Et Movie Quotes

Do we have enough food to feed the people of the world as they become middle class consumers? The hundreds of millions of people in China and India who are now entering the middle class watch Western movies and want to emulate that lifestyle, with its wasteful use of resources, large consumption of meat, big houses, fixation on luxury goods, et cetera. He is concerned we may not have enough resources to feed the population as a whole, and certainly would have difficulty feeding those who want to consume a Western diet.

Some children sit in their warm cosy beds with snacks and hot cocoas watching Hollywood movies with age rating while others shivering in the freezing blizzards drinking from icy broken pipes and ripping pieces of jewellery off bloody bombed up limbs.

I have always been intrigued by this obsession with so-called black-on-black violence, as if black-on-white violence was somehow more acceptable. And why had no one ever described what happened in Northern Ireland or in Bosnia, Kosovo, et al. with its vicious brutality as examples of white-on-white violence? There it was just violence - then why black-on-black violence?

It was awfully quiet. Chicago only gets this quiet when it snows, he thought. And then he flipped open the phone, pressed the voice button, and said “Katherine.” He said it softly, reverently. Five rings and then her voice mail. Hey, it’s Katherine, he heard, and in the background cars rushed by. They’d been walking home together from the RadioShack when she recorded the message. I’m not, uh. And she uhed, he remembered, because he’d goosed her butt as she tried to talk. Uh, at my cell phone, I guess. Leave me a message and I’ll call you back. And he remembered everything about it, and also everything about everything else, and why couldn’t he forget and beep. “Hey, it’s Col. I’m standing in a soybean field outside of Gutshot, Tennessee, which is a long story, and it’s hot. K. I’m standing here sweating like I had hyperhidrosis, that disease where you sweat a lot. Crap. That’s not interesting. But anyway, it’s hot, and so I’m thinking about cold to stay cool. And I was remembering walking through the snow coming back from the ridiculous movie. Do you remember that, K? We were on Giddings, and the snow made it so quiet, I couldn’t hear a thing in the world but you. And it was so cold then, and so silent, and I loved you so much. Now it’s hot, and dead quiet again, and I love you still.” Five minutes later, he was trudging back when his phone began vibrating. He raced back to the spot with good reception and, breathless answered. “Did you listen to the message?” he asked immediately. “I don’t think I need to,” she answered. “I’m sorry, Colin. But I think we made a really good decision.” And he didn’t even care to point out that they hadn’t made a decision, because the sound of her voice felt so good –well not good exactly. It felt like the mysterium tremedum et fascinans, the fear and the fascination. The great and terrible awe.

We observe that the life of Jesus differs substantially from typical alien accounts. Aliens usually arrive in a spaceship; Jesus was born on earth. Aliens usually appear for a very short time; Jesus was on earth for over thirty years. The usual report of an encounter with aliens describes them as abusive; Jesus was loving and compassionate. The supposition that life exists in the universe outside Earth is questionable. Contrary to the popular media's portrayal of aliens in movies like ET, Cocoon, and Contact, the scientific evidence from astrophysics within the past thirty-five years makes it seem increasingly improbable that life exists anywhere else in the cosmos.

I’d always said that if and when the aliens actually landed, it would be a letdown. I mean, after War of the Worlds, Close Encounters, and E.T., there was no way they could live up to the image in the public’s mind, good or bad. I’d also said that they would look nothing like the aliens of the movies, and that they would not have come to A) kill us, B) take over our planet and enslave us, C) save us from ourselves à la The Day the Earth Stood Still, or D) have sex with Earthwomen. I mean, I realize it’s hard to find someone nice, but would aliens really come thousands of light-years just to get a date? Plus, it seemed just as likely they’d be attracted to warthogs. Or yucca. Or air-conditioning units.

Guilt and self-image. When someone says, “I can’t forgive myself,” it indicates that some standard or condition or person is more central to this person’s identity than the grace of God. God is the only God who forgives — no other “god” will. If you cannot forgive yourself, it is because you have failed your true god — that is, whatever serves as your real righteousness — and it is holding you captive. The moralists’ false god is usually a god of their imagination, a god that is holy and demanding but not gracious. The relativist/pragmatist’s false god is usually some achievement or relationship. This is illustrated by the scene in the movie The Mission in which Rodrigo Mendoza, the former slave-trading mercenary played by Robert de Niro, converts to the church and as a way of showing penance drags his armor and weapons up steep cliffs. In the end, however, he picks up his armor and weapons to fight against the colonialists and dies at their hand. His picking up his weapons demonstrates he never truly converted from his mercenary ways, just as his penance demonstrated he didn’t get the message of forgiveness in the first place. The gospel brings rest and assurance to our consciences because Jesus shed his blood as a “ransom” for our sin (Mark 10:45). Our reconciliation with God is not a matter of keeping the law to earn our salvation, nor of berating ourselves when we fail to keep it. It is the “gift of God” (Rom 6:23). Without the gospel, our self-image is based on living up to some standards — either our own or someone else’s imposed on us. If we live up to those standards, we will be confident but not humble; if we don’t live up to them, we will be humble but not confident. Only in the gospel can we be both enormously bold and utterly sensitive and humble, for we are simul justus et peccator, both perfect and sinner!

