laugh, to reduce the ‘Funeral March’ to background music. It was a sneaky way for a digital creator to be considered an artist—and parodying the classics made them appear cleverer than the original artist. Meanwhile, Andrei’s body had healed playing Chopin alone in his apartment. He would frailly replay movie moments, too, that he later found the world edited and ripped apart with its cheap teeth. And everyone ate the internet’s crumbs. This cruel derision was impossible to escape. But enough jokes, memes, and glam over someone’s precious source of life would eventually make a sensitive body numb. And Andrei was afraid of that. He needed his fountain of hope unblemished. For this reason, he escaped the internet’s claws and only surrendered to it for e-mails, navigation, and the weather.

And it seemed fitting both for Andrei, and hypothetically the creators of the film, that when he got up to leave in the middle of it, he did so as an ode to the film. A statement of departure that said: 'If you made the movie for the reason I think you did, perhaps you wouldn’t be offended that I left the damn place and decided to chase after life. Inspiration is unlimited, but time is not. Thank you. Goodbye!' He left the poet’s book in the seat beside him, took his popcorn and soda, and exited the cinema the way the writers would have wanted.

Kojima: I want the players to experience things that are only possible within video games and that have never been done before. Otherwise, there’s no point in making the game.

I believe that creating things is only possible through connections with other people, and works, and history, and all kinds of other things. Then, that newly created work will give someone else a push and move the world forward. I want to keep on doing that as long as I live.

Twenty-five years ago, I incorporated a story and a message into video games—two elements largely considered unnecessary. Now, with the sudden rise of mobile gaming, the trend is reversing. It may be that the times have come to a conclusion: “Video games should be for killing time. They will not rise to the level of being culture.

Her contemporaries, Tatsuhiko Shibusawa (born 1928), Yukio Mishima (born 1925), and others did much to disseminate transgressive and nonheteronormative memes, which in turn influenced the Year 24 Group—the next generation of creators, such as Moto Hagio, Keiko Takemiya, and Yumiko Oshima, who fueled the boom of girls’ manga containing themes of same-sex or otherwise forbidden or transgressive romance.

Wanted's lead was Wesley Gibson, drawn by J.G. Jones to resemble handsome rapper Eminem with an eye on the movie potential, but who stood for every shy, overweight, underweight, misunderstood kid reveling in the power to trash, denigrate, and insult his imagined enemies - who were just about everybody, especially the creators of the comic books, music, games, and movies that brought to these miserable lives the only meaning they would ever know. Geek royalty. Meet the new boss, same as the old boss. Wesley acted out the new porn-fueled fantasies of dumping the fat girlfriend, hooking up with the hot sex-mad assassin chicks, raping pretty newsreaders, and Getting Away with It All. At its best, reminiscent of the cool, amused cruelty of a Joe Orton play, the bludgeoning effect of Wanted's uneasy satire exposed the horrible truth: The fragile, asocial, and different really just wanted to do coke, fuck bimbos, and bully people. The revolution had arrived.

During the Great War, the German army occupied Kristóf’s village and forced the residents to use the German language. Upon liberating Hungary, the Soviets made learning Russian compulsory in school. In this way, Kristóf’s mother tongue was repeatedly stolen from her amid the ravages of war. As a result, she wrote in what she often called “an enemy language,” and when she wrote these three novels, she elevated the tragic loss of her native language into literature.

The Creative Gene will form connections—strands—between me and you, and maybe new memes will be made. Toward that hope, I will once again visit a bookstore today and search for strands that I have not yet seen.

A world without books is inconceivable.

A very long time ago, I dreamed that I met a cat. When I awoke, I had returned to being a high school student, and the dream quickly passed from my memory. But as an adult, reading Jennie again, I realized that I had never forgotten the experience of that dream, not even for an instant. Now, as always, I carry Jennie’s meme inside myself. And so, when I declared at the beginning of this essay that I had never had a cat, I was wrong. I had Jennie.

He explained to Steve that there was an important difference in the digital media value chain as well. In physical retail, Amazon operated at the middle of the value chain. We added value by sourcing and aggregating a vast selection of goods, tens of millions of them, on a single website and delivering them quickly and cheaply to customers. To win in digital, because those physical retail value adds were not advantages, we needed to identify other parts of the value chain where we could differentiate and serve customers well. Jeff told Steve that this meant moving out of the middle and venturing to either end of the value chain. On one end was content, where the value creators were book authors, filmmakers, TV producers, publishers, musicians, record companies, and movie studios. On the other end was distribution and consumption of content. In digital, that meant focusing on applications and devices consumers used to read, watch, or listen to content, as Apple had already done with iTunes and the iPod. We all took note of what Apple had achieved in digital music in a short period of time and sought to apply those learnings to our long-term product vision.

By becoming the tiger, I found a different way to pass on my stories than the one I had so rigidly insisted upon. And so, even as a tiger, I intend to keep on howling into the later generations. Those stories will become new memes, not as prose, but as video games.

