Fantasy Movie Quotes

We've searched our database for all the quotes and captions related to Fantasy Movie. Here they are! All 176 of them:

Into the sky to win or die.
Christopher Paolini (Eragon (Inheritance, #1))
You're entirely bonkers. But I'll tell you a secret. All the best people are.
Tim Burton (Alice in Wonderland: Based on the Motion Picture Directed by Tim Burton)
To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lost the possibility of being countless other potential selves.. Yet once being born there is no turning back. And I think that's exactly why the fantasy worlds of cartoon movies so strongly represent our hopes and yearnings. They illustrate a world of lost possibilities for us.
Hayao Miyazaki (Starting Point: 1979-1996)
Everybody has their own America, and then they have pieces of a fantasy America that they think is out there but they can’t see…So the fantasy corners of America…you’ve pieced them together from scenes in movies and music and lines from books. And you live in your dream America that you’ve custom-made from art and schmaltz and emotions just as much as you live in your real one.
Andy Warhol
I get mad when people call me an action movie star. Indiana Jones is an adventure film, a comic book, a fantasy.
Harrison Ford
I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn't be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children's books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires.
Gabrielle Zevin (The Storied Life of A.J. Fikry)
At the Foxhole Court "family" was a fantasy invented to make books and Hollywood movies more interesting.
Nora Sakavic (The Raven King (All for the Game, #2))
Always the cricket; one movie credit and it’s like he’s the gold standard...
Trevor Alan Foris (The Octunnumi Fosbit Files Prologue)
Of course you are. Then you're going to give me multiple orgasms and pay off my mortgage too. I saw this movie, pal. It was in the fantasy section. (Isa)
Jeaniene Frost (Happily Never After (Night Huntress, #1.5))
After all, we're currently living in a Bizarro society where teenagers are technology-obsessed, where the biggest sellers in every bookstores are fantasy novels about a boy wizard, and the blockbuster hit movies are all full of hobbits and elves or 1960s spandex superheroes. You don't have to go to a Star Trek convention to find geeks anymore. Today, almost everyone is an obsessive, well-informed aficionado of something. Pick your cult: there are food geeks and fashion geeks and Desperate Housewives geeks and David Mamet geeks and fantasy sports geeks. The list is endless. And since everyone today is some kind of trivia geek or other, there's not even a stigma anymore. Trivia is mainstream. "Nerd" is the new "cool.
Ken Jennings (Brainiac: Adventures in the Curious, Competitive, Compulsive World of Trivia Buffs)
We shouldn’t assume that women and girls don’t know the difference between reality and fantasy. We don’t fear that men who read murder mysteries and thrillers are going to have a hard time not becoming serial killers, so why should we assume that a girl won’t know that she doesn’t have to change from a mermaid to human in order to find love just because of a movie?
Lyssa Kay Adams (The Bromance Book Club (Bromance Book Club, #1))
In regard to propaganda the early advocates of universal literacy and a free press envisaged only two possibilities: the propaganda might be true, or the propaganda might be false. They did not foresee what in fact has happened, above all in our Western capitalist democracies - the development of a vast mass communications industry, concerned in the main neither with the true nor the false, but with the unreal, the more or less totally irrelevant. In a word, they failed to take into account man's almost infinite appetite for distractions. In the past most people never got a chance of fully satisfying this appetite. They might long for distractions, but the distractions were not provided. Christmas came but once a year, feasts were "solemn and rare," there were few readers and very little to read, and the nearest approach to a neighborhood movie theater was the parish church, where the performances though frequent, were somewhat monotonous. For conditions even remotely comparable to those now prevailing we must return to imperial Rome, where the populace was kept in good humor by frequent, gratuitous doses of many kinds of entertainment - from poetical dramas to gladiatorial fights, from recitations of Virgil to all-out boxing, from concerts to military reviews and public executions. But even in Rome there was nothing like the non-stop distractions now provided by newspapers and magazines, by radio, television and the cinema. In "Brave New World" non-stop distractions of the most fascinating nature are deliberately used as instruments of policy, for the purpose of preventing people from paying too much attention to the realities of the social and political situation. The other world of religion is different from the other world of entertainment; but they resemble one another in being most decidedly "not of this world." Both are distractions and, if lived in too continuously, both can become, in Marx's phrase "the opium of the people" and so a threat to freedom. Only the vigilant can maintain their liberties, and only those who are constantly and intelligently on the spot can hope to govern themselves effectively by democratic procedures. A society, most of whose members spend a great part of their time, not on the spot, not here and now and in their calculable future, but somewhere else, in the irrelevant other worlds of sport and soap opera, of mythology and metaphysical fantasy, will find it hard to resist the encroachments of those would manipulate and control it.
Aldous Huxley (Brave New World Revisited)
Even in teen movies like Pretty in Pink or Sixteen Candles, I always cringed a little when the unpopular girl finally got the hot, popular guy she'd been pining for. What on earth would they talk about after the credits rolled? I didn't want reality. I preferred the safety of fantasy.
Patricia Weitz (College Girl)
I would like [my readers] to better understand human beings and human life as a result of having read [my] stories. I'd like them to feel that this was an experience that made things better for them and an experience that gave them hope. I think that the kind of things that we talk about at this conference -- fantasy very much so, science fiction, and even horror -- the message that we're sending is the reverse of the message sent by what is called "realistic fiction." (I happen to think that realistic fiction is not, in fact, realistic, but that's a side issue.) And what we are saying is that it doesn't have to be like this: things can be different. Our society can be changed. Maybe it's worse, maybe it's better. Maybe it's a higher civilization, maybe it's a barbaric civilization. But it doesn't have to be the way it is now. Things can change. And we're also saying things can change for you in your life. Look at the difference between Severian the apprentice and Severian the Autarch [in The Book of the New Sun], for example. The difference beteween Silk as an augur and Silk as calde [in The Book of the Long Sun]. You see? We don't always have to be this. There can be something else. We can stop doing the thing that we're doing. Moms Mabley had a great line in some movie or other -- she said, "You keep on doing what you been doing and you're gonna keep on gettin' what you been gettin'." And we don't have to keep on doing what we've been doing. We can do something else if we don't like what we're gettin'. I think a lot of the purpose of fiction ought to be to tell people that.
Gene Wolfe
When God is driven to the periphery of the public square, the human spiritual capacity longs for exercise, and it often finds it in the “suspension of disbelief” and activity of the imagination that are available in novels and movies.
John Granger
It was Joss Whedon's Buffy the Vampire Slayer (the television series, 1997-2003, not the lackluster movie that preceded it) that blazed the trail for Twilight and the slew of other paranormal romance novels that followed, while also shaping the broader urban fantasy field from the late 1990s onward. Many of you reading this book will be too young to remember when Buffy debuted, so you'll have to trust us when we say that nothing quite like it had existed before. It was thrillingly new to see a young, gutsy, kick-ass female hero, for starters, and one who was no Amazonian Wonder Woman but recognizably ordinary, fussing about her nails, her shoes, and whether she'd make it to her high school prom. Buffy's story contained a heady mix of many genres (fantasy, horror, science-fiction, romance, detective fiction, high school drama), all of it leavened with tongue-in-cheek humor yet underpinned by the serious care with which the Buffy universe had been crafted. Back then, Whedon's dizzying genre hopping was a radical departure from the norm-whereas today, post-Buffy, no one blinks an eye as writers of urban fantasy leap across genre boundaries with abandon, penning tender romances featuring werewolves and demons, hard-boiled detective novels with fairies, and vampires-in-modern-life sagas that can crop up darn near anywhere: on the horror shelves, the SF shelves, the mystery shelves, the romance shelves.
Ellen Datlow (Teeth: Vampire Tales)
Dear Hunger Games : Screw you for helping cowards pretend you have to be great with a bow to fight evil. You don't need to be drafted into a monkey-infested jungle to fight evil. You don't need your father's light sabre, or to be bitten by a radioactive spider. You don't need to be stalked by a creepy ancient vampire who is basically a pedophile if you're younger than a redwood. Screw you mainstream media for making it look like moral courage requires hair gel, thousands of sit ups and millions of dollars of fake ass CGI. Moral courage is the gritty, scary and mostly anonymous process of challenging friends, co-workers and family on issues like spanking, taxation, debt, circumcision and war. Moral courage is standing up to bullies when the audience is not cheering, but jeering. It is helping broken people out of abusive relationships, and promoting the inner peace of self knowledge in a shallow and empty pseudo-culture. Moral courage does not ask for - or receive - permission or the praise of the masses. If the masses praise you, it is because you are helping distract them from their own moral cowardice and conformity. Those who provoke discomfort create change - no one else. So forget your politics and vampires and magic wands and photon torpedoes. Forget passively waiting for the world to provoke and corner you into being virtuous. It never will. Stop watching fictional courage and go live some; it is harder and better than anything you will ever see on a screen. Let's make the world change the classification of courage from 'fantasy' to 'documentary.' You know there are people in your life who are doing wrong. Go talk to them, and encourage them to pursue philosophy, self-knowledge and virtue. Be your own hero; you are the One that your world has been waiting for.
Stefan Molyneux
When my turn on the program comes, I am not nervous at all—because all this is happening out of time, out of space. I am, for a moment, a figure of my own fantasy, and I play my appointed role as if I were in the movies.
Eva Hoffman (Lost in Translation: A Life in a New Language)
The most important thing, married or single, is that you can't compare your life to overly simplified fantasy figures on TV, in movies, or in magazines. Every human being is unique. Every relationship is unique. If you're in it, it's your job to find out what's unique about it. I don't think you should be in a relationship and downgrade it because it doesn't look the same as some Hollywood image.
Joseph Gordon-Levitt
A refurbished Star Wars is on somewhere or everywhere. I have no intention of revisiting any galaxy. I shrivel inside each time it is mentioned. Twenty years ago, when the film was first shown, it had a freshness, also a sense of moral good and fun. Then I began to be uneasy at the influence it might be having. The first bad penny dropped in San Francisco when a sweet-faced boy of twelve told me proudly that he had seen Star Wars over a hundred times. His elegant mother nodded with approval. Looking into the boy's eyes I thought I detected little star-shells of madness beginning to form and I guessed that one day they would explode. 'I would love you to do something for me,' I said. 'Anything! Anything!' the boy said rapturously. 'You won't like what I'm going to ask you to do,' I said. 'Anything, sir, anything!' 'Well,' I said, 'do you think you could promise never to see Star Wars again?' He burst into tears. His mother drew herself up to an immense height. 'What a dreadful thing to say to a child!' she barked, and dragged the poor kid away. Maybe she was right but I just hope the lad, now in his thirties, is not living in a fantasy world of secondhand, childish banalities.
Alec Guinness (A Positively Final Appearance)
Mai had an unholy obsession with eighties fantasy movies. Labyrinth was her favorite. She was madly in lust with David Bowie’s character, Jareth the Goblin King, who was famous for his tight tights, smoldering stares and a very, ahem, generous codpiece.
Hailey Edwards (Heir of the Dog (Black Dog, #2))
Knowing almost nothing about books or serious magazines, intellectually he is a creature of the movie house, where he is an easy prey to fantasies concocted by Hollywood for the gullible. He
Richard Wright (Native Son)
If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?
Tatsuya Ishida
All medieval and classic cultures of the ancient world, including those on which Tolkien modeled his elves, routinely exposed their young and marriageable women to the fortunes of war, because bearing and raising the next generation of warriors is not needed for equality-loving elves. Equality-loving elves. Who are monarchists. With a class system. Of ranks. Battles are more fun when attractive young women are dismembered and desecrated by goblins! I believe that this is one point where C.S. Lewis, J.R.R. Tolkien, and all Christian fantasy writers from before World War Two were completely agreed upon, and it is a point necessary in order correctly to capture the mood and tone and nuance of the medieval romances or Norse sagas such writers were straining their every artistic nerve and sinew to create. So, wait, we have an ancient and ageless society of elves where the virgin maidens go off to war, but these same virgin maidens must abide by the decision of their father or liege lord for permission to marry? -- The Desolation of Tolkien
John C. Wright (Transhuman and Subhuman: Essays on Science Fiction and Awful Truth)
But for a long time, and probably far too long, I had a secret wish: the adolescently romantic idea that there was someone out there for me; someone I hadn't met yet who would ask me on a date and make sense of my life. I harbored the hope, I'm now embarrassed to admit, that like a girl in a Lifetime movie, I would look into someone's eyes and find a reflection of my inner life. But sometime between my teenage years and the first years in New York, that idea had pretty well evaporated. I'd grown up.
Diane Meier (The Season of Second Chances)
The fault in our stars is the inability to see that the world falls in love with fantasy, fairytales and magic in movies. Even religion asks us to believe in the most unlikely of situations. However, despite all the great movies we love, we choose to see so many real life spiritual experiences as delusion, mania, psychosis or wishful thinking. Our society gives great devotion to the arts. However, they solve so many problems with realism, rather than giving into the possibilty of God's plan for a person, that doesn't involve their theological views about how God helps write his children's stories.
