En Movie Quotes

Was there happiness at the end [of the movie], they wanted to know. If someone were to ask me today whether the story of Hassan, Sohrab, and me ends with happiness, I wouldn't know what to say. Does anybody's? After all, life is not a Hindi movie. Zendagi migzara, Afghans like to say: Life goes on, undmindful of beginning, en, kamyab, nah-kam, crisis or catharsis, moving forward like a slow, dusty caravan of kochis.

Buscar la verdad es la mayor virtud y es lo que hace que un drama sea interesante. No me interesa contar historias con perfume de rosas en las que todo va bien

Me enamoré de burlarme de ti en segundo grado, cuando descubrí por primera vez que podía sonrojar tus mejillas con solo una palabra. Luego me enamoré de ti".

En ausencia de la luz prevalece la oscuridad

I can stand onstage all night talking to thousands of people about my most vulnerable and private feelings—like my thoughts on the last guy who was inside me, or the fact that I eat like the glutton in the movie Se7en when I’m drunk. But I really don’t do as well at parties or gatherings where I feel like I am obligated to be more “social.” Usually

Does that mean scientists should start writing science fiction? That is actually not such a bad idea. Art plays a key role in shaping people's view of the world, and in the twenty-first century science fiction is arguably the most important genre of all, for it shapes how most people understand things like AI, bioengineering en climate change. We certainly need good science, but from a political perspective, a good science-fiction movie is worth far more than an article in Science or Nature.

I have these worksheets. They're great for the irregular verbs..." "Not today." He shot me a look and kept shuffling papers. "Okay," I said. "D'accord.Pas de papiers aujourd'hui. S'il vous plait,Alex. Je...je fais les choses la derniere fois." "Prochaine." "What?" "La prochaine fois," he correct. "Next time. Derniere fois is 'last time.' I'm not even going to start on your verb usage." "Right.La derniere...sorry...prochaine fois. How do you say 'I'm begging you'?" "Jes t'en supplie," he answered. Then, "You are aware that in order to speak better french, you actually have to speak French." "Oui,monsieur. But the Eiffel Tower will still be standing next week, and french fries will still be American." "Belgian," Alex sighed. "French fries started in Belgium. Look,I'm not going to force you to work. It's your choice and not my job." "Next week," I promised. "I promise." "Right." He rubbed the back of his head, pushing his hair into a funny little ducktail. "Okay,fine. How 'bout a movie?" Worked for me. "Sure.

Watch the end credits on a movie on Netflix or HBO. It’s good discipline for lengthening your attention span! Look at all those names scrolling by. All those people who aren’t stars made their rent by working to bring you that show. Lanier, Jaron. Ten Arguments for Deleting Your Social Media Accounts Right Now (Posición en Kindle1406-1407). Henry Holt and Co.. Edición de Kindle.

Hay un antes y un después de Matrix. Como hay un antes y un después de Los bingueros. De cualquier película hay un antes y un después. Lo que pasa antes es "el antes", y lo que pasa después es "el después".

—Sí que es guapísima. —Sacudió la ceniza que había en el extremo de su puro y me miró a los ojos, el tipo de mirada que te obligaba a escuchar—. Pero es como… ¿qué significa eso, en realidad? A no ser que mi meta sea sentarme y mirarla fijamente como alguien miraría el océano o una montaña, lo atractivo es solo algo visual.

If Reg Park, a kid from a small factory town in En-gland, can become Mr. Universe and then a movie star, why couldn't I? If millions of European immigrants can come to America with nothing but a suitcase and a dream and make a life for themselves, why couldn't I' If Ronald Reagan, an actor, can become governor of California, why couldn't I? And if I can do what I did, why can't you?

