Deepest Movie Quotes

Magic comes from the heart, from your feelings, your deepest expressions of desire. That's why black magic is so easy—it comes from lust, from fear and anger, from things that are easy to feed and make grow. The sort I do is harder. It comes from something deeper than that, a truer and purer source—harder to tap, harder to keep, but ultimately more elegant, more powerful. My magic. That was at the heart of me. It was a manifestation of what I believed, what I lived. It came from my desire to see to it that someone stood between the darkness and the people it would devour. It came from my love of a good steak, from the way I would sometimes cry at a good movie or a moving symphony. From my life. From the hope that I could make things better for someone else, if not always for me. Somewhere, in all of that, I touched on something that wasn't tapped out, in spite of how horrible the past days had been, something that hadn't gone cold and numb inside of me. I grasped it, held it in my hand like a firefly, and willed its energy out, into the circle I had created with the spinning amulet on the end of its chain.

And that's how it was with Garrett. Because he understood me, the me I wanted so desperately to be. Think about your best friend - how you tell them everything, how they're the person who knows you best, all your deepest fears and insecurities. They're the one you call when something amazing happens or when everything falls apart and you need someone to come over and watch movies and tell you that everything's going to be OK. It's not like family, who are obligated to love you and even then sometimes fail to be everything they're supposed to be. Your true friend has chosen you, and you them, and that's a different kind of bond. That's Garrett to me. I'm used to talking to him all the time, about the most meaningless stuff. To have him gone feels like a loss, an absence haunting me every day. Without him, there's just the empty space that used to be filled with laughter and friendship and comfort. Can you really blame me for finding it so hard to let go?

Stop trying to heal yourself, fix yourself, even awaken yourself. Let go of letting go. Stop trying to fast-forward the movie of your life, chasing futures that never seem to arrive. Instead, bow deeply to yourself as you actually are. Your pain, your sorrow, your doubts, your deepest longing, your fearful thoughts...are not mistakes, and they aren't asking to be healing. They are asking to be held. Here, now, lightly, in the loving arms of present awareness.

1. Romantic: One who ruthlessly believes in love in its finest form and impresses those feelings onto his or her various relationships. May result in scaring off partners, falling for the wrong person, and desperately trying to turn life into a movie with glamorous Old Hollywood actors. May also result in some of the best, most inspiring, and deepest relationships around.

Christian lament is not simply complaint. Yes, it stares clear-eyed at awfulness and even wonders if God has gone...Yet at its fullest, biblical lament expresses sorrow over losing a world that was once good alongside a belief that it can be made good again. Lament isn't giving up, it's giving over. When we lift up our sorrow and our pain, we turn it over to the only one who can meet it: our God.

what does help the person who has been raped is to chew it up and then spit it the hell out. And by chew it up I mean talk about it, write about it, paint it, make a movie about it, and then be done with it and move on. Because here’s the truth about rape: you do not have to be victimized by it forever. You can take this awful, bottomless horror the rapist has inflicted on you, and you can seize it and recycle it into something wonderful and helpful and useful. You can, in this way, transform what was “done” to you into something that was “given” to you in the form of brutally raw material. You can, in other words, accept this hideous thing and embrace it and take complete control of the experience and reshape it as you please. This is not to deny the experience and how devastating it is; it is to accept the experience on the deepest level as your own possession now. An experience that is now part of you. Instead of allowing it to be a tap that drains you, you can force it into duty in service to your creative or intellectual goals. Many

Inexplicably, few prayers feel as heard as my doubting ones. None are more genuinely offered.

We must recognize before we can reconcile--especially in instances where we are too blinded by privilege, comfort, and tradition to even notice that reconciliation is needed.

What he had loved in Marthe were those evenings when they would walk into the movie theater and men's eyes turned toward her, that moment when he offered her to the world. What he loved in her was his power and his ambition to live. Even his desire, the deepest craving of his flesh, probably derived from this initial astonishment at possessing a lovely body, at mastering and humiliating it.