Shannon L. Alder
Teenage Turn-Ons As played by Robert Pattinson in the Twilight Saga movies, Edward has a certain physical sex appeal thanks in part to the the actor's handsome features. but the appeal in both the movies and the novels has nothing to do with a bad-boy energy that so often translates into sexiness because, really, even when he's full-out vamp, there isn't that much of a bad boy to be found in his character. Curiously, the sexiness of the vampire Edward comes from his safeness. He is the ultimate fantasy man. Described in overly ripe prose, his physical perfection is glorious. He might be a little cool to the touch-but gosh! Look at him! He's youthful, with a perfect body, or the sort of man found in the pages of a million romance novels. And most important, he will do what ever it takes to keep his beloved Bella safe, whether the danger comes from the world or himself.
Laura Enright (Vampires' Most Wanted: The Top 10 Book of Bloodthirsty Biters, Stake-wielding Slayers, and Other Undead Oddities)
She stretched beneath him, bare and aching, held captive by an entirely new form of magic, one she'd thought existed only in books and movies.
Christine Warren (Heart of Stone (Gargoyles, #1))
I read sad stories to inoculate myself against grief. I watch action movies to identify with the quick-witted heroes. Both the same fantasy: I'll escape the worst of it.
Sarah Manguso (300 Arguments)
But see, that's the thing about movies. Nothing is left to the imagination. You read a book, and you see a picture of the characters and the scenes in your mind. You don't have that with a movie. It's all either up there on the screen laid out for you, or it isn't there at all.
Laurie Viera Rigler (Confessions of a Jane Austen Addict (Jane Austen Addict, #1))
Geeks are not the world’s rowdiest people. We’re quiet and introspective, and usually more comfortable communing with our keyboards or a good book than each other. Our idea of how to paint the Emerald City red involves light liquor, heavy munchies, and marathon sessions of video games of the ‘giant robots shooting each other and everything else in sight’ variety. We debate competing lines of software or gaming consoles with passion, and dissect every movie, television show, and novel in the science fiction, fantasy, and horror genres. With as many of us as there are in this town, people inevitably find ways to cater to us when we get in the mood to spend our hard-earned dollars. Downtown Seattle boasts grandiose geek magnets, like the Experience Music Project and the Experience Science Fiction museum, but it has much humbler and far more obscure attractions too, like the place we all went to for our ship party that evening: a hole-in-the-wall bar called the Electric Penguin on Capitol Hill.
Angela Korra'ti (Faerie Blood (The Free Court of Seattle #1))
When you live in LA and work in the movies, you experience the collapse of some of that fantasy. You know that the eyes glow like that because of lights placed at a specific angle, and you see the actresses up close and, yes, they are beautiful, but they are human size and imperfect like the rest of us.
Nina LaCour (Everything Leads to You)
Doctor, do you read the Harry Potter books?” “Well, as a matter of fact, yes, I have.” “The fourth was my favorite. What was yours?” “Umm, I don’t know really.” “Is it possible,” the prosecutor asked the witness, “that those writings of Mr. Kobel are merely attempts at writing a novel? Some big fantasy book.” “I…I can’t imagine it.” “But it’s possible, isn’t it?” “I suppose. But I’ll tell you, he’ll never sell the movie rights.
Jeffery Deaver
I’m not forcing you to do anything. You need to make your own damn decisions . And I'm not playing this game where we ignore reality and pretend to have a normal conversation for a few hours. You need to face reality and stop turning life into a movie. I'm not a puppet in your show. This is real life and you're always trying to ignore it for some cheap fantasy version where no problems exist. That's not noble of you, okay? You're not strong. You're a weak person like the rest of us. You've just learned to excel at avoiding issues. But there are issues . Life has so many freaking issues and if you can't force your own self to face life and make decisions without someone telling you what the hell to do, you're just going to end up another chess piece moved around by others.
Marilyn Grey (When the City Sleeps (Unspoken #6))
It is lonely behind these boundaries. Some people-particularly those whom psychiatrists call schizoid-because of unpleasant, traumatizing experiences in childhood, perceive the world outside of themselves as unredeemably dangerous, hostile, confusing and unnurturing. Such people feel their boundaries to be protecting and comforting and find a sense of safety in their loneliness. But most of us feel our loneliness to be painful and yearn to escape from behind the walls of our individual identities to a condition in which we can be more unified with the world outside of ourselves. The experience of falling in love allows us this escapetemporarily. The essence of the phenomenon of falling in love is a sudden collapse of a section of an individual's ego boundaries, permitting one to merge his or her identity with that of another person. The sudden release of oneself from oneself, the explosive pouring out of oneself into the beloved, and the dramatic surcease of loneliness accompanying this collapse of ego boundaries is experienced by most of us as ecstatic. We and our beloved are one! Loneliness is no more! In some respects (but certainly not in all) the act of falling in love is an act of regression. The experience of merging with the loved one has in it echoes from the time when we were merged with our mothers in infancy. Along with the merging we also reexperience the sense of omnipotence which we had to give up in our journey out of childhood. All things seem possible! United with our beloved we feel we can conquer all obstacles. We believe that the strength of our love will cause the forces of opposition to bow down in submission and melt away into the darkness. All problems will be overcome. The future will be all light. The unreality of these feelings when we have fallen in love is essentially the same as the unreality of the two-year-old who feels itself to be king of the family and the world with power unlimited. Just as reality intrudes upon the two-year-old's fantasy of omnipotence so does reality intrude upon the fantastic unity of the couple who have fallen in love. Sooner or later, in response to the problems of daily living, individual will reasserts itself. He wants to have sex; she doesn't. She wants to go to the movies; he doesn't. He wants to put money in the bank; she wants a dishwasher. She wants to talk about her job; he wants to talk about his. She doesn't like his friends; he doesn't like hers. So both of them, in the privacy of their hearts, begin to come to the sickening realization that they are not one with the beloved, that the beloved has and will continue to have his or her own desires, tastes, prejudices and timing different from the other's. One by one, gradually or suddenly, the ego boundaries snap back into place; gradually or suddenly, they fall out of love. Once again they are two separate individuals. At this point they begin either to dissolve the ties of their relationship or to initiate the work of real loving.
M. Scott Peck (The Road Less Traveled: A New Psychology of Love, Traditional Values and Spiritual Growth)
I often ask, "What do you want to work at? If you have the chance. When you get out of school, college, the service, etc." Some answer right off and tell their definite plans and projects, highly approved by Papa. I'm pleased for them* but it's a bit boring, because they are such squares. Quite a few will, with prompting, come out with astounding stereotyped, conceited fantasies, such as becoming a movie actor when they are "discovered" "like Marlon Brando, but in my own way." Very rarely somebody will, maybe defiantly and defensively, maybe diffidently but proudly, make you know that he knows very well what he is going to do; it is something great; and he is indeed already doing it, which is the real test. The usual answer, perhaps the normal answer, is "I don't know," meaning, "I'm looking; I haven't found the right thing; it's discouraging but not hopeless." But the terrible answer is, "Nothing." The young man doesn't want to do anything. I remember talking to half a dozen young fellows at Van Wagner's Beach outside of Hamilton, Ontario; and all of them had this one thing to say: "Nothing." They didn't believe that what to work at was the kind of thing one wanted. They rather expected that two or three of them would work for the electric company in town, but they couldn't care less, I turned away from the conversation abruptly because of the uncontrollable burning tears in my eyes and constriction in my chest. Not feeling sorry for them, but tears of frank dismay for the waste of our humanity (they were nice kids). And it is out of that incident that many years later I am writing this book.
Paul Goodman (Growing Up Absurd)
No doubt you've experienced something similar in books, movies, novels–whatever you use as an excuse to get away, to suspend reality. Literary characters, like these projections, draw you in and cultivate feelings of friendship on your part. Although, no matter how much you learn about them, how much time you spend with them–how far you can see into their thoughts and words, how they interact with others, their looks, what they wear–they will never, ever know you.
Chess Desalls (Travel Glasses (The Call to Search Everywhen, #1))
After that, a strange thing happened: Amy couldn't stop her expectations from rising. She imagined herself transformed and beautiful, like Molly Ringwald in Pretty in Pink, with her homemade dress and mysterious lace boots. She pictured her hair in an upsweep of loose curls. In the fantasy, her prom face looked like the one she only wore asleep, loose and relaxed. She imagined a photographer asking her to smile and, for the first time in her life, being able to do it.
Cammie McGovern (Say What You Will)
Unbelievable,” Audrey’s voice squeaked as I pushed past her. “Here we are, talking to you about your freaky little-boy encounter back in Breaux Bridge and how your caramel macchiato tasted like cardboard, and boom! You just zone out like one of the kids from Children of the Corn.” “Um, Aud, babe … I don’t think those kids zone out. They’re just freaky twenty-four-seven. It’s a year-round thing.” Gabe’s response drew a half-hearted laugh from me, but it was quickly reined in when I reached the Book of the Ancients. “Whatever, Gabriel,” Audrey said to him. “My point is, it’s freaky, okay? She gets this glazed-over look in her eyes, like she’s gonna whip out a butcher knife and go all Michael Myers on us or something.” I glanced over my shoulder to cock an eyebrow at her. “Oh, now you pay attention.” She cocked an eyebrow back. “What is it with you and the cheesy horror-movie references?” Gabe muttered. “Hey, now. Halloween is a classic,” Gavin scolded him. “Don’t go hating on the classics.
Rachael Wade (The Tragedy of Knowledge (Resistance, #3))
GET IN" he says, getting in on the driver side. I get in with no questions. Okay. This is a bad movie waiting to happen-I'm getting in a car with a guy I just met today who is keeping secrets from me. What the hell is wrong with me? I'm too scared to speak or ask or run away, though. So I just get in and put on my seat belt. I am so stupid.
Sara Daniell (Visions (Holly Nather #1))
You know, while you’re off sexercizing, I’ll be sitting here all by my lonesome watching lame ass lifetime movies.
Kimberly Spencer (Limerick (The Shimmer Trilogy, #2))
I’ve always existed, for the most part, in the fantasies I’ve enjoyed in fiction—living vicariously through movie and book characters since I was a child.
L.V. Lewis (Fifty Shades of Jungle Fever)
I’d never been in love, because I was waiting for the silent-movie love: big eyes and violins, chattering without sound, pure. Nobody had loved right since 1926.
Rich Horton (The Year's Best Science Fiction & Fantasy 2015 Edition)
i don't remember love as a child my only teacher being magazines and movie screens so i spent my life searching for fantasies
bridgett devoue (soft thorns)
The first noble truth, suffering, represents idealism. When you look at things from an idealistic viewpoint everything sucks, as the Descendents said in the song called “Everything Sucks” (from the album Everything Sucks). Nothing can possibly live up to the ideals and fantasies you’ve created. So we suffer because things are not the way we think they ought to be. Rather than face what really is, we prefer to retreat and compare what we’re living through with the way we think it oughta be. Suffering comes from the comparison between the two.
Brad Warner (Hardcore Zen: Punk Rock, Monster Movies and the Truth About Reality)
After watching too many scary movies it was hard not to have an overactive imagination, along with an inherent distrust of seemingly benevolent (and sometimes inanimate) things, like lawn gnomes.
Kat Stiles (Connected)
Just as reality intrudes upon the two-year-old’s fantasy of omnipotence so does reality intrude upon the fantastic unity of the couple who have fallen in love. Sooner or later, in response to the problems of daily living, individual will reasserts itself. He wants to have sex; she doesn’t. She wants to go to the movies; he doesn’t. He wants to put money in the bank; she wants a dishwasher. She wants to talk about her job; he wants to talk about his. She doesn’t like his friends; he doesn’t like hers. So both of them, in the privacy of their hearts, begin to come to the sickening realization that they are not one with the beloved, that the beloved has and will continue to have his or her own desires, tastes, prejudices and timing different from the other’s. One by one, gradually or suddenly, the ego boundaries snap back into place; gradually or suddenly, they fall out of love. Once again they are two separate individuals. At this point they begin either to dissolve the ties of their relationship or to initiate the work of real loving. By
M. Scott Peck (The Road Less Travelled: A New Psychology of Love, Traditional Values and Spiritual Growth (Classic Edition))
She saw it in her mind's eye like a movie playing, the haunting memories from her childhood she couldn't seem to shake blending together into one raw, aching image. Her mother lying in a darkened room for days, her face swollen with tears. The inevitable ashtray overrun with ashes, the acrid scent of pot smoke in the air. The bed or couch or futon may have been different from year to year as Evie moved them around from apartment to commune to funky cottage, but her mother was always the same. Falling hard for some man, immersing herself in romantic fantasies that were crushed when the guy left. And the guy always left. Her mother's inability to get a grasp on reality had too often left Mischa to care for her younger sister, to care for her mother, from too young an age. She remembered shaking Evie awake, trying to get her to eat. To get up and take a shower, take her and Raine to school. No kid should have to do that. No kid should have to witness the way Evie had allowed herself to be ravaged by love. No woman should allow that to happen.
