Cure Film Quotes

No one can be the total cure for another person.

I feel The Fear coming on, and the only cure for that is to chew up a fat black wad of blood-opium about the size of a young meatball and then call a cab for a fast run down to that strip of X-film houses on 14th Street… peel back the brain, let the opium take hold, and get locked into serious pornography.

Fred Astaire. Not a handsome man. He said himself he couldn’t sing. He was balding his whole life. He danced like a cheetah runs, with the grace of the first creation. I mean, that first week. On one of those days God created Fred Astaire. Saturday maybe, since that was the day for the pictures. When you saw Fred you felt better about everything. He was a cure. He was bottled in the films and all around the earth, from Castlebar to Cairo, he healed the halt and the blind. That’s the gospel truth. St Fred. Fred the Redeemer.

In your country, if you are not scared enough already, you can go to watch a horror film... For me and the girls from my village, horror is a disease and we are sick with it. it is not an illness you can cure yourself of my standing up and letting the big red cinema seat fold itself up behind you. That would be a good trick... But the film in your memory, you cannot walk out of it so easily. Wherever you go it is always playing. So when I say that I am a refugee, you must understand that there is no refuge.

In America, Rousseauism has turned Freud’s conflict-based psychoanalysis into weepy hand-holding. Contemporary liberalism is untruthful about cosmic realities. Therapy, defining anger and hostility in merely personal terms, seeks to cure what was never a problem before Rousseau. Mediterranean, as well as African-American, culture has a lavish system of language and gesture to channel and express negative emotion. Rousseauists who take the Utopian view of personality are always distressed or depressed over world outbreaks of violence and anarchy. But because, as a Sadean, I believe history is in nature and of it, I tend to be far more cheerful and optimistic than my liberal friends. Despite crime’s omnipresence, things work in society, because biology compels it. Order eventually restores itself, by psychic equilibrium. Films like Seven Samurai (1954) and Two Women (1961) accurately show the breakdown of social controls as a regression to animal-like squalor.

In keeping with its code-breaking theme, the opening credits of Sneakers has the names of some of the film’s major players presented as anagrams before they get unscrambled: “BLOND RHINO SPANIEL” becomes “PHIL ALDEN ROBINSON,” while “FORT RED BORDER” turns into “ROBERT REDFORD” and “A TURNIP CURES ELVIS” reveals itself as “UNIVERSAL PICTURES.” Not all cast members got their names shuffled—if they had, the world might have discovered that one anagram for “RIVER PHOENIX” is “VIPER HEROIN X.

Robbie was always keen to remind us that we weren’t there to cure cancer. We weren’t saving the world. We were simply making a film. We should remember that, not get too big for our boots and try to have a laugh along the way. He had a good dose of Hagrid in him: the big friendly giant who never lost sight of what was important in life.

what it’s all for. We’re living longer, we social network alone with our screens, and our depth of feeling gets shallower. Soon it’ll be nothing but a tide pool, then a thimble of water, then a micro drop. They say in the next twenty years we’re going to merge with computer chips to cure aging and become immortal. Who wants an eternity of being a machine?

Communism in America In the early 1920’s, fascism was undermining all vestiges of democracy in Europe and dictatorships were prevalent in most Latin American countries. Therefore, communism was considered by many as the best alternative for the working masses, and was embraced by many scholars, artists and authors, as a viable alternative form of political thinking. Many people in the Hollywood film industry became members of the “Communist Party of America,” or at least they agreed with the communistic views and became what was called “fellow travelers.” The Communist Party meetings were where people of like mind could gather and share ideas, as well as help each other with their budding careers. The United States Government had other ideas and some of the most serious attacks on personal rights took place during these early years. Constitutional rights were thrown out of the window as some government officials took unlawful actions against foreign immigrants and labor leaders. Being more tolerant politically, Mexico attracted many Americans who felt persecuted in the United States. Heading south of the border was a geographic cure that many of them embraced.

Robbie was always keen to remind us that we weren't there to cure cancer. We weren't saving the world. We were simply making a film. We should remember that, not get too big for our boots and try to have a laugh along the way. He had a good dose of Hagrid in him: the big friendly giant who never lose sight of what was important in life.

Robbie was always keen to remind us that we weren’t there to cure cancer. We weren’t saving the world. We were simply making a film.