In a movie, when a character receives a letter, she reads it aloud for the audience. Other characters of the movie can’t know the secret, but she tells it to the audience. Be the audience if you want to know the deepest secrets of the universe. Be the audience if you want to make sense of what is happening around you. Your character is the doer while your soul is the audience. Be at the level of soul more often.

Christian joy, after all, is itself a response to the silly, the absurd: the good news. That God would come down to reclaim us through the sacrificial and atoning work of Jesus, rather than simply scrap it all and start over, is laughably illogical.

When we reach this point--when we've meditated on Scripture but still run up against the mystery of God--we must surrender to the art of contemplative prayer. Here, meaning and purpose are relinquished. Emptiness is accepted. Experience is open-ended.

An empath has a great tendency to pick up others’ emotions and project them back without recognizing its source in the first place. For a learning empath, it is vital to talk things out in order to release emotions. Empaths ultimately develop a stronger, higher level of understanding, enabling themselves to find peace in any situation. The consequence to this is that they tend to bottle up their emotions and build sky-high barriers so as to not let other people know their deepest, innermost thoughts and feelings. This suppression of emotional expression can be one of the direct results of an expressionless upbringing, a traumatic experience, or perceiving the notion that “Children are only meant to be seen, not heard” early in their lives. Most empaths are sensitive to news, TV, movies, broadcasts and videos. Violence and dramas portraying shocking scenes of emotional or physical pain inflicted on children, women, animals and adults can easily bring empaths to tears, although they try to hold back the tears at times.

Through meditation or reflection or whatever, find out how to go to that place in yourself that can observe without judging. If you feel jealous, or depressed, or guilty – just try to pay attention to how your body feels. Where does the physical feeling start? Does a tightness go up or down your stomach for instance. If you notice that you’re being critical of yourself – then try to observe yourself doing this without judging it as good or bad. This observer self is the deepest part of you – deeper than your fearful self, guilty self, emotional self, or intellectual self. By observing what’s happening to your body when you go into these head states, you can learn little tricks to alter your body & mood. Like if you catch it early, try countering the negative physical feeling or emotion by doing something nurturing for yourself (exercise or pleasant bath, calling a friend, going to a movie, or whatever). Anyway, this is something I started doing at a time in my life when I was wracked by jealousy, loneliness, self-doubt, excessive self-criticism. And overall it worked.

There are hundreds of ways that we distract ourselves from self-reflection, from asking those fundamental questions that really matter – movies, podcasts, games, social media. An endless stream of information you have to digest that does not allow you to spend any time alone with yourself. When you have nothing to do for a long-long time, that is when your mind starts to itch. It is then that you experience the unbearable heaviness of being. I think it happens to you too. Your most random thoughts intermingle in a chaotic descent into your own mental maelstrom, producing the strangest conclusions, as your brain explores the deepest corners of your mind.

At any rate,’ he continued, ‘we hoped that once the war was over the Oracle might start working again. When it did not … Rachel became concerned.’ ‘Who’s Rachel?’ Meg asked. ‘Rachel Dare,’ I said. ‘The Oracle.’ ‘Thought the Oracle was a place.’ ‘It is.’ ‘Then Rachel is a place, and she stopped working?’ Had I still been a god, I would have turned her into a blue-belly lizard and released her into the wilderness never to be seen again. The thought soothed me. ‘The original Delphi was a place in Greece,’ I told her. ‘A cavern filled with volcanic fumes, where people would come to receive guidance from my priestess, the Pythia.’ ‘Pythia.’ Meg giggled. ‘That’s a funny word.’ ‘Yes. Ha-ha. So the Oracle is both a place and a person. When the Greek gods relocated to America back in … what was it, Chiron, 1860?’ Chiron see-sawed his hand. ‘More or less.’ ‘I brought the Oracle here to continue speaking prophecies on my behalf. The power has passed down from priestess to priestess over the years. Rachel Dare is the present Oracle.’ From the cookie platter, Meg plucked the only Oreo, which I had been hoping to have myself. ‘Mm-kay. Is it too late to watch that movie?’ ‘Yes,’ I snapped. ‘Now, the way I gained possession of the Oracle of Delphi in the first place was by killing this monster called Python who lived in the depths of the cavern.’ ‘A python like the snake,’ Meg said. ‘Yes and no. The snake species is named after Python the monster, who is also rather snaky, but who is much bigger and scarier and devours small girls who talk too much. At any rate, last August, while I was … indisposed, my ancient foe Python was released from Tartarus. He reclaimed the cave of Delphi. That’s why the Oracle stopped working.’ ‘But, if the Oracle is in America now, why does it matter if some snake monster takes over its old cave?’ That was about the longest sentence I had yet heard her speak. She’d probably done it just to spite me. ‘It’s too much to explain,’ I said. ‘You’ll just have to –’ ‘Meg.’ Chiron gave her one of his heroically tolerant smiles. ‘The original site of the Oracle is like the deepest taproot of a tree. The branches and leaves of prophecy may extend across the world, and Rachel Dare may be our loftiest branch, but if the taproot is strangled the whole tree is endangered. With Python back in residence at his old lair, the spirit of the Oracle has been completely blocked.