Eve Berlin (Temptation's Edge (Edge, #3))
BEE MOVIE IS SO FUCKIN WEIRD LIKE WHAT THE SHIT THIS LADY FALLS IN LOVE WITH A GODDAMN BEE AND THEN THERES THIS PART WHERE THE BEE HAS LIKE SEXUAL FANTASIES ABOUT HER AND THEN THE BEE SUES THE HUMAN RACE LIKE WHAT THE HELL!
homuracide
Cocks had always been an incidental bonus to me, something I only cared about in proportion to how much I liked the guy it was attached to. Silly when flaccid, exciting or scary or off-putting when hard. It was a man’s words or expression or caresses that dominated my masturbatory fantasies—a specific man at that, be he a crush or a celebrity or a character from a movie. I never simply fixated on a dick. They were strictly secondary to the man himself.
Cara McKenna (After Hours)
The postmodernist belief in the relativism of truth, coupled with the clicker culture of mass media, in which attention spans are measured in New York minutes, leaves us with a bewildering array of truth claims packaged in infotainment units. It must be true—I saw it on television, the movies, the Internet. The Twilight Zone, The Outer Limits, That’s Incredible!, The Sixth Sense, Poltergeist, Loose Change, Zeitgeist: The Movie. Mysteries, magic, myths, and monsters. The occult and the supernatural. Conspiracies and cabals. The face on Mars and aliens on Earth. Bigfoot and Loch Ness. ESP and psi. UFOs and ETIs. OBEs and NDEs. JFK, RFK, and MLK Jr.—alphabet conspiracies. Altered states and hypnotic regression. Remote viewing and astroprojection. Ouija boards and tarot cards. Astrology and palm reading. Acupuncture and chiropractic. Repressed memories and false memories. Talking to the dead and listening to your inner child. It’s all an obfuscating amalgam of theory and conjecture, reality and fantasy, nonfiction and science fiction. Cue dramatic music. Darken the backdrop. Cast a shaft of light across the host’s face. Trust no one. The truth is out there. I want to believe.
Michael Shermer (The Believing Brain: From Ghosts and Gods to Politics and Conspiracies---How We Construct Beliefs and Reinforce Them as Truths)
I squeezed her hand. “He’s not coming back, Carlee” When I said her name, her whole body stiffened, her eyes opening wide and clearing, as though a veil over them had lifted. “Carlee,” she whispered. I nodded and waited for her to freak out, to start screaming or crying, bracing myself and getting ready to hug her or carry her back to the village, whatever it took. For a few impossibly long moments she didn’t say anything, didn’t move, and I wondered if the shock had broken her brain. Then her brown eyes locked on mine again, narrowing into slits. “I’m gonna kill that effing creep.” I laughed, relief flooding through me, and threw my arms around her neck. “No, seriously. I’m going to kill him! I can’t believe I bought his stupid lines! I don’t care how pretty he was, I mean, have you seen what I’m wearing?” Laughing, I nodded into her shoulder. “So not the style.” “I know, right? I look like an extra in some fantasy movie. Some stupid fantasy movie.
Kiersten White (Endlessly (Paranormalcy, #3))
Last night I went and saw Good Will Hunting, which takes place not exactly where I used to live, in Boston, but pretty darn close, so I've been all flush with nostalgia for it. I was in Boston from summer of '89 until spring of '92... ...I think it's the ultimate nerd fantasy movie. It's a bit of a fairy tale, but I enjoyed it a lot. Minnie Driver is really to fall sideways for. And there's all sorts of cool stuff. It's actually a movie that's got calculus in it. It takes place in Boston.
David Foster Wallace (Conversations with David Foster Wallace)
I have the sick fantasy that whatever I see at the movies is going to happen to me at home. My bladder capacity increased tenfold after I saw "The Shining" because I was sure that if I went into the bathroom late at night, there would be a dead woman in the bathtub.
Bailey White (Mama Makes Up Her Mind and Other Dangers of Southern Living)
How about I tell you what I don't like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn't be - basically gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful - nonfiction only, please. I do not like genre mashups a la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and cross breeding rarely results in anything satisfying... I do not like anything over four hundred pages or under one hundred and fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and - I imagine this goes without saying - vampires.
Gabrielle Zevin (The Storied Life of A.J. Fikry)
While filming the movie “Rough Sex 2,” porn star Regan Starr described in horrific terms in an interview with Talk Magazine in February, 2001, “that while sex acts were performed on her, she was hit and choked until she couldn’t breathe. Other “actresses,” she said, “wept because they were hurting so badly.
Shelley Lubben (Truth Behind the Fantasy of Porn: The Greatest Illusion on Earth)
The sad truth is that, within the public sphere, within the collective consciousness of the general populace, most of the history of Indians in North America has been forgotten, and what we are left with is a series of historical artifacts and, more importantly, a series of entertainments. As a series of artifacts, Native history is somewhat akin to a fossil hunt in which we find a skull in Almo, Idaho, a thigh bone on the Montana plains, a tooth near the site of Powhatan’s village in Virginia, and then, assuming that all the parts are from the same animal, we guess at the size and shape of the beast. As a series of entertainments, Native history is an imaginative cobbling together of fears and loathings, romances and reverences, facts and fantasies into a cycle of creative performances, in Technicolor and 3-D, with accompanying soft drinks, candy, and popcorn. In the end, who really needs the whole of Native history when we can watch the movie?
Thomas King (The Inconvenient Indian: A Curious Account of Native People in North America)
To boldly go where no man has gone before” says the iconic Captain’s Oath in the Star Trek series. Humanity seeks to live adventures, either by conquering mountains or the seas, or by watching war movies, space adventures, fantasies and thrillers. But often the greatest adventure of them all is to negotiate through a lifetime.
Ritu Lalit (Wrong, for the right reasons)
In sin, we come unplugged. When we refuse the givenness of life and withdraw from the present moment, we’re left to wander the world undead. Zombie-like, we wander from one moment to the next with no other goal than to get somewhere else, be someone else, see something else—anywhere, anyone, anything other than what is given here and now. We’re busy. We’ve got goals and projects. We’ve got plans. We’ve got fantasies. We’ve got daydreams. We’ve got regrets and memories. We’ve got opinions. We’ve got distractions. We’ve got games and songs and movies and a thousand TV shows. We’ve got anything and everything other than a first-hand awareness of our own lived experience of the present moment.
Adam S. Miller (Rube Goldberg Machines: Essays in Mormon Theology)
a movie set, Julia, is a tiny, intimate world, divorced from reality. No, immune to it.” She smiled to herself. “Fantasy, however difficult the work, is its own addiction. Which is why so many of us delude ourselves into believing we’ve fallen desperately in love with another character in that shiny bubble—for the length of time it takes to create a film.
Nora Roberts (Genuine Lies)
Wouldn't it be cool to be single in a bygone area? I take a girl to a drive-in movie, we go have a cheeseburger and a malt at the diner, and then we make out under the stars in my old-timey convertible. Granted, this might have been tough in the fifties given my brown skin tone and racial tensions at the time, but in my fantasy, racial harmony is also part of the deal.
Aziz Ansari
lower her to my side and pull her against me so that her head is resting on my jacket. Her breath tastes like starburst and it makes me want to keep kissing her until I can identify every single flavor. Her hand touches my arm and she gives it a tight squeeze just as my tongue slips inside her mouth. That would be strawberry on the tip of her tongue. She keeps her hand on my arm, periodically moving it to the back of my head, then returning it to my arm. I keep my hand on her waist, never once moving it to touch any other part of her. The only thing we explore is each other’s mouths. We kiss without making another sound. We kiss until the alarm sounds off on my phone. Despite the noise, neither of us stops kissing. We don’t even hesitate. We kiss for another solid minute until the bell rings in the hallway outside and suddenly lockers are slamming shut and people are talking and everything about our moment is stolen from us by all the inconvenient external factors of school. I still my lips against hers, then slowly pull back. “I have to get to class,” she whispers. I nod, even though she can’t see me. “Me, too,” I reply. She begins to scoot out from beneath me. When I roll onto my back, I feel her move closer to me. Her mouth briefly meets mine one more time, then she pulls away and stands up. The second she opens the door, the light from the hallway pours in and I squeeze my eyes shut, throwing my arm over my face. I hear the door shut behind her and by the time I adjust to the brightness, the light is gone again. I sigh heavily. I also remain on the floor until my physical reaction to her subsides. I don’t know who the hell she was or why the hell she ended up here, but I hope to God she comes back. I need a whole hell of a lot more of that. • • • She didn’t come back the next day. Or the day after that. In fact, today marks exactly a week since she literally fell into my arms, and I’ve convinced myself that maybe that whole day was a dream. I did stay up most of the night before watching zombie movies with Chunk, but even though I was going on two hours of sleep, I don’t know that I would have been able to imagine that. My fantasies aren’t that fun. Whether she comes back or not, I still don’t have a fifth period and until someone calls me out on it, I’ll keep hiding out in here. I actually slept way too much last night, so I’m not tired. I pull my phone out to text Holder when the door to the closet begins to open. “Are you in here, kid?” I hear her whisper. My heart immediately picks up pace and I can’t tell if it’s that she came back or if it’s because the
Colleen Hoover (Finding Cinderella (Hopeless, #2.5))
This ethereal weirdo abounds in movies, but nowhere else. If she were from real life, people would think she was a homeless woman and would cross the street to avoid her, but she is essential to the male fantasy that even if a guy is boring, he deserves a woman who will find him fascinating and pull him out of himself by forcing him to go skinny-dipping in a stranger’s pool. THE
Mindy Kaling (Is Everyone Hanging Out Without Me? (And Other Concerns))
My father and I used to watch a ton of old horror movies when I was growing up. ’The Creature from the Black Lagoon‘ was one of my father’s favorites and he was very excited for me to see the film. But after the movie was over, I told him that I was kind of bored. I said to him, ‘I’m sorry, Daddy, but I saw the zipper in the back of the monster’s costume. From that point on, I was really never scared at all. The point I’m trying to make is that I don’t believe someone intentionally tipped off the target. And I maintain that no one made some horrendous mistake, which I’m now trying to cover up. I believe what really happened with the operation was that our target ended up seeing the zipper. Orlo Kharms realized something around him wasn’t… real. And he was able to avoid the trap we had laid out for him.
Richard Finney (Black Mariah: "A Calling")
Aidan ducked his head, burying his face in the crook of her neck. “Damn, you feel good,” he whispered, his deep voice hoarse with need. It only excited her more. “What do you say we forget dinner and the movie?” she whispered, her breath shortening. “How you tempt me,” he rumbled, tightening his hold. “If I tempted you as much as you tempt me,” she pronounced boldly, “we would both be naked right now.
Dianne Duvall (Blade of Darkness (Immortal Guardians, #7))
The movie style eventually known as ‘Film Noir’ served up hard-bitten crime stories featuring morally bankrupt men and mysterious femme fatales, blending violence and sexual desire into bleak tales of modern life, without clear messages of morality. The comic book industry offered younger readers its own version of the Film Noir mood with a wave of crime comics that began sweeping the newsstands around 1947.
Mike Madrid (The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines)
You can get hooked on afterlife ideas just like a drug. The reason to avoid ideas about life after death isn't because they couldn't possibly be true. Maybe they could. How would I know? It's because ideas like that promote a kind of dreamy fantasy state that distracts us from seeing what our life is right now. "The question doesn't fit the case." Look at your life as it is right now and live it, right now.
Brad Warner (Hardcore Zen: Punk Rock, Monster Movies and the Truth about Reality)
What Mayer did in the thirties― what he was situated to do as a Jew yearning to belong― was provide reassurance against the anxieties and disruptions of the time. He did this by fashioning a vast, compelling national fantasy out of his dreams and out of the basic tenets of his own dogmatic faith― a belief in virtue, in the bulwark of family, in the merits of loyalty, in the soundness of tradition, in America itself.
Neal Gabler (An Empire of Their Own: How the Jews Invented Hollywood)
Everything about my best friend was misleading to the men of Chicago. She was eccentric and loud, prone to heavy drinking and all-night partying, comfortable with casual hookups, always the funniest and most shocking person in any room, and she posted mostly nude selfies with increasing regularity. She was enigmatic, the closest to the stereotypical male fantasy I’d ever seen outside of a movie, but deep down she was, completely, a romantic.