When is it best to give up on a major life goal? Early in my career, I always encouraged patients to keep trying, keep trying, don’t let your depression symptoms fool you into thinking you can’t succeed. Often that was good advice. Some applicants get into medical school the fourth time they apply. Some singers land a gig with the Grand Ole Opry after their fifth year in Nashville. But more become increasingly despondent as failure follows failure. Sometimes a five-year engagement turns into marriage. Sometimes staying another year in LA trying to break into film pays off. But not often. Sober experience combined with my growing evolutionary perspective to encourage respecting the meaning of my patients’ moods. As often as not, their symptoms seemed to arise from a deep recognition that some major life project was never going to work. She was glad he wanted to live with her, but it looks increasingly like he will never agree to get married. The boss is nice now and then and hints at promotions, but nothing will ever come of it. Hopes for cancer cures get aroused, but all treatments so far have failed. He has stayed off booze for two weeks, but a dozen previous vows to stay on the wagon have all ended in binges. Low mood is not always an emanation from a disordered brain; it can be a normal response to pursuing an unreachable goal.

The cultural view of idealistic bodies which is so obviously displayed on television and on billboards, in magazines, advertising and film, can force us into a narrow definition of what is a successful and attractive woman. The standardised ‘ideal’ promotes the notion that success can be attained through having the ‘look’, and that this is the cure for unhappiness. The ‘thin ideal’ is promoted as a happy person. This encourages the view that the ‘look’ will bring success and relationship happiness.

Employing the NLP Fast Phobia Cure The NLP Fast Phobia Cure allows you to re-experience a trauma or phobia without experiencing the emotional content of the event or having to face the trigger that normally sets off the phobic response. You need to ensure that you work on this process in an environment where you know yourself to be completely safe, in the presence of another person who can help to keep you grounded if you begin to panic. This process ensures that you examine an experience while you’re doubly dissociated from the memory, creating a separation between you (in the now) and the emotions of a trauma or a phobic response. In the following list, the double dissociation is done through having you watch yourself in a cinema (dissociation), while watching yourself on a cinema screen (double dissociation) (you can find more on dissociation in Chapter 10): 1. Identify when you have a phobic response to a stimulus or a traumatic or unpleasant memory that you want to overcome. 2. Remember that you were safe before and are safe after the unpleasant experience. 3. Imagine yourself sitting in the cinema, watching yourself on a small, black-and-white screen. 4. Now imagine floating out of the ‘you’ that’s sitting in the cinema seat and into the projection booth. 5. You can now see yourself in the projection booth, watching yourself in the seat, watching the film of you on the screen. 6. Run the film in black and white, on the very tiny screen, starting before you experienced the memory you want to overcome and running it through until after the experience when you were safe. 7. Now freeze the film or turn the screen completely white. 8. Float out of the projection booth, out of the seat, and into the end of the film. 9. Run the film backwards very quickly, in a matter of a second or two, in full colour, as if you’re experiencing the film, right back to the beginning, when you were safe. 10. You can repeat steps 8 and 9 until you’re comfortable with the experience. 11. Now go into the future and test an imaginary time when you may have experienced the phobic response

as alexander hamilton who shared my name with one phillp skylar my mother, and my father eliza who i told to steal my identy in the war, iam nothign more then proud of the work on my deathbed writing again. i always surive true imoratlity and amenia disorder wtih life like reborn disorders cant be cured. but as alexian smith the former princess diana and smauel sabery you just seem unread. unscripted. and missed the point of the burnings of heart and bon fires in reetribution to racism in state and notion. You miss the point of what occured or whatever relaxed to it. I dont hate having multiple personaltiis. or living forever in stupid wayward ideas. that donald bloke has a diosrder called idiocy where hes accidently racist and you liked him for that. no i still dont hate you as avery pines. and no matter what occured when i was tortured in stupid situations, worst then a single one and counting somehow creepily for all of them, because my dad was and i was not. you must understand the history of why it was a town you now never knew of the name of. and why it was occurance and why it was the stories of it. And why nobody knew the musical hamilton was about my father alexander of americas presdient and me the secretary of state. my real name is adam snowflake. and if you loved a dam thing i ever wrteo from death note to creepy stalkings or the kingdom diaries or lspds, and what i built at disney naimating snow white and aruara and filming hawkuseris abotu my lack of faith as scince lik ebuilding jeeus you would know i never often resented it after highschool. and its better to remember a dead name as dead. i am not the evil events that defined me. but i am all the pain of them. and that is my wolrd. And you are ar acit for demanding i be things liek civil war or holocuast. and you are a racist slutty loser like i and bad king actors were steryped to be. and no matter what ever occured or how casuality is evil when in office. i want you to know no matter what i study or why i dress. its th history of me being an emo teenage fagot, and my mother was abusive as reya. and just interputed me to scream her ass off as reya fine an adbucter when orphaned. its easy to blame a color when the person is faceless. did you know im half that story. and did you know in the way i looked like the one you liked? When you have a boogie man, its so easy to hate the things you try to stop. Fuck you ukraine im jewish. and i know what you took. and while i didnt go. Oh god can i never go by frank again as someone in a clsoet room who surived that. and i want you to know as adam i will never be what you did to me. but oh god did you amke it look liket he people from russia fuck you royal.