I see an actress smoking a cigarette in an old Fred McMurray movie. She’s clever and beautiful and manipulative. I feel envy. I suddenly wish I smoked cigarettes and was as clever and beautiful and manipulative as she. I want to be that way at the restaurants I visit, as I’m walking to my car, with certain friends who might understand. The actress has played her part well; she’s made me want to emulate her base desires if only for a while. Does that make me impressionable, a fool, or someone who will recognize the deepest secrets of her heart? I fight hard to stay young—to keep the lines from further etching my face and hands and breasts, presumably to trick the world into believing I am young. I’m an actress playing a part. I’m afraid to tell the truth. I fear losing those younger or becoming those older. In the presence of youth, a sort of unseen age-osmosis occurs within me. The years drop away and I don’t want to leave. It’s utterly selfish but I don’t care. After all, I’m no older than they—I’ve just been so longer. I was nineteen only yesterday and they don’t retire nineteen-year-old actresses.

Would you want to watch a football game where all the players were no better than you? Or watch a movie where the actors could act no better than you and were no better looking than you? Or go to a museum to see pictures by painters who could paint no better than you?" Why are we willing to be exposed in all these places as utterly inferior? How can we get so much joy out of watching people magnify their superiority over us? The biblical answer is that we were made by God to get our deepest joys not from being superior ourselves but from enjoying God's superiority. All these other experiences are parables. God's superiority is absolute in every way, which means our joy in it may be greater than we could ever imagine.

But no matter how many movies we watched, we never learned their deepest lesson: they end. George Bailey finally sees his life as wonderful. Rosebud, we find out, is a sled. Travis shoots Old Yeller. One of the things that distinguishes life from movies is the pause button. We can keep Travis' finger on the trigger, the barrel staring down his Yeller, but there is no pause button for the things that matter.

imagine a written version of the Cinderella story that begins and ends with a simple paraphrase of the Disney movie but contains, in between, a 10,000 word poem called “Cinderella’s Lament”—a brilliantly written feminist manifesto challenging most of the sexist assumptions in the original story. Imagine that the poem is written primarily from Cinderella’s perspective but includes speeches by the stepmother and stepsisters as well. The Cinderella of the poem (let us imagine) is as radical as the Disney version is safe. She questions some of her culture’s deepest values and beliefs that women should marry men, that rich and handsome princes are automatically desirable, that a man can love a woman even if he can’t remember what she looks like. The other characters in the poem are, of course, horrified by her unorthodox views, and they do everything they can to contradict her. Every time she speaks, they rebut everything she says. But Cinderella is a clever debater, and she holds her own. They go on arguing and arguing until the Fairy Godmother shows up and angrily puts an end to the debate. “I spent a lot of time and effort catching you a prince,” she tells Cinderella, “and you had better marry him fast if you don’t want to end up a pumpkin yourself.” Cinderella knows when she has been beaten, and she submits—not to a better argument, but to superior physical force. She marries the prince, and they live happily ever after—except, of course, they don’t, and we know they don’t because we have been made privy to Cinderella’s deepest thoughts.