Emily Henry (Beach Read)
How do you separate fantasy from reality? How can you be sure the story of your life both from long ago and minute to minute is true? There is a pleasant vindication to be found when you accept that you can’t. No one can, yet we persist and thrive. Who you think you are is sort of like a movie based on true events, which is not necessarily a bad thing. The details may be embellished, but the big picture, the general idea, is probably a good story worth hearing about.
David McRaney (You Are Not So Smart: Why You Have Too Many Friends on Facebook, Why Your Memory Is Mostly Fiction, and 46 Other Ways You're Deluding Yourself)
What—in other words—would modern boredom be without terror? One of the most boring documents of all time is the thick volume of Hitler’s Table Talk. He too had people watching movies, eating pastries, and drinking coffee with Schlag while he bored them, while he discoursed theorized expounded. Everyone was perishing of staleness and fear, afraid to go to the toilet. This combination of power and boredom has never been properly examined. Boredom is an instrument of social control. Power is the power to impose boredom, to command stasis, to combine this stasis with anguish. The real tedium, deep tedium, is seasoned with terror and with death. There were even profounder questions. For instance, the history of the universe would be very boring if one tried to think of it in the ordinary way of human experience. All that time without events! Gases over and over again, and heat and particles of matter, the sun tides and winds, again this creeping development, bits added to bits, chemical accidents—whole ages in which almost nothing happens, lifeless seas, only a few crystals, a few protein compounds developing. The tardiness of evolution is so irritating to contemplate. The clumsy mistakes you see in museum fossils. How could such bones crawl, walk, run? It is agony to think of the groping of the species—all this fumbling, swamp-creeping, munching, preying, and reproduction, the boring slowness with which tissues, organs, and members developed. And then the boredom also of the emergence of the higher types and finally of mankind, the dull life of paleolithic forests, the long long incubation of intelligence, the slowness of invention, the idiocy of peasant ages. These are interesting only in review, in thought. No one could bear to experience this. The present demand is for a quick forward movement, for a summary, for life at the speed of intensest thought. As we approach, through technology, the phase of instantaneous realiza-tion, of the realization of eternal human desires or fantasies, of abolishing time and space the problem of boredom can only become more intense. The human being, more and more oppressed by the peculiar terms of his existence—one time around for each, no more than a single life per customer—has to think of the boredom of death. O those eternities of nonexistence! For people who crave continual interest and diversity, O! how boring death will be! To lie in the grave, in one place, how frightful!
Saul Bellow (Humboldt's Gift)
Our sexual fantasies are often redundant and intense, like many other ideas involving ourselves. Most people approach sexuality limited to the idea that they should imitate other people, art (e.g., romantic literature) or movies (e.g., pornography). In this way, vicarious events and even fictions become a point of reference that we can actually feel. We judge actual people in our real lives against fictional events and unrealistic concepts. As such, real lovers seem inferior as a result.
Todd Vickers (The Relevance of Kabir)
Bad or good, movies nearly always have a strange diminishing effect on works of fantasy (of course there are exceptions; The Wizard of Oz is an example which springs immediately to mind). In discussions, people are willing to cast various parts endlessly. I've always thought Robert Duvall would make a splendid Randall Flagg, but I've heard people suggest such people as Clint Eastwood, Bruce Dern and Christopher Walken. They all sound good, just as Bruce Springsteen would seem to make an interesting Larry Underwood, if ever he chose to try acting (and, based on his videos, I think he would do very well ... although my personal choice would be Marshall Crenshaw). But in the end, I think it's best for Stu, Larry, Glen, Frannie, Ralph, Tom Cullen, Lloyd, and that dark fellow to belong to the reader, who will visualize them through the lens of the imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction - anyone who has ever seen One Flew Over The Cuckoo's Nest and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad ... but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.
Stephen King (The Stand)
His consolation prize was a hat. A battered fedora that looked as if it had blown off of Humphrey Bogart during the filming of Key Largo. Sucked up into the atmosphere during the movie’s hurricane, it had ended up here, on the other side of the world, sixty years later. On his head. Even though it had been enshrined in a closet inside the house, it kind of smelled as if it had spent about three of those decades at the bottom of a birdcage. Yesiree. It was almost as fun to wear as the brown leather flight jacket. Which really wasn’t fair to the flight jacket. It was a gorgeously cared-for antique that didn’t smell at all. And it definitely worked for him, in terms of some of his flyboy fantasies. But the day had turned into a scorcher. It was just shy of a bazillion degrees in the shade. He needed mittens or perhaps a wool scarf to properly accessorize his impending heat stroke. “Today, playing the role of Indiana Jones, aka Grady Morant, is Jules Cassidy,” he said, as he slipped his arms into the sleeves. Was anyone really going to be fooled by this? Jones was so much taller than he was.
Suzanne Brockmann (Breaking Point (Troubleshooters, #9))
Many, many things had to be done before the movie actually was made. The most important was finding a director. We had no say in that, but it was fun to fantasize. One night when we were in the kitchen, I looked over at Chris and asked, “Who would you want directing the movie?” “I don’t know.” He shrugged. “Wouldn’t Clint Eastwood be fantastic?” “Hell, yes,” he said. In truth, everything was fantasy: many books are optioned but few become movies, so we couldn’t even be sure there would be a movie. Given that we had no control over it, we turned our attention to other things.
Taya Kyle (American Wife: Love, War, Faith, and Renewal)
I had the feeling that, somewhere, there were boys and girls like Taki and Mitsuha. This story is a fantasy, of course, but I do think there are people somewhere who've had experiences similar to theirs, and who hold similar feelings inside. People who've lost precious loved ones or places, and who've privately decided to "struggle and fight," even so. People who believe that they're sure to find something someday, even though it hasn't happened yet, and who keep reaching out for it. I felt that those feelings needed to be related with an immediacy that differed from the glamour of the movie, and I think that's why I wrote this book.
Makoto Shinkai (your name.)
Marriage, after all, was the known, not the unknown: the dull dinner party, not the madcap masquerade. It was a set of issues and events that audiences knew all too well offscreen. Unlike the wide-open frontier of the western, offering freedom and adventure, or the lyrical musical, with its fantasy of release through singing and dancing, or the woman's film, with its placing of a marginalized social figure (the woman) at the center of the universe, or the gangster movie, with its violent excitement and obvious sexual freedom, the marriage film had to reflect what moviegoers already had experienced: marriage, in all its boredom and daily responsibilities.
Jeanine Basinger (I Do and I Don't: A History of Marriage in the Movies)
Charlotte is the sort of person who's inclined to feel guilty imagining so much as a kiss between her and someone who's already involved, the sort of person who can't really even manage a fantasy about a movie star who might be married, much as she finds, let's say, Andy Garcia to be worth imagnining, Charlotte is the sort of person who will have to get Andy Garcia divorced, within the fantasy but having nothing to do with having met her, he has to be divorced prior to having met her in order for her to think about kissing him, and so Charlotte tends to find it easier to just fantasize about celebrities she knows are single than to go to all that trouble.
Elizabeth Crane (All This Heavenly Glory)
In the front seats, Eva and Petya argued over the ending of an Australian horror movie. Eva was winning, speaking with more conviction; Petya kept falling silent as he navigated around potholes in the road. The next time he downshifted, Eva turned in her seat to make her case to Marina. “The end of it is a fantasy, like a dream sequence, don’t you agree?” “I didn’t see the movie,” Marina said. Eva pursed her lips. “From what you heard us describe, though. Doesn’t it seem most likely that it’s a fantasy?” Marina shook her head. “I don’t know.” That familiar pressure began to come down on her chest. Petya, bringing the car back up to speed, glanced at his wife. “She hasn’t seen it. Leave her alone.
Julia Phillips (Disappearing Earth)
Film and television have convinced too many writers that heaps of dialogue make novels more like movies and therefore good. This is an amateur's fantasy, and it has induced some writers to surrender the few advantages they have over cinematic storytelling. The moviemaker is stuck with what the camera can see and the microphone can hear. You have more freedom. You can summarize situations. You can forthrightly give us people's histories. You can concentrate ten years into ten words. You can move anywhere you like outside real time. You can tell us—just tell us—what people are thinking and feeling. Yes, abundant dialogue can lighten a story, make it more readable and sparkle with wonders. But it is pitiably inadequate before what it is not suited to do.
Stephen Koch (The Modern Library Writer's Workshop: A Guide to the Craft of Fiction (Modern Library Paperbacks))
…He needed to find some little poor kids to playfully spray with a hose, while he was helping out at a charity carwash for the handicapped or something.  Maybe rent a wet dog for the afternoon, and get it to shake its head in slow motion, while he laughed like some douchebag asshole and tried to lightheartedly block the soapy droplets with his hands or one of the little wheelchair kids or something.  Women loved that shit if movies were to be believed.  They ate it up. Sadly, he had no idea how to go about doing any of that though.  None of the pet shops had been open to the idea of him using their puppies as a prop in a seduction fantasy, and all of the schools for the disabled he called had refused to give him an hourly rate on renting their students.
Elizabeth Gannon (The Guy Your Friends Warned You About (Consortium of Chaos))
Why would everyone - in both the movie business and the audience - want to avoid the label "marriage"? Marriage was presumably everybody's business. People were either born into one, born outside of one, living in one, living outside of one, trying to woo someone into one, divorced from one, trying to get divorced from one, reading about one, dreaming about one, or just observing one from afar. For most people, it would be the central event - the biggest decision - of their lives. Marriage was the poor man's trip to Paris and the shopgirl's final goal. At the very least, it was a common touchstone. Unlike a fantasy film or a sci-fi adventure, a marriage story didn't have to be explained or defined. Unlike a western or a gangster plot, it didn't have to find a connection to bring a jolt of emotional recognition to an audience. Marriage was out there, free to be used and presented to people who knew what the deal was.
Jeanine Basinger (I Do and I Don't: A History of Marriage in the Movies)
He never looks at comics these days, even though they’ve become fashionable to the point where adults are allowed to read them without fear of ridicule. Ironically, in David’s view, this makes them a lot more ridiculous than when they were intended as a perfectly legitimate and often beautifully crafted means of entertaining kids. At age thirteen, David’s idea of heaven was somewhere that comics were acclaimed and readily available, perhaps with dozens of big budget movies featuring his favourite obscure costumed characters. Now that he’s in his fifties and his paradise is all around him he finds it depressing. Concepts and ideas meant for the children of some forty years ago: is that the best that the twenty-first century has got to offer? When all this extraordinary stuff is happening everywhere, are Stan Lee’s post-war fantasies of white neurotic middle-class American empowerment really the most adequate response?
Alan Moore (Jerusalem)
Did you ever bring girls back here?” I ask, broaching dangerous territory. I’m thinking dangerous thoughts. Having dangerous fantasies. Wanting dangerous things. “Never,” he says earnestly. “Yeah, I don’t believe you.” I cross over to his DVD case by the door, pretending to be curious about what he liked to watch when he was a teenager—and I am—but really, I just need to have some space from him before I let this crazy twitterpated feeling get the best of me. But Chase follows me. “I’m dead serious. Pop has a shotgun. He was always threatening to shoot my dick off if I knocked a girl up. Scared the shit out of me.” I laugh nervously, keeping my eyes on the movies. “And here you are trying to knock a girl up now. You must have gotten over your fear.” “Pop has arthritis. He’d have too much trouble loading the gun.” There’s a soft thud of a door closing, and I look up to see that he has shut us in. “And I have always regretted the lack of action this room has seen.
Laurelin Paige (Hot Cop)
Movie or no, you should never put pictures of the book’s characters on the cover. That only cramps the reader’s fantasy. You force him to keep seeing the faces of the actors in the movie. For someone who has seen the movie first and then, out of curiosity, goes on to read the whole book, that might not be so bad. But anyone who reads the book first is faced with a dilemma. During the reading he sees the faces of all the characters in his mind’s eye. Faces he wants to assemble with his own fantasy. No matter how those faces may be described. Despite your superfluous descriptions of noses, eyes, ears, and hair color, each reader constructs his own faces in his own imagination. Three hundred thousand readers; that’s three hundred thousand different faces for each character. Three hundred thousand faces that are destroyed at one fell swoop by that one face in the movie. As a reader, it’s pretty tough to remember that imaginary face after seeing the actor on the screen. Two
Herman Koch (Dear Mr. M)
I know that gen Z has it tough—they’re losing their proms and graduations to the quarantine, they’re on deck to bear the full brunt of climate catastrophe, and they’re inheriting a carcass of a society that’s been fattened up and picked clean by the billionaire class, leaving them with virtually no shot at a life without crushing financial and existential anxiety, let alone any fantasy of retiring from their thankless toil or leaving anything of value to their own children. That’s bad. BUT, counterpoint! Millennials have to deal with a bunch of that same stuff, kind of, PLUS we had to be teenagers when American Pie came out!... American Pie absolutely captivated a generation because my generation is tacky as hell. “I have a hot girlfriend but she doesn’t want to have sex” was an entire genre of movies in the ’90s. In the ’90s, people loved it when things were “raunchy” (ew!). Every guy at my high school wanted to be Stifler! Can you imagine what that kind of an environment does to a person? To be of the demographic that has a Ron Burgundy quote for every occasion, without the understanding that Ron Burgundy is a satire? This is why we have Jenny McCarthy, I’m pretty sure, and, by extension, the great whooping cough revival of 2014. Thanks a lot, jocks!