Music is amazing. There's some metaphysical comfort where it allows you to be isolated and alone while telling you that you are not alone... truly, the only cure for sadness is to share it with someone else. Which is why music, movies, books are so important. With out art, without communicating, we wouldn't live beyond 30 because we'd be so sad and depressed.

When making your butch-buddy film, By Hook or By Crook, you and your co-writer, Silas Howard, decided that the butch characters would call each other “he” and “him,” but in the outer world of grocery stores and authority figures, people would call them “she” and “her”. The point wasn't that if the outer world were schooled appropriately re: the characters’ preferred pronouns, everything would be right as rain. Because if the outsiders call the characters “he”, it would be a different kind of he. Words change depending on who speaks them; there is no cure. The answer isn't just to introduce new words (boi, cis-gendered, andro-fag) and then set out to reify their meanings (though obviously there is power and pragmatism here.) One must also become alert to the multitude of possible uses, possible contexts, the wings with which each word can fly. Like when you whisper, You’re just a hole, letting me fill you up. Like when I say husband. Soon after we got together, we attended a dinner party at which a (presumably straight, or at least straight-married) women who’d known Harry for some time turned to me and said, “So, have you been with other women, before Harry?” I was taken aback. Undeterred, she went on: “Straight ladies have always been hot for Harry.” Was Harry a woman? Was I a straight lady? What did past relationships I’d had with “other women” have in common with this one? Why did I have to think about other “straight ladies” who were hot for my Harry? Was his sexual power, which I already felt to be immense, a kind of spell I’d fallen under, from which I would emerge abandoned, as he moved on to seduce others? Why was this woman, whom I barely knew, talking to me like this? When would Harry come back from the bathroom?

When I first met my long-term partner, Mike, he was suffering with an incurable disease. (No need for specifics). He was taking a concoction of pills and was facing a prospect of steroid medication and perhaps surgery to keep his condition in remission. I was somewhat surprised that on our first date, he told me, not just the full story of his own disease, but also all about his father and sister, who were both suffering with separate incurable illnesses. As I got to know Mike and his family, I was struck by how much they talked about illness. Mike gave an almost daily commentary about his various aches, pains, twinges and physical state. Where some families talk about politics or sport, or celebrities, or current affairs (it’s dogs, cats and kids in my family), Mike’s family would chat around the dinner table about conditions, consultants, tests, medical procedures, drugs and treatments. I found this quite bewildering, because these subjects rarely enter my mind. It was like being in a room full of people talking about a book you haven’t read or a film you haven’t seen. I found myself with nothing to add to this conversation, having no story about illness to tell. But here’s where it gets interesting. When I mentioned my observations to Mike, he became aware of how much he and his family spoke about illness for the first time ever. With my prompting, he began to change his story. And as he did so, not only did his aches and pains begin to disappear, but his chronic disease also started, almost miraculously, to improve. After a few months, he felt well enough to come off all his medication. At some point, he even stopped his regular visits to the doctor. There was just no point in seeing a doctor when he felt so well. Of course, we aren’t allowed to say ‘cured’ (because only doctors are allowed to claim a cure), but all these years later, his ‘incurable’ illness is not simply better, it’s gone. Now, please don’t take this as a prescription to ditch your meds and stop seeing your doctor. I’m not saying you can or should replace proper medical advice or treatment with words. This is just one anecdote about one man who chose to tell a different story. Take from it what you will.