So what can we generalize about Victorian vampires? They are already dead, yet not exactly dead, and clammy-handed. They can be magnetically repelled by crucifixes and they don’t show up in mirrors. No one is safe; vampires prey upon strangers, family, and lovers. Unlike zombies, vampires are individualists, seldom traveling in packs and never en masse. Many suffer from mortuary halitosis despite our reasonable expectation that they would no longer breathe. But our vampires herein also differ in interesting ways. Some fear sunlight; others do not. Many are bound by a supernatural edict that forbids them to enter a home without some kind of invitation, no matter how innocently mistaken. Dracula, for example, greets Jonathan Harker with this creepy exclamation that underlines another recurring theme, the betrayal of innocence (and also explains why I chose Stoker’s story “Dracula’s Guest” as the title of this anthology): “Welcome to my house! Enter freely and of your own will.” Yet other vampires seem immune to this hospitality prohibition. One common bit of folklore was that you ought never to refer to a suspected vampire by name, yet in some tales people do so without consequence. Contrary to their later presentation in movies and television, not all Victorian vampires are charming or handsome or beautiful. Some are gruesome. Some are fiends wallowing in satanic bacchanal and others merely contagious victims of fate, à la Typhoid Mary. A few, in fact, are almost sympathetic figures, like the hero of a Greek epic who suffers the anger of the gods. Curious bits of other similar folklore pop up in scattered places. Vampires in many cultures, for example, are said to be allergic to garlic. Over the centuries, this aromatic herb has become associated with sorcerers and even with the devil himself. It protected Odysseus from Circe’s spells. In Islamic folklore, garlic springs up from Satan’s first step outside the Garden of Eden and onion from his second. Garlic has become as important in vampire defense as it is in Italian cooking. If, after refilling your necklace sachet and outlining your window frames, you have some left over, you can even use garlic to guard your pets or livestock—although animals luxuriate in soullessness and thus appeal less to the undead. The vampire story as we know it was born in the early nineteenth century. As

But this is no ordinary village. Every now and then, a shiny four-wheel drive bounces down the dirt track that leads to a refuge center of an organization whose name in French is Agir Pour Les Femmes en Situation Précaire, or AFESIP. (Rough translation: Helping Women in Danger.) Inside the vehicle you may spot a powerful government official, a heavyweight journalist or even an American movie star. They all come to meet with AFESIP's president and co-founder, Somaly Mam, and support her courageous work fighting sex traffickers.

En Union Soviétique, quand quelque chose ne va pas, dans un domaine d’activité quelconque, on pense d’abord structures. On l’a vu en août 1972, après le sévère réquisitoire du Comité Central du Parti contre la production cinématographique. Des mesures de réorganisation avaient tout de suite été prises. Un nouveau patron était nommé à la tête de Goskino. Deux mois plus tard, l’Union des Cinéastes se réunissait à Moscou. Un débat très libre s’ouvrait qui étonnait les correspondants étrangers par sa franchise. On y entendait Alexandre Medvedkine (Le Bonheur) s’interroger sur la notion de « film politique ». En même temps qu’étaient critiquées certaines mesures de réorganisation, on se félicitait de la création d’un « studio central des scénarios » susceptible d’assainir les rapports (difficiles, paraît-il) entre scénaristes et réalisateurs. Mais l’interrogation majeure de cette rencontre était : « Existe-t-il un cinéma pour les masses et un cinéma pour les élites ? ». On conviendra que c’était là une question d’importance. Surtout en Union Soviétique. Répondre oui c’était reconnaître l’existence possible de plusieurs publics avec ce que cela implique de conséquences sur la conception, la production, la distribution des films dans un appareil d’État qui fait volontiers du populisme une vertu.

Wes me dirigió una mirada de irritación y apretó la mandíbula. —¿Estás lista? Antes de poder responderle, Wes agarró la cintura de mi pantalón, se la enrolló en la mano, y tiró hacia arriba para que los pantalones cubrieran del todo mi ombligo.

—Pero vamos a volver al tema de la banda sonora de W&L. ¿Qué deberíamos añadir a la lista? —Eres un imbécil. —No me suena esa canción, pero aquí tú eres la audiófila, no yo. Estaba de hecho pensando en algo más bien como la canción de amor de Titanic.

Pero, sobre todo, odio no poder odiarte. Porque no te odio, ni siquiera un poco, nada en absoluto. —10 Things I Hate About You

¿Por qué lo que ella quiere es más importante que lo que yo quiero?

Pasaba por la vida como si nada, sin tropezar como yo hacía a cada momento, al parecer.