Your movies tell the story of the great divide as if it is a premonition of things to come or burnt into your memory of prehistory. Yet, none of your movies stop to ask, "What was the last order humans gave the A.I. before the divide?

You don’t create a phenomenon like E.T. by appealing to people who love movies. You create a phenomenon like E.T. by appealing to people who see one movie a year.

There is a book to be written, for instance, on small errors in subtitles. In the Fred Astaire musical Royal Wedding, for instance, the English girl he falls for, played by Sarah Churchill (daughter of Sir Winston), is engaged to an American, whom we never see but who’s called Hal—like Falstaff’s prince, like a good high Englishman. That English H, though, was completely inaudible to the French translator who did the subtitles, and so throughout the film the absent lover is referred to in the subtitles as Al—Al like a stagehand, Al like my grandfather. If you have the habit of print addiction, so that you are listening and reading at the same time, this guy Al keeps forcing his way into the movie. “But what shall I say to Hal—that I have never loved him?” Patricia says to Fred. Down below it says, “Et Al—qu’est-ce que je vais lui dire?

Dad…? What did you say to her?” He made a face. “It’s more what she said to me. I told her I didn’t think it was such a good idea, me going to her movie set, and she drew a line in the sand.” He shook his head. “Not really like Muriel, but that’s what she did.” With some exasperation, Vanni said, “Do you think you can possibly make this explanation any more confusing? What’s going on?” “When I told her I didn’t really want to come to her movie, that I’d feel out of place and strange because I don’t know anything about movies, much less making them, she said…” He cleared his throat. “She said that was ridiculous, there wasn’t anything special about this location set—it was just a lot of working people. Grips, carpenters, cooks, et cetera. I had to Google ‘grips,’ that’s how little I know. And she expected me to make an effort or she was going to be left to assume she didn’t matter enough for me to swallow down a little unease so we could have some time together.” Vanni grinned. “She told you.” “She hasn’t called since. And my calls go to voice mail.” “How long has that been going on?” “All week. We usually talk every day.” “Apparently, Dad, you haven’t left the message she’s been waiting for.” “Apparently.” Vanni

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.

How could she not know Tron? Insert whiny emoji here. Tron is one of the greatest movies of all time right behind Star Wars, Star Trek, any Marvel Comics movie—most importantly Guardians of the Galaxy, ET—because aliens, hello—Avatar, and Titanic. Can we take a moment of silence for Jack? That rotten, horse-faced Rose could have inched to the side to make room for him. You can’t tell me there wasn’t enough room on that door for a scrawny Leonardo DiCaprio to hang on. And even better, they could have spooned, created body heat, and saved each other. But nooo, horse-faced whore was too damn selfish.

If you want to know why modern man has settled on a base-10 number system, just spread your hands and count the digits. All creatures develop a number system based on their basic counting equipment; for us, that means our ten fingers. The Mayans, who went around barefoot, used a base-20 (vigesimal) number system; their calendars employ twenty different digits. The ancient Babylonians, who counted on their two arms as well as their ten fingers, devised a base-12 number system that still lives today in the methods we use to tell time and buy eggs. Someday a diligent grad student doing interdisciplinary work in mathematics and the history of film may produce a dissertation demonstrating that the residents of E.T.’s planet use an octal number system; the movie shows plainly that E.T. has eight fingers. For earthbound humans, however, the handy counting system is base-10.

Tron is one of the greatest movies of all time right behind Star Wars, Star Trek, any Marvel Comics movie—most importantly Guardians of the Galaxy, ET—because aliens, hello—Avatar, and Titanic.

When doe something truly become popular? And I don't mean "popular" in the sense that it succeeds,: I mean popular in the sense that the specific thing's incontrovertible popularity is the most important thing about it. I mean "popular" in the way Pet Rocks were popular in 1975, or the way E.T. was popular in 1982, or the way Oprah Winfrey was popular for most of the nineties. The answer to this question is both obvious and depressing: Something becomes truly popular when it becomes interesting to those who don't particularly care. You don't create a phenomenon like E.T. by appealing to people who love movies. You create a phenomenon like E.T. by appealing to people who see one movie a year.

I will believe in you every day of my life”—Elliot to E.T. from the movie E.T.

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.