Lindy West (Shit, Actually: The Definitive, 100% Objective Guide to Modern Cinema)
I thought a lot about death. My death. I got used to the idea of dying. I always imagined it’d be peaceful, with slow-motion scenes and a nice background melody… like in a movie. But I was wrong. I was lost in the eerie quiet. It was cold and dark. My hair floated lightly in the air. No, not in the air, but in the water. Water surrounded me from every side. Frozen water that seemed to burn in my lungs. I was drowning and couldn’t breathe. I tried to swim. Desperately, I kicked my legs and waved my hands, but I wasn’t able to reach the surface. I felt all my energies slowly leave me. It was too dark, and I was tired, but I didn’t want to give up. I didn’t want to die. I tried to push harder with my feet, hoping to feel something solid underneath me, but there was nothing but the fluctuating light and darkness. It swallowed me and I didn’t know what to do. I had always been afraid of two things in my life, water and darkness, so I wondered how the hell I had ended up here. My head was spinning due to the lack of oxygen. I kept fighting, but every cell in my body screamed to let it go. I had to breathe, so I opened my mouth and inhaled strongly. Water came into my lungs, but it had stopped hurting. I no longer felt anything when my body became numb and the darkness devoured me.
A.C. Pontone (Flames of Truth (The Lost Fae, #1))
When it begins it is like a light in a tunnel, a rush of steel and steam across a torn up life. It is a low rumble, an earthquake in the back of the mind. My spine is a track with cold black steel racing on it, a trail of steam and dust following behind, ghost like. It feels like my whole life is holding its breath. By the time she leaves the room I am surprised that she can’t see the train. It has jumped the track of my spine and landed in my mothers’ living room. A cold dark thing, black steel and redwood paneling. It is the old type, from the western movies I loved as a kid. He throws open the doors to the outside world, to the dark ocean. I feel a breeze tugging at me, a slender finger of wind that catches at my shirt. Pulling. Grabbing. I can feel the panic build in me, the need to scream or cry rising in my throat. And then I am out the door, running, tumbling down the steps falling out into the darkened world, falling out into the lifeless ocean. Out into the blackness. Out among the stars and shadows. And underneath my skin, in the back of my head and down the back of my spine I can feel the desperation and I can feel the noise. I can feel the deep and ancient ache of loudness that litters across my bones. It’s like an old lover, comfortable and well known, but unwelcome and inappropriate with her stories of our frolicking. And then she’s gone and the Conductor is closing the door. The darkness swells around us, enveloping us in a cocoon, pressing flat against the train like a storm. I wonder, what is this place? Those had been heady days, full and intense. It’s funny. I remember the problems, the confusions and the fears of life we all dealt with. But, that all seems to fade. It all seems to be replaced by images of the days when it was all just okay. We all had plans back then, patterns in which we expected the world to fit, how it was to be deciphered. Eventually you just can’t carry yourself any longer, can’t keep your eyelids open, and can’t focus on anything but the flickering light of the stars. Hours pass, at first slowly like a river and then all in a rush, a climax and I am home in the dorm, waking up to the ringing of the telephone. When she is gone the apartment is silent, empty, almost like a person sleeping, waiting to wake up. When she is gone, and I am alone, I curl up on the bed, wait for the house to eject me from its dying corpse. Crazy thoughts cross through my head, like slants of light in an attic. The Boston 395 rocks a bit, a creaking noise spilling in from the undercarriage. I have decided that whatever this place is, all these noises, sensations - all the train-ness of this place - is a fabrication. It lulls you into a sense of security, allows you to feel as if it’s a familiar place. But whatever it is, it’s not a train, or at least not just a train. The air, heightened, tense against the glass. I can hear the squeak of shoes on linoleum, I can hear the soft rattle of a dying man’s breathing. Men in white uniforms, sharp pressed lines, run past, rolling gurneys down florescent hallways.
Jason Derr (The Boston 395)
The whitewash of Kingdom of Heaven Kingdom of Heaven is a classic cowboys-and-Indians story in which the Muslims are noble and heroic and the Christians are venal and violent. The script is heavy on modern-day PC clichés and fantasies of Islamic tolerance; brushing aside dhimmi laws and attitudes (of which Ridley Scott has most likely never heard), it invents a peace-and-tolerance group called the “Brotherhood of Muslims, Jews and Christians.” But of course, the Christians spoiled everything. A publicist for the film explained, “They were working together. It was a strong bond until the Knights Templar caused friction between them.” Ah yes, those nasty “Christian extremists.” Kingdom of Heaven was made for those who believe that all the trouble between the Islamic world and the West has been caused by Western imperialism, racism, and colonialism, and that the glorious paradigm of Islamic tolerance, which was once a beacon to the world, could be reestablished if only the wicked white men of America and Europe would be more tolerant. Ridley Scott and his team arranged advance screenings for groups like the Council on American-Islamic Relations, making sure that sensitive Muslim feelings were not hurt. It is a dream movie for the PC establishment in every way except one: It isn’t true. Professor Jonathan Riley-Smith, author of A Short History of the Crusades and one of the world’s leading historians of the period, called the movie “rubbish,” explaining that “it’s not historically accurate at all” as it “depicts the Muslims as sophisticated and civilised, and the Crusaders are all brutes and barbarians. It has nothing to do with reality.” Oh, and “there was never a confraternity of Muslims, Jews and Christians. That is utter nonsense.
Robert Spencer (The Politically Incorrect Guide to Islam (and the Crusades))
In the days leading up to Valentine’s Day, in addition to the daily letter I also made sure to send her a Valentine’s card and a different bar of chocolate. I was buying really nice bars of chocolate, all different flavors and kinds. She was only allowed to eat them right there at mail call, and sometimes she would get several packages at once, so even though it was hard to do, she’d share bites of her chocolate with other people. I also made sure to give extra thought to the regular, daily letter that would arrive on Valentine’s Day: Jamie, In the beginning of our relationship I criticized your expectations in a boyfriend. I told you that you watched too many movies and lived in a fantasy world. In a way I was asking you to settle. Even through our arguments about what was realistic and what was a fairy tale, I did everything I could to be your prince in a world where I saw you as the princess that you are. I was wrong to ever question you. Your standards never dropped and it forced me to rise up to the level needed to keep you. Like a storybook romance, I’ve defended your honor, showered you with love, worshipped the ground you walk on, and will faithfully wait for you while you’re away. You have made me a better man. Because of you I live a life I am proud of and have become the father, brother, son, and friend my family deserves. Your love has positively affected every aspect of my life. And for that I could never repay you. But I will happily be forever yours, paying off my debt and love for years to come. Like your favorite movie, Beauty and the Beast, a tale as old as time, we are living proof that fantasy can be reality. Love always and forever, Noah I’d never been that outwardly romantic before. I’d never worn my feelings on my sleeve quite like I did with her.
Noah Galloway (Living with No Excuses: The Remarkable Rebirth of an American Soldier)
#1 of 2 Leah munched another chip as she watched a couple on-screen race madly away from men with guns who were intent on killing them. She and Seth sat shoulder to shoulder on the sofa, both slumped down until they were practically lying on their backs. Seth had pulled the matching ottoman up against the sofa, so it really did feel as if they were lying in bed together, watching a movie. She slid him a covert glance. He had donned black cargo pants and a black T-shirt after his shower but had left his big feet bare. He had also left his hair loose. It now spilled over the back of the sofa in a glossy curtain, the thick wavy tresses still drying. He chuckled at something the male protagonist said. Leah smiled. She loved seeing him laugh. She didn’t think he did so as often as he should. Every once in a while, she noticed his gaze would slide to her legs. Her feet were propped on the ottoman close to his. The robe she had borrowed had parted just above her knees and fallen back, leaving most of her legs bare. And that pale flesh repeatedly drew Seth’s attention. She held the bag of chips out to him. Smiling, unaware that the faint golden light of desire illuminated his eyes, he poked his hand in and drew out a couple of chips. She smiled back, then returned her attention to the screen. The protagonists had at last made it to safety. They checked each other over for wounds, something both had miraculously escaped incurring in true Hollywood fashion. Then they fell into each other’s arms, finally giving in to the lust that had sparked between them ever since their first contentious meeting. Leah sighed as she watched them peel each other’s clothes off with eager hands. It made her want to do the same with Seth. Her body even began to respond as her imagination kicked in. “I miss sex.” The words were out of her mouth before she could question the wisdom of speaking them. “I do, too,” Seth confessed. She glanced over at him and found his eyes glued to the screen. More so since I met you. Her eyes widened when his voice sounded in her head. “Really?” “Yes.” The actors on-screen fell naked onto the bed and began to simulate sex, their moans and groans and cries of passion filling the room. “It’s natural to miss it,” he said matter-of-factly. “Nothing to feel guilty about.” “No. I mean, you really miss it more since you met me?” He froze. A look of dismay crossed his features as he cut her a glance. “I said that out loud?” “No. I heard it in my head.” Sh**. She grinned. “I heard that, too.” F**k.
Dianne Duvall (Death of Darkness (Immortal Guardians, #9))
You don’t know me! You know Miss Erstwhile, but--” “Come now, ever since I witnessed your abominable performance in the theatrical, it’s been clear that you can’t act to save your life. All three weeks, that was you.” He smiled. “And I wanted to keep knowing you. Well, I didn’t at first. I wanted you to go away and leave me in peace. I’ve made a career out of avoiding any possibility of a real relationship. And then to find you in that circus…it didn’t make sense. But what ever does?” “Nothing,” said Jane with conviction. “Nothing makes sense.” “Could you tell me…am I being too forward to ask?...of course, I just bought a plane ticket on impulse, so worrying about being forward at this point is pointless…This is so insane, I am not a romantic. Ahem. My question is, what do you want?” “What do I…?” This really was insane. Maybe she should ask that old woman to change seats again. “I mean it. Besides something real. You already told me that. I like to think I’m real, after all. So, what do you really want?” She shrugged and said simply, “I want to be happy. I used to want Mr. Darcy, laugh at me if you want, or the idea of him. Someone who made me feel all the time like I felt when I watched those movies.” It was hard for her to admit it, but when she had, it felt like licking the last of the icing from the bowl. That hopeless fantasy was empty now. “Right. Well, do you think it possible--” He hesitated, his fingers played with the radio and light buttons on the arm of his seat. “Do you think someone like me could be what you want?” Jane smiled sadly. “I’m feeling all shiny and brand new. In all my life, I’ve never felt like I do now. I’m not sure yet what I want. When I was Miss Erstwhile, you were perfect, but that was back in Austenland. Or are we still in Austenland? Maybe I’ll never leave.” He nodded. “You don’t have to decide anything now. If you will allow me to be near you for a time, then we can see.” He rested his head back, and they looked at each other, their faces inches apart. He always was so good at looking at her. And it occurred to her just then that she herself was more Darcy than Erstwhile, sitting there admiring his fine eyes, feeling dangerously close to falling in love against her will. “Just be near…” she repeated. He nodded. “And if I don’t make you feel like the most beautiful woman in the world every day of your life, then I don’t deserve to be near you.” Jane breathed in, taking those words inside her. She thought she might like to keep them for a while. She considered never giving them up. “Okay, I lied a little bit.” He rubbed his head with even more force. “I need to admit up front that I don’t know how to have a fling. I’m not good at playing around and then saying good-bye. I’m throwing myself at your feet because I’m hoping for a shot at forever. You don’t have to say anything now, no promises required. I just thought you should know.” He forced himself to lean back again, his face turned slightly away, as if he didn’t care to see her expression just then. It was probably for the best. She was staring straight ahead with wide, panicked eyes, then a grin slowly took over her face. In her mind was running the conversation she was going to have with Molly. “I didn’t think it was possible, but I found a man as crazy intense as I was.
Shannon Hale (Austenland (Austenland, #1))
He moved well. He looked good. He was tall. He worked on his body and this work was extremely successful. He had a lot of thick, messy black hair. And he had a face that was movie star handsome in a way that, without a doubt, launched a million wedding fantasies, even from women who just caught a glimpse of him walking down the street.
Kristen Ashley (The Promise (The 'Burg, #5))
Thomas Randall and Christopher Golden not only are inventive writers but write in a sense to grab your attention cover to cover! I absolutely advise you to read,"The Waking" series. You'll love it if you are into the movie,"The- Grudge". I'm currently working on reading the second book of the trilogy.