Y ella no está aquí para verlo. Así que mi vida está cambiando y avanzando, pero ella se ha quedado atrás,

Las fotos de graduación, el baile de principio de curso, las solicitudes de ingreso a la universidad, el baile de fin de curso, la graduación… Mientras todos a los que conocía estaban emocionados por aquellos momentos significativos del instituto, a mí el estrés me daba dolor de cabeza porque no me sentía como había planeado sentirme acerca de todo aquello.

el periodismo partidario prevaleció en Estados Unidos hasta la década de 1870, la narrativa sobre el nuevo “periodismo independiente” se concentró en dos personajes importantes: los editores Joseph Pulitzer y William Randolph Hearst. Algo similar podría decirse de los magnates del cine como Jack L. Warner (Warner Brothers), Louis B. Mayer y Samuel Goldwyn (MGM), Carl Laemmle (Universal Pictures), Darryl Zanuck (20th Century Fox) y William Fox (Fox Movie Corporation) o de creadores de contenido como Orson Welles y John Ford. Como

I’ve held on to those memories for the longest; never letting them go because it takes time – sometimes years – to truly understand how a childhood adventure can impact you. When I look back, I marvel at how surreal that day had been. It was the kind of misadventure one had only seen in the movies and in all those stories the protagonists were adults, some of whom did not make it. But we were just children, and this was happening to us. And this was as real as it could get. For years after, numerous existential questions raced through my head: Was God testing us? Were we handpicked for it? Was it preordained? Th en the fog started to lift and I saw it for what it was: a day in the jungle. Also, a day when everything went wrong. I’d read somewhere that adversity does not build character, it reveals it. We were tested, we were pushed to the limits of our physical and emotional endurance. We made it out alive, and it is important that this experience be shared.

Si mi vida fuese una película, me gustaría que, incluso después de los títulos de crédito, permaneciera en el interior de los espectadores, Aunque sea sobria y sencilla, desearía que algunas personas sintieran que esa película les ha salvado la vida, les ha proporcionado una motivación.

The weakness of many novels and films can be seen in the fact that one is forced to interpret them ironically to find any depth in them (mise en abyme is an effect of the same kind). One is everywhere trapped between a literal and an ironic reading. A more or less conscious calculation that aims to disorientate any value judgement. It is particularly flagrant in the field of art, where this studied vagueness as to how a work is to be read has supplanted illusion and aesthetic judgement. Deep down, however, it is reality itself that has become so banal and insignificant that it has induced us into an ironic reading. It has become so homogenized that it breaks off from itself into a parallel reality. It is out of nostalgia that we embed it in another order: in the face of this insignificance, we are forced to hypothesize a more subtle realm beyond, a dimension beyond our grasp. A critical masochism by which all the speculative arts have found success.

The initial guiding principle was simple: “Buy the rights to a fine play, hire the biggest names available, and hope the public will listen.” But competition for big names was fierce in New York. When film stars came east—usually on a train between movies, en route to Europe—they were mobbed by agents seeking their appearances on the big variety shows. An appearance on The Rudy Vallee Hour or Shell Chateau paid more and was less demanding—a bit of fluff between musical selections, which an actor could learn in a single rehearsal. The demand for top stars was so desperate that Lux scouts created devious ways of snaring them. One “bright young fellow,” as described by Radio Guide, simply grabbed up Leslie Howard’s suitcases and led him through a gauntlet of competing agents to a waiting cab. Only when they were settled in the car did it occur to Howard to ask who he was. “I’m from The Lux Radio Theater, and you’re going to act for us tomorrow night,” said the brash young fellow. He had caught (and subsequently booked) a hot young star by knowing that “a man will always follow his suitcases.

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The New World was like a vast, tinder-dry forest waiting to burn—and Columbus brought the fire. That European diseases ran rampant in the New World is an old story, but recent discoveries in genetics, epidemiology, and archaeology have painted a picture of the die-off that is truly apocalyptic; the lived experience of the indigenous communities during this genocide exceeds the worst that any horror movie has imagined. It was disease, more than anything else, that allowed the Spanish to establish the world’s first imperio en el que nunca se pone el sol, the “empire on which the sun never sets,” so called because it occupied a swath of territory so extensive that some of it was always in daylight.