My reason is the same as the one Lehane gave in that interview: all stories have an end. All creators, too, have an end. I would like to bring my story to its end before I arrive at mine.

is there. Don’t be concerned about being wrong or having a differing opinion. What wonderful results might arise when you discover a winner with your own eyes and mind? Something that is a winner for me may not be a winner for you, but that’s all right.

There’s absolutely nothing wrong with disliking a book that someone else recommended to you. Your judgment was made from your own point of view. If you liked a book simply because someone else praised it, that would be no different than retweeting a post on Twitter; nothing of you

Abe would not settle for the ordinary. The Woman in the Dunes offers a third plot: the man finds a life inside the pit.

Woman in the Dunes taught me the meme that freedom does not flow like sand; freedom is the flow itself.

Books kept the feelings of isolation and loneliness from crushing me. My father’s early death contributed to a lack of role models in my life. But inside books, I was able to find adults and teachers to guide me along.

Separated by distance and time, their letters are sometimes romantic, sometimes regretful, sometimes confessional, and sometimes scolding. Through their discrepancies and similarities, the past and present of the broken couple intertwine with the passing seasons like brocaded embroidery on woven fabric.

I have no idea what will connect with me, or where, or what kind of connection will form. And so, rather than wait in a passive haze, I desire to act with purpose and to cherish the encounters that result from my choices.

By the time I realized it, I was surprised by how rarely we were playing our version of catch anymore.

And much like action or puzzle games, the more you read them, the better you get at it. You’ll gradually learn her patterns and will become able to get ahead of her—and then you can test your skills on the next book. That said, if you get sloppy, Christie will trounce you.

Even though I’m part of it, I can’t help but be moved by the wonder of the story that carries the meme of Satoshi Itoh becoming Hideo Kojima, and Hideo Kojima returning to Project Itoh.

Stories and fiction are often criticized as escapism. But in fiction is truth. Fiction can also be a tool at the forefront of the fight to correct the problems of reality.

Perhaps the test we are faced with now—to preserve the seeds for the future—will be a new way of living (a new meme) in which we cast ourselves adrift from the previous era.

The mountain I’ve climbed—the creating of video games—is undergoing a seismic shift, and its form is changing. But I suppose I will keep climbing. Not “because it’s there.” But rather, because it’s not there.

and though he hadn’t been given the time to pass on his DNA, his arrangement of letters of a different sort will carry on his genetic information in perpetuity.

Hiroko Minagawa. I’d heard the name before, but I hadn’t read any of her books. My pride as a daily browser of bookstores was deeply wounded.

By reading translated stories, we made efforts to understand unfamiliar worlds, cultures, and ideologies. We learned an intellectual excitement for the unknown, because that is what would expose us to new worlds. That, more than anything, is where the true pleasure of reading is found.

Hiroko Minagawa, thank you, truly, for opening my eyes. And—though I should have said this earlier—Mom, I’m delighted to have met you.

We are just a memories if it's gone we're gone but it would be hard to vanish from here actually ,the survival instinct won't let you do it , the survival instinct made to stop you from trying to reach the index of the book , you'll live as planned no matter what and even if you reached it .. you was meant to reach it in your last line my friend You are a movie star but looks like a puppet living a fantasy that you didn't choose .. You might be the creator or the director or maybe the audience themselves but remember, you'll never be the writer we are just Papers, Lines ,Words in a book the mighty wrote for us

We are just memories, if they're gone we're gone but it would be hard to vanish from here actually. The survival instinct won't let you do it. The survival instinct is made to stop you from trying to reach the index of the book , you'll live as planned no matter what and even if you reached it .. you were meant to reach it in your last line my friend You are a movie star but looks like a puppet living a fantasy that you didn't choose .. You might be the creator, the director or maybe the audience themselves but remember, you'll never be the writer we are just Papers, Lines ,Words in a book the mighty wrote for us

The memes these stories communicated to me provided the energy I use to create, and to live.

As long as you are walking forward, you will fall into a pit. In that case, should we not try to find the best life in our current pit? Rather than accepting it as it is, or escaping it, or lashing out against it, try to find a new purpose there.

We're the creators, directors, and stars of our own movies, so you better hurry the hell up and write yourself a damn juicy script because you can't return your tickets when those closing credits start rolling!

Honestly, I’m not much of an “outdoorsy person.” In fact, I’m just the opposite. I’m what’s called an “indoorsy person,” which Webster’s Dictionary defines as “a person who thrives in the great indoors, proficient at movie watching, snacking, and sitting.

Have you ever seen that movie “Despicable me,” the first one? Gru, the main character has become a criminal, and in a simple way, the creators of the movie suggest that he became that way because he was neglected by his mother.