Layne took him to Monteigne, a stunning Italianate mansion on twenty-three acres. The owner, Mary Louise Shields, a steel magnolia who lived to be 109, showed Kevin Kline a quilt and said, “Now this belonged to Scarlett O’Hara.” Layne is no stickler for factual accuracy, but this was too much for him. He said, “Honey, she’s a fictional character.” Miss Mary Louise said, “We do believe that to be true.” Layne lost his temper. “She’s from a fucking movie!” She said, “Honey, if you’re not enjoying the tour, why don’t you step off the back porch?

The purpose of theology—the purpose of any thinking about God—is to make the silences clearer and starker to us, to make the unmeaning—by which I mean those aspects of the divine that will not be reduced to human meanings—more irreducible and more terrible, and thus ultimately more wonderful. This is why art is so often better at theology than theology is.

We had our goal, and the first question we asked was What makes someone a movie star (as opposed to simply an actor)? Movie stars tend to play likable characters who embody and depict the best of humanity: courage, ingenuity, success against the odds. I loved the idea of being a better person in a movie than I was in real life. I could protect people, I could kill bad things, I could fly, all the women would love me- they have to, it says right here in the script. I came up with a way to describe what makes a great movie star character: I call it the three Fs of movie stardom: You have to be able to fight, you have to be funny, and you have to be good at sex. Beneath the three Fs are our deepest human yearnings: fighting equates to safety, security and physical survival. Being funny equates to joy, happiness, and freedom from all negativity. And being good at sex equates to the promise of love. p214

As you slowly take in the movie, however, you start to see that behind the seemingly absurd attachment of people to their animals lies redemption: Yes, life may be bleak, but we can impose meaning on that bleakness. The intense love that people have for their pets, initially presented as silly and absurd, gradually becomes sympathetic, even beautiful. Ultimately, Ebert came to see the film as being about the “hope held by the loneliest people who have ever been seen on film” and “the deepest of human needs, for human companionship.

The realization that everyone is different when you talk to them alone is a secret to success in life. In private you have their full attention. If you talk to two children in front of their mom and then each alone, you hear different things. The mystery for why some people you know succeed or fail in life is how courageous they are in pulling people aside and how effective they are in those private conversations we never see. Only a fool thinks all decisions are made in meetings. To pitch an idea successfully is often possible only in informal, intimate situations. The same goes for speaking the deepest truths and having them heard. Almost no one can convince an entire conference room of coworkers with a speech. That happens only in the movies. Some things are never said, or heard, if more than one pair of ears is listening.

Line 4 - Sales (Director) Throughout the Golden Path Program we have gotten to know the 4th line as the great ‘friendmaker’. This gift comes from a truly genuine heart, and an easy warmth with people and community. This is the kind of person that emerges through the Venus Sequence, as those 4th lines release some of their inner restrictions and fears. To have a 4th line Vocation is to be a spokesperson. Such gifts are given to us to serve the whole, and although the 4th line wound may feel reluctant to engage at this level, they do have to overcome the fear that they inherited in their very early years. When we say that the 4th line is the most natural salesperson of all the lines, it does not mean only in business. The open 4th line is always selling their heart. They are here to create more openness, to help others overcome their fears, and to be examples of open-hearted communication. Like the 4th line, the 3rd line can be hugely successful in a business context. However, the role and style of the 4th line is very different. Their role is more like the director of the movie. They have to work closely with people, which involves diplomacy, conviction, and focus. The 4th line knows what the movie should look like, and their one-pointed drive will ensure that everyone else comes into harmony around that direction. The 4th line is comfortable taking control and guiding others to work towards a collective vision or ideal. This is where the notion of sales comes in - the 4th line can diffuse difficulties through the sheer strength and goodwill of its character. The 4th line also has a strong theme of aloneness as a counterbalance to its communal warmth. The inner strength and commitment of these people is rooted in this ability to stand alone and remain committed to one’s ideal, despite the odds. If you have a 4th line Vocation, then you are here to influence humanity. You are here to use your considerable gifts to open people’s hearts. If you happen to be selling a specific idea or product, then at the deepest level it is really an excuse to share your spirit with others. Sometimes you may also be here to deliver a rousing message that shakes people out of their comfort zones, and brings them to a new place inside themselves. Since the 4th line is so good at convincing people about things, it is for a very good reason. When this reason is for a higher purpose, then your whole life moves onto a higher level. There is nothing more powerful or authentic than when one of us stands alone in the world and expresses the love in our heart - whatever creative form that may take.