Thomas Randall (Dreams of the Dead (The Waking, #1))
There are no new releases that I'd want to see, but they've got the most recent Star Trek movie," Carter said, flipping through the channels... "We can watch it for the small price of our unborn child.
Kristin Miller (So I Married a Werewolf (Seattle Wolf Pack, #3))
Have you ever seen The Lord of The Rings?” He nodded while taking a sip of his coffee. “Yes, I know. This ring reminds you of that movie, but unfortunately this is real. Anybody can look up The Seal of Solomon on the internet, and see for themselves the legend behind it. So it’s realistic to believe the possibility of its existence, where Tolkien’s story is pure fantasy, an excellent one, but not real.
Rebekkah Ford (Beyond the Eyes (Beyond the Eyes #1))
In other words, magic in both The Lord of the Rings and The Chronicles of Narnia is not equivalent to the occult practices in which people in the real world can be involved. When the Bible commands against the use of sorcery and divination, it is not referring to the magical things that magical creatures can do in fantasy worlds.
Douglas M. Beaumont (The Message Behind the Movie: How to Engage with a Film Without Disengaging Your Faith)
He nodded toward her house. “Can I talk you into sharing a snack with me while we watch a movie or something for a bit? I know you need to go to bed soon, but I’d love to spend some time with you first. I promise to keep my hands to myself.” Stepping back, she shook her head with mock disappointment. “I was going to say yes… but then you blew it with the hands thing.” He chuckled. “And if I promise not to keep my hands to myself?” Crossing to the back door, she opened it and offered him a dramatic bow. “Step inside, my dear sir.” Those soft, full lips of his stretching in a smile, he did as ordered.
Dianne Duvall (Broken Dawn (Immortal Guardians, #10))
If you are preparing for an important meeting or event, for instance, you often fantasize about everything that could possibly go wrong beforehand. This is basically just an anxious mind generating a negative, insecure, and incapable image of itself. With visualization, the very space of our imagination, often dominated by fantasies of the future and nightmares of the past, could be converted into a kind of mindfully creative space, a kind of movie studio that actually benefits sentient beings.
Ethan Nichtern (The Road Home: A Contemporary Exploration of the Buddhist Path)
We received this prophecy twenty years ago,” the Strategos said, like a professor beginning a history lesson. It was especially annoying since the daughter of Poseidon already stated that fact. “We have spent a couple of decades deciphering it and sussing out its meaning. We believe we cracked most of the code, but there was one crucial piece missing.” A knot forged in my stomach, and my breath caught in my throat. I knew where this was going. I had read my fairy tales and my epic fantasy movies. Anyone could have pegged where this was going. I shot up another prayer to my dad or to any god that was listening. Please don’t let it be me. Please don’t let them be talking about me. “We believe that missing piece…” the Strategos took a dramatic pause. A long enough one for him to sit back up and return to leaning on his elbows. The man looked me straight in the eye, but I refused to connect. I switched to looking at the top of his head. I did whatever I could to stall the inevitable, but the Strategos’s gruff voice finished his sentence and sealed my fate. “Is you.” “Fuck,” I muttered.
Simon Archer (Forge of the Gods (Forge of the Gods, #1))
The Lost Child As the name states, the Lost Child is one who chooses to turn within and ignore than harsh reality playing out in their family.  They may lose themselves in fantasies, books, movies, games, and the internet. This person is often the youngest member of the family who has sought to find safety by staying out of the way and being alone.  It is important that they learn to engage with the world and face reality rather than attempting to hide and run away from it.
Julia Lang (Codependency Recovery Plan: How to Stop Being Controlled and Controlling Others, Start Healing From Emotional Abuse as You Learn to Cure Codependent Behavior and Build Happy, Healthy Relationships)
Recalling an old movie version of the play, starring lovely Helen Chandler, I chipped in, “Isn’t Outward Bound that old Sutton Vane story from the 1920s about people who find themselves on a ship bound for nowhere, before they realize some of them are dead?
Bobby Underwood (Atelier: A Romantic Fantasy)
She considered him further and decided he could definitely pass for a pirate. No, she thought, correcting herself. More like a sea captain, a younger version of the captain from that old movie where the pretty woman rents an old sea captain's house only to find the place haunted by the sea captain himself. She let out a heavy breath. Man, she loved that movie.
Madison Thorne Grey (Sorrah (Mirror of Blackmor #1))
She was prone to whistling bits from 1960s movie musicals and had secret fantasies of being joined in song by helpful blue jays and cheeky robins. “I
Joe Hill (The Fireman)
I am no stranger to dieting. I understand that, in general, to lose weight you need to eat less and move more. I can diet with reasonable success for months at a time. I restrict my calories and keep track of everything I eat. When I first started dieting under my parents’ supervision, I would do this in paper journals. In this modern age, I use an app on my phone. I recognize that, despite what certain weight-loss system commercials would have me believe, I cannot eat everything and anything I want. And that is one of the cruelties of our cultural obsession with weight loss. We’re supposed to restrict our eating while indulging in the fantasy that we can, indeed, indulge. It’s infuriating. When you’re trying to lose weight, you cannot have anything you want. That is, in fact, the whole point. Having anything you want is likely what contributed to your weight gain. Dieting requires deprivation, and it’s easier when everyone faces that truth. When I am dieting, I try to face that truth, but I am not terribly successful. There is always a moment when I am losing weight when I feel better in my body. I breathe easier. I move better. I feel myself getting smaller and stronger. My clothes fall over my body the way they should and then they start to get baggy. I get terrified. I start to worry about my body becoming more vulnerable as it grows smaller. I start to imagine all the ways I could be hurt. I start to remember all the ways I have been hurt. I also taste hope. I taste the idea of having more choices when I go clothes shopping. I taste the idea of fitting into seats at restaurants, movie theaters, waiting rooms. I taste the idea of walking into a crowded room or through a mall without being stared at and pointed at and talked about. I taste the idea of grocery shopping without strangers taking food they disapprove of out of my cart or offering me unsolicited nutrition advice. I taste the idea of being free of the realities of living in an overweight body. I taste the idea of being free. And then I worry that I am getting ahead of myself. I worry that I won’t be able to keep up better eating, more exercise, taking care of myself. Inevitably, I stumble and then I fall, and then I lose the taste of being free. I lose the taste of hope. I am left feeling low, like a failure. I am left feeling ravenously hungry and then I try to satisfy that hunger so I might undo all the progress I’ve made. And then I hunger even more.
Roxane Gay
Imaginhe how more exciting our lives would be, if we lived a nightmare, a walking Jason, an article about a deformed Leather Face, a HELL raising Cenobite, an expressionless white masked Halloween killer, an actual sighting of flying lights, or even a proven haunted town named Silent Hill
Dean Mackin
So I’m definitely NOT going to sit around holding my BREATH, waiting for a FANTASY SUMMER IN PARIS to happen. WHY? Because LIFE is NOT a romantic comedy movie!
Rachel Renée Russell (Dork Diaries: Crush Catastrophe)
That the movie star is an “escape” personality indicates one of the irreducible dangers to which the moviegoer is exposed: the danger of surrendering to the corroboration of one’s fantasies as they are thrown back from the screen.
James Baldwin (The Devil Finds Work)
Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever. I can't just sit back and watch from a distance anymore. From here on in, everything I'll tell you is colored by the subjective experience of being part of events. Here's where my story splits, divides, undergoes meiosis. Already the world feels heavier, now I'm a part of it. I'm talking about bandages and sopped cotton, the smell of mildew in movie theaters, and of all the lousy cats and their stinking litter boxes, of rain on city streets when the dust comes up and the old Italian men take their folding chairs inside. Up until now it hasn't been my word. Not my America. But here we are, at last.
Jeffrey Eugenides (Middlesex)
And her apparent eagerness to follow Tyler into the cauldron dried up all my professional zeal, and I had nothing more to say. Samantha just watched me to see what I would do—and for the first time in my life, I had absolutely no idea what that would be. What is the correct facial expression to put on when someone tells you their lifelong fantasy is to be eaten? Should I go for shock? Disbelief? What about moral outrage? I was quite sure the subject had never come up in any of the movies or TV shows I had studied, and even though I am considered a clever and creative person in some circles, I could not imagine anything at all that might be appropriate. So I stared, and Samantha looked back at me, and there we were: a perfectly normal married man with three kids and a promising career who just happened to enjoy killing people, staring at a perfectly normal eighteen-year-old girl who went to a good school and liked Twilight and who wanted to be eaten, sitting next to each other in a walk-in refrigerator at a vampire club in South Beach. I had been trying so hard lately to achieve some close approximation of normal life, but if this was it, I thought I would prefer something else. Outside of Salvador Dalí I really can’t believe the human mind could handle anything more extreme. And at last even the mutual staring began to seem too strange, even for two dedicated non-humans like us, and we both blinked and looked away.
Jeff Lindsay (Dexter is Delicious (Dexter, #5))
Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.” Amelia blushes, though she is angry more than embarrassed. She agrees with some of what A.J. has said, but his manner is unnecessarily insulting. Knightley Press doesn’t even sell half of that stuff anyway. She studies him. He is older than Amelia but not by much, not by more than ten years. He is too young to like so little. “What do you like?” she asks. “Everything else,” he says. “I will also admit to an occasional weakness for short-story collections. Customers never want to buy them though.” There is only one short-story collection on Amelia’s list, a debut. Amelia hasn’t read the whole thing, and time dictates that she probably won’t, but she liked the first story. An American sixth-grade class and an Indian sixth-grade class participate in an international pen pal program. The narrator is an Indian kid in the American class who keeps feeding comical misinformation about Indian culture to the Americans. She clears her throat, which is still terribly dry. “The Year Bombay Became Mumbai. I think it will have special int—” “No,” he says. “I haven’t even told you what it’s about yet.” “Just no.” “But why?” “If you’re honest with yourself, you’ll admit that you’re only telling me about it because I’m partially Indian and you think this will be my special interest. Am I right?” Amelia imagines smashing the ancient computer over his head. “I’m telling you about this because you said you liked short stories! And it’s the only one on my list. And for the record”—here, she lies—“it’s completely wonderful from start to finish. Even if it is a debut. “And do you know what else? I love debuts. I love discovering something new. It’s part of the whole reason I do this job.” Amelia rises. Her head is pounding. Maybe she does drink too much? Her head is pounding and her heart is, too. “Do you want my opinion?” “Not particularly,” he says. “What are you, twenty-five?” “Mr. Fikry, this is a lovely store, but if you continue in this this this”—as a child, she stuttered and it occasionally returns when she is upset; she clears her throat—“this backward way of thinking, there won’t be an Island Books before too long.
Gabrielle Zevin (The Storied Life of A.J. Fikry)
Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.
Gabrielle Zevin (The Storied Life of A.J. Fikry)
We deal with so many nightmares on a regular basis. When I’m watching a horror movie, there’s a pattern, a sense of control in them. I’m just an observer, not having to deal with any of the repercussions. It’s a nice dream to think monsters play by the rules, that they’ve got a pattern you can unlock and follow. Real life’s messy, and the chaos leaves you devastated in the wake.
Katherine McIntyre (Rising for Autumn)
As children, Grace and I liked to pretend our life was a movie projected onto a giant screen before an audience who watched, rapt, as we ate our pork chops and finished our homework and went to sleep side by side in our twin beds, Grace rising to shut the closet door if I left it open. Gradually, mysteriously, that fantasy evolved into a vocation--I came to imagine my future not in terms of anything I might do or accomplish, but the notoriety that would follow.
Jennifer Egan (Look at Me)
Bbw, thick and ssbbw goddess Impressive juicy sweet forms, intoxicating with their captivating beauty, like a glass of red wine, boiling like passionate boil, lust and excitement in me, clothes for you from your ultra mega turbo super hypersexuality are torn, I give you my excited like, he is like a kiss, billions of kisses all over your body like rain of rose petals and tiger lilies, and scented candles around us illuminate the starry night, the moon so beautifully illuminates your body, setting in a hot jacuzzi, your body is the most beautiful landscape in the world, Otori only nature can create, nothing more beautiful than you, I will not see until the end of time, my magnificent goddess. Never complex about your appearance because the larger, the more juicy - this is pure juicy relish, soft and gentle soul is like a plush toy that warms my soul, your heart is like a blooming scarlet rose. Thoughts about you are hot porn, this is romantic fantasy sex. Every second with you is a priceless memory of the most romantic love movie in the world.
Musin Almat Zhumabekovich
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.
Sean Penn (Bob Honey Who Just Do Stuff)
Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever. I can't just sit back and watch from a distance anymore. From here on in, everything I'll tell you is colored by the subjective experience of being part of events. Here's where my story splits, divides, undergoes meiosis. Already the world feels heavier, now I'm a part of it. I'm talking about bandages and sopped cotton, the smell of mildew in movie theaters, and of all the lousy cats and their stinking litter boxes, of rain on city streets when the dust comes up and the old Italian men take their folding chairs inside. Up until now it hasn't been my world. Not my America. But here we are, at last.