By 2008, storm clouds were gathering over Microsoft. PC shipments, the financial lifeblood of Microsoft, had leveled off. Meanwhile sales of Apple and Google smartphones and tablets were on the rise, producing growing revenues from search and online advertising that Microsoft hadn’t matched. Meanwhile, Amazon had quietly launched Amazon Web Services (AWS), establishing itself for years to come as a leader in the lucrative, rapidly growing cloud services business. The logic behind the advent of the cloud was simple and compelling. The PC Revolution of the 1980s, led by Microsoft, Intel, Apple, and others, had made computing accessible to homes and offices around the world. The 1990s had ushered in the client/server era to meet the needs of millions of users who wanted to share data over networks rather than on floppy disks. But the cost of maintaining servers in an ever-growing sea of data—and the advent of businesses like Amazon, Office 365, Google, and Facebook—simply outpaced the ability for servers to keep up. The emergence of cloud services fundamentally shifted the economics of computing. It standardized and pooled computing resources and automated maintenance tasks once done manually. It allowed for elastic scaling up or down on a self-service, pay-as-you-go basis. Cloud providers invested in enormous data ​centers around the world and then rented them out at a lower cost per user. This was the Cloud Revolution. Amazon was one of the first to cash in with AWS. They figured out early on that the same cloud infrastructure they used to sell books, movies, and other retail items could be rented, like a time-share, to other businesses and startups at a much lower price than it would take for each company to build its own cloud. By June 2008, Amazon already had 180,000 developers building applications and services for their cloud platform. Microsoft did not yet have a commercially viable cloud platform. All of this spelled trouble for Microsoft. Even before the Great Recession of 2008, our stock had begun a downward slide. In a long-planned move, Bill Gates left the company that year to focus on the Bill & Melinda Gates Foundation. But others were leaving, too. Among them, Kevin Johnson, president of the Windows and online services business, announced he would leave to become CEO of Juniper Networks. In their letter to shareholders that year, Bill and Steve Ballmer noted that Ray Ozzie, creator of Lotus Notes, had been named the company’s new Chief Software Architect (Bill’s old title), reflecting the fact that a new generation of leaders was stepping up in areas like online advertising and search. There was no mention of the cloud in that year’s shareholder letter, but, to his credit, Steve had a game plan and a wider view of the playing field.

This was my first visit to Walt Disney’s Magical Money Maw, and I initially had a typically cynical Chicagoan’s reaction. This place was an amusement park posing as a Disney movie come to life, with college kids in big-headed cartoon-character costumes mingling like monsters among children whose reactions veered between disappointment and terror. Here, the creator (not God but the beaming mustached one on TV) served up turn-of-the-century childhood memories painted with a pastel brush, inviting visitors into a fanciful American past sprinkled with pixie dust to banish actual memories of an era awash in financial failures, railroad strikes, immigrant tenements, racist lynchings, and social protest, right and left.

If I were to say which particular nutrients have been my vital sustenance for the past forty-three years, they would be movies, music, and novels, in that order.

I haven’t yet become the kind of father that would make me feel satisfied with myself. I may have reached the level of the workaholic Hiroshi, but Charles remains beyond my reach. When will I be able to stop turning to these portraits of a family and make my own worthy one in reality? I want my children to not worship idols as I have, but to be able to look to our own real-life family and be inspired to dream for their futures.

wish I had a dad like that,” I thought. “No, I want to become a dad like that!” I had lost my own father by then, and my family unit had shrunk to three.

Rather than the hopeless loneliness I felt inside crowds of the living, I chose to converse with the dead, whom I could never reach. Rather than the living people who would not understand me, I chose the dead who shared the same understanding as me.

But I want to be remembered for what I’ve done, not for any title I’ve held. I want to use what’s left of my life for the sake of my personal mission, not my position.

And so when I exchange business cards, I introduce myself by saying: “I am Hideo Kojima, game designer.

For me, Akatsuka’s manga was not nonsense; it was a new sense. From that point on, I wanted to be an idiot and a genius.

I don’t want to surrender myself in the perpendicular space between fool and genius; I want to put myself on the same plane as them both.

What a working man requires, more than any title, is his own identity. His own way of living. His own judgment. His own name, given to him by his parents. And the value that name currently holds.

There is no active thought process deciding what one thing they need to take along. I think that because of that, they are forgetting the joy that was once found in portability

Not only is the lower astral realm made up of our collective negative thoughts and emotions, but we continually feed it through our negativity, including negative forms of entertainment. Violent movies, television shows, and music that exaggerate people's fears and cruel behavior may seem exciting but they only exacerbate the baser thoughts of society. The creators of such negative images may be under the influence of ghosts of the lower astral world. All is energy, and negative energy like fear, anger and hate becomes imbedded in the lower astral level.

I still go to a bookstore as close to every day as I possibly can—because bookstores are where I make new encounters.

Their struggles save me from my loneliness. Their struggles are themselves another story and another meme.

I want to tell a great many stories, and to build connections between people and each other, and across worlds and times. Those connections may become “the creative genes” that will present us with worlds no one has ever experienced before.

And the meanings of those stories will change based on the time and circumstances in which they are read. Then, left to each individual recipient, certain elements will be imitated, and others expanded. Through that repeated behavior, new memes are born.

I suddenly thought of Low Roar’s “I’ll Keep Coming.” ME + ME connected as if the union had been planned from the start, and a new meme came to life.

That’s why I read books, watch movies, and listen to music. I go to art and history museums. I meet people. That repeated process is the only way to learn from history and create the future.