Killing someone isn't like in the movies, something that you shrug off with a quip and a drink. It eats at you, even when the person you kill unquestionably has to die. And there's no way that her feelings about Melvin aren't, at the very deepest level, still complicated.

Mom.’ ‘Hmm?’ She replies from miles away in her planter’s paradise. Deepest of breaths. ‘When Luke comes over later, would it be okay if we watched a movie in my bedroom?’ The paper goes down and she eyeballs me from over the top of her wire reading glasses. ‘Should I be worried?’ ‘No.’ I shake my head, whip my hair into a frenzy. ‘Have you gotten comfortable with him touching you yet?’ ‘Sort of . . .’ In retrospect, I could have probably said no. ‘What does that mean? Exactly?’ She folds You and Your Garden Monthly in half, sets it down beside her empty bowl. ‘It means we take all our clothes off, and he turns into a koala, clings to me like a tree while we watch TV.’ Mom chokes on the sip of tea she’s just taken. ‘Norah Jane Dean.’ ‘It was a joke.’ ‘Obviously,’ she says. ‘I’m just a little shocked you made it.’ Her shock would be less, I’m sure, if she knew how hard I was working to keep a mental image of the aforementioned out of my mind. I take half a second to wonder if Luke would find my quip amusing. It’s a joke at his expense, after all, having an abnormal girlfriend, one he can’t touch. ‘So what is “sort of” comfortable?’ Mom prods. ‘I touched his hand last week, you know, before the fear kicked in.

You see, it’s the slow knife…the knife that takes its time, the knife that waits years without forgetting, then slips between the bones. That’s the knife—” With her other hand, she armed the trigger device. “—that cuts deepest.

We do not worship a cruel God who demands quotas of praise in rigidly prescribed formats, as if he is an anal-retentive king and we are his sycophantic courtiers. He wants our praise to be creative, to involve the full richness of the Earth (the Pandora he has made) and to reflect our own ingenuity as created beings.

We now know that all extant living creatures derive from a single common ancestor, called the 'Last Universal Common Ancestor' (LUCA). It’s hard to think of a more unifying view of life. All living things are linked to a single-celled creature, the deepest root to the complex-branching tree of life. If we could play the movie of life backward, we would find this microscopic primogenitor at the starting point of biological evolution, the sole actor in what would become a very dramatic story, lasting some 3.5 billion years leading to us.

have to be able to fight, you have to be funny, and you have to be good at sex. Beneath the three Fs are our deepest human yearnings: fighting equates to safety, security, and physical survival. Being funny equates to joy, happiness, and freedom from all negativity. And being good at sex equates to the promise of love. And encompassing these qualities, the biggest movie stars make the biggest movies in the world. Movie stars put asses in seats. The next obvious question was What are the key elements of the biggest movies? JL grabbed a list of the top-ten-grossing movies of all time to see if we could determine a pattern. And it was crystal clear: Ten out of the top ten films of all time had special effects. Nine out of ten had special effects and creatures. Eight out ten had special effects, creatures, and a romantic storyline. (We would ultimately discover that all of the top ten movies were about love, but we didn’t notice that back then.) We knew what we were looking for. Now, we just had to go find it and convince whoever had it to give it to us.