Jeffrey Eugenides (Middlesex)
At the movies — in the arts — conservative reality almost always comes disguised as fantasy whereas leftist fantasy comes disguised as reality!
Andrew Klavan (The Crisis in the Arts: Why the Left Owns the Culture and How Conservatives Can Begin to Take It Back)
Earlier, Susanne’s husband had detected a certain ticking in her, a bomb. He’d packed their children into the car and set out for a night of pizza and a double feature at the second-run movie theatre, leaving her alone to explode, splattering the house with a combination of things she’d ingested as a teen-ager, certain films and punk-rock records that confirmed what she’d guessed: one dies alone. Best to have her family out of the way. Best to have them hidden in a dark cinema when the desire to chop her hair roughly and live on cigarettes surged. These bursts of freedom, while infrequent, were dangerous. Their self-indulgence could tear holes in evenings, marriages, families. She’d been lost in the roar of the vacuum—a device that had the power to put her under a spell, into a trancelike state from which she could most easily contemplate the nature of the universe, the purpose of love, the purpose of death, and a fantasy she sometimes had of being bound nude to a parking meter in the city.
Samantha Hunt (The Dark Dark)
Instead, they shuffled to the nearest movie house, where the latest fantasy was dangled before them like a pocket watch at the end of a chain.
Amor Towles (A Gentleman in Moscow)
Film has offered adventure, hope, fantasy, and escape for those of us encased in poverty, limitation, and quiet desperation.
David Thomson (How to Watch a Movie)
He closed the space between us and relaxed as he stretched his arm along the back of the sofa. “I don’t bite, Ash. It’s just me. Promise. Come here and see.” I studied the crook of his arm; the idea of snuggling up against him was extremely tempting. But I didn’t think he had that in mind. So instead I leaned back on the couch, careful not to touch him. His hand didn’t come around me and pull me closer. It remained on the back of the couch, and I hated that I was disappointed. “Relax and watch the movie,” he said in a soft voice I’d never heard him use before. It made me feel warm and safe. Beau’s arm eventually slid down to settle on my shoulders. Absently he started tracing small circles on my upper arm. It was almost as if little jolts of electricity were zinging through my body. I hoped he couldn’t tell my breathing was getting erratic. I closed my eyes and fantasized about how it would feel to run my hands under his T-shirt and touch the soft skin that covered his muscled chest. I glanced up at him through my lashes, and his attention was completely focused on the movie. He had no idea he was driving me crazy. I slowly moved closer to him until my head was nestled in the crook of his arm. The smell of Irish Spring soap and the outdoors filled my senses. Sawyer always smelled like cologne. I liked soap. I turned my head just enough so I could smell him better. His arm gently tightened around me. He didn’t mean anything by it, but it felt so very good. I turned my body toward his side and closed my eyes. My imagination took over, and I wondered what it would feel like if he didn’t have this bothersome shirt covering his chest. “Ash.” Beau’s voice entered my fantasy. “Hmm…” I managed to respond as my hand touched his abs. “What’re you doing?” His voice didn’t sound right. There was a panicked tone to it that snapped me out of my dream and into reality. I gasped when I realized my leg was hiked up on Beau’s thigh. The hem of my sundress was barley covering my panties. To make matters worse, my hand was under his black shirt; his skin felt so warm and soft. The soft, circular patterns on my arm had stopped, and his hand was no longer touching me. Horror washed over me, and I jerked my hand out of his shirt and sat up. “Oh my God,” I blurted out. “I’m sorry…I didn’t mean…I’m sorry.” I couldn’t look at him. Not after I’d been all over him! Instead I did the only thing I could think of: I ran for my room.
Abbi Glines (The Vincent Boys (The Vincent Boys, #1))
7/29, 3 - 7pm Outside The Box Upbeat ROMANTICS Rewrite The World! Therapeutic Massage Mixer; Hilarious Inspiring Ice-Breaker Movement Games; Recommend Fav Romantic Books/Movies/TV; Brainstorm; Writing Games: Meet-up, Playshop & MIXER!: ***Meet 3pm but leave park 3:30pm on the dot, to walk 1 block to private rental space; if you're later than that you'll miss us!:*** *BRING MAIN DISH to share &/OR $15 - $60 Sliding Scale for rental space* MENU: 3pm: Therapeutic Massage Ice-Breaker Mixer in Pairs: Clothed, G-Rated. We share w/everyone, no matter their shape, gender, age, style, background, etc. 3:30pm: ~*LEAVE PARK For Private Outdoor/Indoor GARDEN! *~ 3:45pm -6:45pm: Rest of Playshop-Mixer in private garden, begins w/5 min w/Group Hug/OM/Harmonize. ~*<>*~~*<>*~~*<>*~ Enjoy an outrageous, open-hearted, Infinite Possibilities afternoon w/a community of peers outside mainstream thinking/living! Cocreate romantic stories w/characters who leap beyond conventional expectations into exciting, unusual, deeper, more meaningful new kinds of romantic relationships/activities/adventures/worlds…! Characters w/fascinating projects/occupations & idiosyncratic appearances, who inspire us to not just read/watch, but ~*LIVE*~ in wildy romantic new ways & transform our real world cities into a new human playground. Let's circulate stories w/extraordinary new ideas which cause positive revolutions *right now,* … not some time in the future, --in each other’s lives & our culture. UPBEAT: Stories w/not just happy endings; but where one can tell from beginning everything is going to work out. Yet not saccharin or shallow, but extremely imaginative, thought provoking, intensely romantic & fulfilling. Tired of same kinds of stories w/supermodels/'average Joes' who feel unworthy rather than just reach out & have amazing magical adventures together?... Love scenes that seem copied from book to book? What we read/watch affects how we think, interact w/life, what we bring into our life, & how we shape the world: Celebrate unique life stories/paths! *Choose* to be new kinds of role models for your community, & the sculptor of your reality. Join us for a meaningful magical SO FUN interactive gathering w/warm wonderful people, bursts of glee & laughter; in beautiful expansive garden w/gentle breezes in a circle of trees. *** Always cool w/cool breezes in the shade, warm in the sun.*** ~*<>*~~*<>*~~*<>*~ ***Also BRING: Beverage for yourself (SUBSTANCE FREE), Yoga mat, blanket or beach towel PARK ADDRESS: SE corner of Stoner Park (corner of Stoner Ave & Missouri): 11755 Missouri Ave., LA 90025: Open grassy area by bench: 4-hour PARKING IN LOT & AROUND PARK. (RAIN DOESN’T CANCEL: if rain meet in sheltered space facing skateboard area & we’ll walk to private space). ~*<>*~~*<>*~~*<>*~ Outdoor informal gathering of LA Outside The Box Romantic friends, Upbeat Sci-Fi/Fantasy Tribe, The WHIMSYUM & others from positive-focused, creative, imaginative universe/human potential exploring communities! I don’t respond to questions via email, text or social networks, thank you!: Voicemail 24hrs, or ask after gathering: May not be able to return all calls, so simply join us if you're inspired! Join us for a magical summer! ~ Diana, (310)936-3150 phone doesn’t accept text msgs.
WackyRomanticPyrate Diana
At the same time, and I hated myself for this, I was realizing how to make the movie I should have made, that it had to be something that stored as much of Rachel as possible, that ideally we would have had a camera on her for her whole life, and one inside her head, and it made me so bitter and fucking angry that this was impossible, and she was just going to be lost. Just as if she had never been around to say things and laugh at people and have favorite words that she liked to use and ways of fidgeting with her fingers when she got antsy and specific memories that flashed through her head when she ate a certain food or smelled a certain smell like, I dunno, how maybe honeysuckle made her think of one particular summer day playing with a friend or whatever the fuck, or how rain on the windshield of her mom’s car used to look like alien fingers to her, or whatever, and as if she had never had fantasies about stupid Hugh Jackman or visions of what her life was going to be like in college or a whole unique way of thinking about the world that was never going to be articulated to anyone. All of it and everything else she had ever thought was just going to be lost.
Jesse Andrews (Me and Earl and the Dying Girl)
An entire decade in which the Proletariat was left to fend for itself, scrounging in alleys and begging at chapel doors. If ever there had been a time for the American worker to cast off the yoke, surely that was it. But did they join their brothers-in-arms? Did they shoulder their axes and splinter the doors of the mansions? Not even for an afternoon. Instead, they shuffled to the nearest movie house, where the latest fantasy was dangled before them like a pocket watch at the end of a chain.
Amor Towles (A Gentleman in Moscow)
Logan is far and away the best X-Men movie I’ve ever seen (I’m tempted to say it’s the best X-Men movie ever made, but I haven’t seen Apocalypse so who knows). The characterizations are deeper, their relationships more nuanced. The acting is better: you wouldn’t expect less from Patrick Stewart, who somehow managed to maintain his dignity and gravitas throughout even the most idiotic ST:TNG episodes (looking at you, “Skin of Evil”), but the rest of the cast keeps up with him and makes it look effortless.
Peter Watts (Peter Watts Is An Angry Sentient Tumor: Revenge Fantasies and Essays)
Almost immediately after World War II, our most important ally, the Soviet Union, became our most serious adversary-cum-enemy. For Americans in 1950, it was not delusional to worry about international Communist aggression or Soviet espionage in the United States. But that’s the problem with a conspiracist mindset. After some kernel of reality triggers exaggerated fears and a possible explanation, it grows into an imaginary labyrinth of all-powerful evil, an elaborate based-on-a-true-story fiction that passes for nonfiction, such as the fantasy that thousands of committed Communists were covertly using movies and TV shows to propagandize on behalf of Communism and the Soviet Union. Anti-Communism was realistic; McCarthyism was fantastical.
Kurt Andersen (Fantasyland: How America Went Haywire: A 500-Year History)
In masturbation we conjure up sexual lovers, but they “come to us” for the sole purpose of sex and leave immediately after orgasm. To the best of my knowledge no sexual fantasy lover conjured up for masturbation has ever stayed a while after orgasm, had a fantasy shower with us, then a fantasy dinner, and went out to a fantasy movie with us. When we relate to real people as sex objects in this way we are not much interested in them "as persons", outside of the sexual experience.
Aron Gersh (Deeply Touched Inside — making love with a real person)
In all of our ancestral legends about space travel, didn’t old-time authors envision humanity as the brash young upstarts? Intrepidly setting forth into the unknown, facing dire threats and deadly foes, making countless mistakes, but always persevering, brilliantly, against the odds? Moreover, in myth, weren’t we often assisted by some wise elder race? Admirable, patient beings, unresentful of our success and irreverent gumption. In those early romances, movies and threevees, from Roddenberry space operas to Tolkien fantasies, there were always kindly older brothers, unjealous and dependable; perhaps a bit stuffy and exasperated, but always sagacious, forbearing and kind.
David Brin (The Ancient Ones)
Social conditions today encourage a survival mentality, expressed in its crudest form in disaster movies or in fantasies of space travel, which allow vicarious escape from a doomed planet. People no longer dream of overcoming difficulties but merely of surviving them. In business, according to Jennings, “The struggle is to survive emotionally”—to “preserve or enhance one’s identity or ego.” The ability to manipulate what Gail Sheehy refers to, using a medical metaphor, as “life-support systems” now appears to represent the highest form of wisdom: the knowledge that gets us through, as she puts it, without panic. “The current ideology,” Sheehy writes, “seems a mix of personal survivalism, revivalism, and cynicism”; yet her enormously popular guide to the “predictable crises of adult life,” with its superficially optimistic hymn to growth, development, and “self-actualization,” does not challenge this ideology, merely restates it in more “humanistic” form. “Growth” has become a euphemism for survival.
Christopher Lasch (The Culture of Narcissism: American Life in An Age of Diminishing Expectations)
Bad or good, movies nearly always have a strange diminishing effect on works of fantasy... In discussions, people are willing to cast various parts endlessly... But in the end, I think it's perhaps best for [the characters] to belong to the reader, who will visualize them through the lens of imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction―anyone who has ever seen 'One Flew Over the Cuckoo's Nest' and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad . . . but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.