Depuis le temps, les hommes devraient le savoir... "Ça ne fait rien" ne signifie en aucun cas que tout va bien. Non, cela sous-entend que tout n'a pas encore été dit, qu'il reste beaucoup de choses à régler. "Rien" pourrait tout aussi bien être l'acronyme de "Refoulement Intensif d'Émotions Négatives". Et n'oublions pas de préciser, en post-scriptum, que ces émotions sont voués à resurgir à un moment ou à un autre. Ce n'est qu'une question de temps.

Egan. Watse naam is Egan? Hoe kom jy op daai een? Hoe kyk jy vir hierdie baby, jou laaitie, en sê, 'nooit, dis 'n Egan'. Klink soos die naam van 'n alien in die Spielberg movie. Fokken Egan... Egan the Vegan

The book reader has always tended to be passive, because that is the best way to read. Today, the traveler has become passive. Given travelers checks, a passport, and a toothbrush, the world is your oyster. The macadam road, the railroad, and the steamship have taken the travail out of travel. People moved by the silliest whims now clutter the foreign places, because travel differs very little from going to a movie or turning the pages of a magazine. The “Go Now, Pay Later” formula of the travel agencies might as well read: “Go now, arrive later,” for it could be argued that such people never really leave their beaten paths of impercipience, nor do they ever arrive at any new place. They can have Shanghai or Berlin or Venice in a package tour that they need never open. In 1961, TWA began to provide new movies for its trans-Atlantic flights so that you could visit Portugal, California, or anywhere else, while en-route to Holland, for example. Thus the world itself becomes a sort of museum of objects that have been encountered before in some other medium.

Con Hector nunca nos asaltan esas dudas. Cuando guiña el ojo a la chica, lo más probable es que ella se lo guiñe a su vez. Y en ese momento está claro que ninguno de los dos está pensando en boda.

Is your body made of stone? Or iron? You are clothed with flesh, human flesh, which is en-flamed by desire as easily as grass. Surely you are not a better philosopher than those great and noble men, who were cast down merely by such a sight? Have you not heard what Solomon says: "If someone walks onto a fire of coals, will he not burn his feet? If someone lights a fire in his lap, will he not burn his clothing?" For even if you did not have intimate relations with the prostitute, in your lust you coupled with her, and you committed the sin in your mind. And it was not only at that time, but also when the theater has closed, and the woman has gone away, her image remains in your soul, along with her words, her figure, her looks, her movement, her rhythm, and her distinctive and meretricious tunes; and having suffered countless wounds you go home.

había acordado en realidad de la lluvia de meteoritos desde que habíamos salido. —Va genial —le dije. —Pásame un malvavisco, ¿quieres, cielo? Hace años que no me tomo uno. El miércoles se me hizo eterno, sobre todo porque me pasé el día dándole vueltas a dos cosas. La primera era que aún estaba molesta por el comentario de Wes de la noche anterior. «Realmente aquí no queda nada para mí». ¿Por qué había dicho eso? ¿De verdad se sentía así? Aún no sabía demasiado sobre su vida al completo, pero por alguna razón, aquello hirió mis sentimientos. Quizá fuera porque me lo estaba pasando muy bien conociéndolo, y había pensado que él se sentiría de la misma manera. Pero cuando me obligué a dejar de pensar en ello, por fin pude emocionarme por lo que iba a pasar esa noche. Mientras escuchaba al señor Cooney hablar sin parar sobre trigonometría, decidí que me pondría la camiseta verde que me había comprado con Wes, y me alisaría el pelo. De hecho, se lo había contado incluso a Joss (¡bien, algo de honestidad, aunque fuera un poco embrollada!), así que pude pedirle opinión sobre la ropa. Mientras la señora Adams animaba a la clase a explorar nuestros escritores internos en Literatura, me puse los auriculares y exploré mis ensoñaciones internas. Puse Electric de Alina Baraz y Khalid para que se repitiera, la canción perfecta para acompañar mis planes de esa tarde. Darker than the ocean, deeper than the sea You got everything, you got what I need