Murnau now inserts scenes with little direct connection to the story, except symbolically. One involves a scientist who gives a lecture on the Venus flytrap, the “vampire of the vegetable kingdom.” Then Knock, in a jail cell, watches in close-up as a spider devours its prey. Why cannot man likewise be a vampire? Knock senses his Master has arrived, escapes, and scurries about the town with a coffin on his back. As fear of the plague spreads, “the town was looking for a scapegoat,” the titles say, and Knock creeps about on rooftops and is stoned, while the street is filled with dark processions of the coffins of the newly dead. Ellen Hutter learns that the only way to stop a vampire is for a good woman to distract him so that he stays out past the first cock’s crow. Her sacrifice not only saves the city but also reminds us of the buried sexuality in the Dracula story. Bram Stoker wrote with ironclad nineteenth-century Victorian values, inspiring no end of analysis from readers who wonder if the buried message of Dracula might be that unlicensed sex is dangerous to society. The Victorians feared venereal disease the way we fear AIDS, and vampirism may be a metaphor: The predator vampire lives without a mate, stalking his victims or seducing them with promises of bliss—like a rapist or a pickup artist. The cure for vampirism is obviously not a stake through the heart, but nuclear families and bourgeois values. Is Murnau’s Nosferatu scary in the modern sense? Not for me. I admire it more for its artistry and ideas, its atmosphere and images, than for its ability to manipulate my emotions like a skillful modern horror film. It knows none of the later tricks of the trade, like sudden threats that pop in from the side of the screen. But Nosferatu remains effective: It doesn’t scare us, but it haunts us. It shows not that vampires can jump out of shadows, but that evil can grow there, nourished on death. In a sense, Murnau’s film is about all of the things we worry about at three in the morning—cancer, war, disease, madness. It suggests these dark fears in the very style of its visuals. Much of the film is shot in shadow. The corners of the screen are used more than is ordinary; characters lurk or cower there, and it’s a rule of composition that tension is created when the subject of a shot is removed from the center of the frame. Murnau’s special effects add to the disquieting atmosphere: the fast motion of Orlok’s servant,

What is wrong with the modern world will not be righted by attributing the whole disease to each of its symptoms in turn; first to the tavern and then to the cinema and then to the reporter's room. The evil of journalism is not in the journalists. It is not in the poor men on the lower level of the profession, but in the rich men at the top of the profession; or rather in the rich men who are too much on top of the profession even to belong to it. The trouble with newspapers is the Newspaper Trust, as the trouble might be with a Wheat Trust, without involving a vilification of all the people who grow wheat. It is the American plutocracy and not the American press. What is the matter with the modern world is not modern headlines or modern films or modern machinery. What is the matter with the modern world is the modern world; and the cure will come from another.

Writing is a virus once caught never to be cured.

The military, Bush knew, had been gearing up to produce more of the same: more planes, more ships, more guns. Like a large film studio churning out sequel after sequel, the military was operating in what we might call a franchise phase.* To invent the radically new technologies necessary to defeat the Germans, however, the military would need to operate in an entirely different phase, one that offered scientists and engineers, as Bush wrote, the “independence and opportunity to explore the bizarre.” In other words, Bush understood intuitively that being good at franchises and being good at loonshots are phases of organization. And the same organization can’t be in two phases at the same time, for the same reason water can’t be both solid and liquid at the same time—under ordinary conditions.

Here is Catmull describing the need to maintain the balance between loonshots and franchises—“the Beast”—in film: Originality is fragile. And, in its first moments, it’s often far from pretty. This is why I call early mock-ups of our films “Ugly Babies.” They are not beautiful, miniature versions of the adults they will grow up to be. They are truly ugly: awkward and unformed, vulnerable and incomplete. They need nurturing—in the form of time and patience—in order to grow. What this means is that they have a hard time coexisting with the Beast.… When I talk about the Beast and the Baby, it can seem very black and white—that the Beast is all bad and the Baby is all good. The truth is, reality lies somewhere in between. The Beast is a glutton but also a valuable motivator. The Baby is so pure and unsullied, so full of potential, but it’s also needy and unpredictable and can keep you up at night. The key is for your Beast and your Babies to coexist peacefully, and that requires that you keep various forces in balance.

That message got through to Jobs. Jobs had a role in the system—he was a brilliant deal-maker and financier. It was Jobs, for example, who insisted on timing the Pixar IPO with the Toy Story release, and Jobs who negotiated the Pixar deals with Disney. But he was asked to stay out of the early feedback loop on films. The gravity of his presence could crush the delicate candor needed to nurture early-stage, fragile projects. On those occasions he was invited to help near-finished films, Jobs would preface his remarks: “I’m not a filmmaker. You can ignore everything I say.” Jobs had learned to mind the system, not manage the project.

Both Genentech and Pixar—like any good drug-discovery company or film studio—learned how to balance both loonshots and franchises because they had to. There are no other kinds of products in movies and drugs.