The finest pantomime, the deepest emotion, the richest and most poignant poetry were in Chaplin’s work. He could probably pantomime Bryce’s The American Commonwealth without ever blurring a syllable and make it paralyzingly funny into the bargain. At the end of City Lights the blind girl who has regained her sight, thanks to the Tramp, sees him for the first time. She has imagined and anticipated him as princely, to say the least; and it has never seriously occurred to him that he is inadequate. She recognizes who he must be by his shy, confident, shining joy as he comes silently toward her. And he recognizes himself, for the first time, through the terrible changes in her face. The camera just exchanges a few quiet close-ups of the emotions which shift and intensify in each face. It is enough to shrivel the heart to see, and it is the greatest piece of acting and the highest moment in movies.

As much as we try to corral it via rigorous religious tradition (for good and faithful reasons), prayer also takes place beyond the boundary waters, in places and ways we might not expect. This human instinct to reach out in praise or lament or supplication or confession to the divine does not take place only in church, guided by liturgy and pastors. It isn't limited to early morning devotions, in that serene space before silence gives way to the day. It isn't strictly the domain of dinner tables, where families gather to recite familiar words. And it isn't an instinct shared only by Christians. Prayer can be expressed by anyone and can take place anywhere.

There was a big world out there, full of all sorts of people with all sorts of ways of living. The one thing we all seemed to share, if I was to understand the prayers these films were offering, was a yearning for reconciliation.

This is what makes Christian meditation distinctive. It is not a retreat, an escape from the realities of the brokenness around us. Instead, it is a pause inward, in order to move outward--a considering of others and a communing with God in order to better serve the world.

In serenely enjoying the rain together, in planting acorns that hold the potential for new growth, and in sitting among the branches of the resulting tree to observe the stars, Totoro teaches them how to cultivate prayerful joy in their own lives. Even in the midst of the emotional upheaval their family is experiencing, they experience and express deep-seated delight. I like to think that Totoro has shared with them a secret, a key to the universe: the knowledge that all can be endured, because one day their joy will be complete.

Silence replaces conversation. Turning away replaces turning towards. Dismissiveness replaces receptivity. And contempt replaces respect. Emotional withholding is, I believe, the toughest tactic to deal with when trying to create and maintain a healthy relationship, because it plays on our deepest fears—rejection, unworthiness, shame and guilt, the worry that we’ve done something wrong or failed or worse, that there’s something wrong with us. ♦◊♦ But Sara’s description is more accurate and compelling than mine. Her line, “quietly sucks out your integrity and self-respect” is still stuck in my head three days later. It makes me think of those films where an alien creature hooks up a human to some ghastly, contorted machine and drains him of his life force drop by drop, or those horrible “can’t watch” scenes where witches swoop down and inhale the breath of children to activate their evil spells of world domination. In the movies, the person in peril always gets saved. The thieves are vanquished. The deadly transfusion halted. And the heroic victim recovers. But in real life, in real dysfunctional relationships, there’s often no savior and definitely no guarantee of a happy ending. Your integrity and self-respect can indeed be hoovered out, turning you into an emotional zombie, leaving you like one of the husks in the video game Mass Effect, unable to feel pain or joy, a mindless, quivering animal, a soulless puppet readily bent to the Reapers’ will. Emotional withholding is so painful because it is the absence of love, the absence of caring, compassion, communication, and connection. You’re locked in the meat freezer with the upside-down carcasses of cows and pigs, shivering, as your partner casually walks away from the giant steel door. You’re desperately lonely, even though the person who could comfort you by sharing even one kind word is right there, across from you at the dinner table, seated next to you at the movie, or in the same bed with you, back turned, deaf to your words, blind to your agony, and if you dare to reach out, scornful of your touch. When you speak, you might as well be talking to the wall, because you’re not going to get an answer, except maybe, if you’re lucky, a dismissive shrug.

My body will never tell you what my favorite flower is Or how I want them more than only once a year It won't tell you that I love to knit But have never finished a single project It will never show you that I hate sunrises Or that every night I tell the stars goodnight before bed Or how much I love horror movies even though I always get too scared to sleep alone afterward My body will never let you know my worst memories My body will never share my deepest secrets Or ever utter my most hopeful of wishes You never seemed to understand that.