Stephen King (The Stand)
Dear friends, let us love one another, for love comes from God. Everyone who loves has been born of God and knows God. —1 John 4:7 (NIV) I’ve always been something of a loner. In middle school, I preferred a good fantasy novel to time on the playground, and in college, I often chose to do homework or watch a movie rather than spend time with friends. Even at church, I chose to sit in pews toward the back, where I could pray alone. Sometimes my desire to be on my own was so strong that I would snap at people just to get them to leave me alone. I’d like to say all that changed when I met Emily; that her warmth and beauty opened my heart so wide I couldn’t hold it in any longer. But it didn’t; at least not at first. It took weeks of hanging out together before I worked up the courage to ask her out, and even when we started dating, I still found myself drawing away. After a night where I raised my voice at Emily for simply asking if we could have dinner together, I knew I had to change. Not only was I endangering the most important relationship in my life, but I wasn’t living by Christ’s precept to love and care for one another. I didn’t become a new person overnight. It took months of work and prayer to stop pushing Emily away. Ultimately, I had to accept that I wanted to watch her laugh as much as anything on earth—and I would change, in any way necessary, to protect and keep her in my life with God’s help. My relationship with Emily—and my family and friends—is ongoing…. Thank You, Lord, for always leaving Your heart open for me, thereby teaching me to open my heart to others. —Sam Adriance Digging Deeper: 2 Cor 5:17; Gal 2:20
Guideposts (Daily Guideposts 2014)
Whatever the actual plot, Liam Neeson’s “Taken” movies are primarily and definitively male fantasies of superpotency.
Anonymous
We made a big fuss over the possibility of microbes on Mars. If orangutans were Martians we’d cherish them, we’d be so amazed at how they’re like us but not like us, they’d be invited to tea and cigars at the White House. But they’re apes, sad in zoos, funny in movies, useful in advertisements and in fantasy books, I’m almost ashamed to say, but at least the Discworld’s Librarian has done his bit for the species and caused more than a few bob to flow their way.
Anonymous
Quite simply, the Church is not a movie theater. It does not need a “silver screen” in order to be more relatable to modern people. A movie theater is a place where we collectively sit down to watch the unreal, the made up, the world of drama, fantasy, and pretend. We watch these dramas, comedies, or adventures to be moved to tears, to laughter, or to an adrenaline high. We watch them in order to be manipulated into feeling something that is out of the ordinary – something that we want to feel at that particular moment. We are complicit in this, of course. We pay our money for the privilege of having our emotions manipulated by this world of make believe.
Anonymous
Secret societies…like the Skulls or the Free Masons?" "What do you know about them?" he asked, feeling me out. "Limited. I've seen a couple of movies with Johnny Depp and Paul Walker a while back. They're societies that have high influence over things like the American and foreign governments.
Nicole Gulla (The Lure of the Moon (The Scripter Trilogy, #1))
Travis ignored her protests as he pulled his cell phone from his pocket, thankful anew for that little Changeling quirk that allowed him to retain his clothes and everything that was within his aura each time he shifted. Christ, if life was like the movies, he’d end up naked and penniless every damn time he ran as a wolf. No wonder Hollywood werewolves were insane with rage. Probably pissed off at the sheer inconvenience of their lives.
Dani Harper (First Bite (Dark Wolf, #1))
How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.
Gabrielle Zevin (The Storied Life of A.J. Fikry)
Overused Settings All too often, games borrow settings from one another or from common settings found in the movies, books, or television. A huge number of games are set in science fiction and fantasy worlds, especially the quasi-medieval, sword-and-sorcery fantasy inspired by J. R. R. Tolkien and Dungeons & Dragons, popular with the young people who used to be the primary—indeed, almost the only—market for computer games. But a more diverse audience plays games nowadays, and they want new worlds to play in. You should look beyond these hoary old staples of gaming.
Ernest Adams (Fundamentals of Game Design (Game Design and Development Series))
High school is not about movies and fantasy worlds. It’s about teenagers being cruel to each other. I’ve
Norman Prentiss (Life in a Haunted House)
The truth is technical, clinical, not well understood. Essentially, somewhere behind my overactive, often dysfunctional frontal lobe, my hippocampus is getting hot, and in the back of my brain, deep inside the little, almond-shaped amygdala, flashes of light are igniting a fire that burns through my memory like a box of random photos left for too long in a dusty firetrap of an attic. Some are vivid, bright, resplendent in the superior technology that preserves their detail, context, meaning. Truth. Others, many in fact, are so faded I can hardly see the contrast of negative on positive. I can barely remember the incidents, events, places, and people that were, for whatever reason, worth recording. Where does the brain stop and the mind begin? Which part of my movie is merely mechanical, chemical? And how do fantasy, fear, desire, joy, loss emerge to become the story? If there is an answer, it’s all in the editing. For most of my life, my memories have been cut together, if not perfectly, then according to some system that has allowed me reasonable access to my story. To what I wanted to remember and how I chose to remember it. I had final cut. Now they are a mess. A beautiful mess, cut and recut, and playing in no particular order across the insides of my eyelids, running both forward and backward in time as the electrical fire in my brain chases them down and ignites them. I want to reach out my hand. I want to salvage one or two of my favorite frames. But memory is fast and my hands are strapped to this table.
Juliann Garey (Too Bright to Hear Too Loud to See)
More important, Los Angeles has seen in this century the greatest concentration of fantasy-production, as an industry and as an institution, in the history of Western man. In the guise of Hollywood, Los Angeles gave us the movies as we know them and stamped its image on the infant television industry. And stemming from the impetus given by Hollywood as well as other causes, Los Angeles is also the home of the most extravagant myths of private gratification and self-realization, institutionalized now in the doctrine of 'doing your own thing'.
Reyner Banham (Los Angeles: The Architecture of Four Ecologies)
One of the factors that drew Himes to Rico was their mutual need for fantasy. Movies especially entranced them. They lost themselves in Hollywood gossip, immersed themselves in movie magazine lore, and pretended to identify with the stars. But it was the films themselves-frequently shown in the prison-that most affected them, evoking images of life outside the walls and at the same time reminding them of where they were.
Edward Margolies (The Several Lives of Chester Himes)
I found my fantasy in movies and she found it in mermaids, but we both knew you needed something. The smarter you were, the more you saw the world for what it was, people for who they truly were, those inside-out people, and if that was all you saw... you'd be in therapy 24/7. You needed to make your own reality because the real version could make you doubt humanity.
Rob Thurman (Basilisk (The Korsak Brothers #2))
The stained-glass window on the front door shatters into tiny pieces behind her as it slams shut when he gets to it at last. It sounds like a musical cadence, heightening some eerie psycho movie score.
G.M.T. Schuilling (The Watchmaker's Doctor)
I'm one of those weirdos that will reread a book multiple times. I find it's like watching a favorite movie, you learn the words so well that you can open the book and pick up anywhere in the story and still enjoy it.
Sara C. Roethle (Xoe Meyers Trilogy: Books 1-3: Xoe, Accidental Ashes, and Broken Beasts (Xoe Meyers Young Adult Fantasy/Horror Series Book 0))
The vast majority of dudes (are) doing this high testosterone sort of storytelling, and so we put our fantasy on the plate on the pages. It might not be the right platform for females. I’ve got two daughters, and if I wanted to do something that I thought was emboldened to a female, I probably wouldn’t choose superhero comic books to get that message across. I would do it in either a TV show, a movie, a novel, or a book. It wouldn’t be superheroes because I know that’s heavily testosterone – driven, and it’s a certain kind of group of people. That’s not where I would go get this kind of message, so it might not be the right platform for some of this.
Todd McFarlane
Nobody knew what he knew. The whirl of time, the true life inside him. This was his leverage, his only control. He watched his mother browning the flour, her hands rising sticky-white from the heavy-bottomed pan. He ran messages to steamship lines. He lay near sleep, falling into reverie, the powerful world of Oswald-hero, guns flashing in the dark. The reverie of control, perfection of rage, perfection of desire, the fantasy of night, rain-slick streets, the heightened shadows of men in dark coats, like men on movie posters. The dark had a power.
Don DeLillo
I saw this movie once, when I was a kid, it was set in a prison about these two guys and they were friends for years. One of them finally escaped and later the other got paroled and went looking for him. He found him on a beach in Mexico, working on a boat. They got back together. I saw that when I was, like, ten or something and that was my dream for a long time. I’d get out of school, find my brother and get him and we’d both live together, near a beach, like the end of that movie. That was my fantasy, that’s what kept me going, right up until my old man told me my brother was … dead.
Todd Travis (Sex, Marry, Kill)
Love isn't easy. It isn't perfect like in stories or movies--but it's real. When we feel it, it reminds us we are alive, and when we truly feel it--it hurts like hell--but it reminds us why we live... For the hope of love.
N.A. Koziol
This was a fantasy come true. He had real guns, real bullets, and was shooting real people. He was pulling the trigger; he wasn’t just watching a movie. He was the writer, the director, the star. He did not want it to end. This scene had everything. It had the guns and it had the blood, but most of all, it had the power.
Joyce Nance (Reel to Real: The Video Store Murders)
Then again: from the critic's point of view, one of the truly wonderful things about the Star Wars universe is that the territory is so sprawling and borrows from so many sources that it's possible to find just about anything here, if you look hard enough. For example, the story of the original movie can also be summarized as, "A restless young boy chafes at life on the dusty old family farm, until he meets a wizard and is swept away to a wondrous land where he meets some munchkins, a tin man, a cowardly lion and Harrison Ford as the scarecrow.
David Brin (Star Wars on Trial: Science Fiction And Fantasy Writers Debate the Most Popular Science Fiction Films of All Time)
Once you consider the premise that Episodes I through III are not live-action movies with extensive special effects, but rather animated features with a few living actors rotoscoped in, many of the more common critical objections to the movies simply wither away.
David Brin (Star Wars on Trial: Science Fiction And Fantasy Writers Debate the Most Popular Science Fiction Films of All Time)
It’s a classic fantasy,” Bridger says with a shrug of his shoulders. “Trust me… the prince didn’t want to just kiss Snow White to wake her up. He wanted to fuck the innocence out of her.” I snort and shake my head. “You’ve ruined that movie and my childhood for me.
Sawyer Bennett (Wicked Lust (The Wicked Horse, #2))
One last school issue that we commonly see for adopted children is daydreaming. Adoption is an archetypal theme. We find it in mythology, biblical stories, and fairy tales. It is a theme that occurs again and again in children’s literature and film. When adopted children watch these movies or read these stories in school, they have a tendency to identify with them and to lose focus as they daydream. Daydreaming is a normal occurrence for people who are kept from knowing the truths of their lives and who are living with fantasy. It is a way to reframe things that are hard to understand and to compensate for things that are painful. For many school-aged adopted children, daydreaming is a very understandable and necessary strategy for doing the extra work of forming identity. Daydreaming, though, is often taken as a symptom of attention deficit disorder or attention deficit hyperactive disorder; it is in fact one of the many indicators that leads to the diagnosis of ADD. There are many children who do have this real disorder, and it is important in these cases to find the appropriate behavioral or pharmacological treatments. But, for adopted children, and for some other children in complex or difficult situations, the daydreaming or distracted air is not always an indicator of ADD.
Joyce Maguire Pavao (The Family of Adoption: Completely Revised and Updated)
Oh, sure," Cassie said. "Take me to your faery world. I've always wanted to see Tinker Bell." Not. She'd had to watch the movie when she was a kid because her parents had thought she should enjoy some fantasy stories in her early years. What sane kid wanted to be a child forever? Being older had lots more perks.
Terry Spear (Dragon Fae (The World of Fae, #5))
May 7: Marilyn performs well as a wife returning home several years after she has been presumed dead. She kneels down to speak with the children she has not seen for so long. Robert Christopher Morley, who played her son, recalled, “[S]he was very tender . . . and in the fantasy world of being on the set and shooting the movie it was very nice to have Marilyn be my mother.” Alexandra Heilweil, who played Marilyn’s daughter, recalled, “I remember looking up at her, and it was as if she drifted out of a mist . . . the model of femininity to me. I think it was the way she carried herself and the sweetness of her voice—totally feminine and totally elegant.” Alexandra’s mother added, “Marilyn was magnificent. You never really knew how sick she was. And I can tell you she was sick indeed.
Carl Rollyson (Marilyn Monroe Day by Day: A Timeline of People, Places, and Events)
Some lines you just don't cross. Not in my business." "Your business?" Georgia rolled her eyes. "You mean the private detective business? I wasn't aware you guys had such ironclad rules about making out with clients." She ignored the choking sound he made. "Seriously, have you even seen The Maltese Falcon?" Darius' face heated. "This isn't some movie, Ms. Clare. You're not Mary Astor, and I'm sure as hell no Humphrey Bogart. Here in the real world, there are rules.
Laura Oliva (Season Of The Witch (Shades Below #1.5))
[from 'A Quiet Place' review in 'Corruptions And Duplications Of Form'] This portrait of the American family under attack from alien invaders comes in the form of a horror movie for MAGA-ites. Here, it is the aliens who snatch children, not ICE. Defeating these aliens requires dry-erase conspiracy charts, a trip-wired perimeter, home-schooling. It's a paranoid fantasy for dads who want to move upstate.
A.S. Hamrah (The Earth Dies Streaming)
If Reagan’s story were fiction, it would seem absurdly pat and overdetermined, the irony too heavy-headed. Out of college during the Depression, he went straight to work for the new fantasy-industrial complex. In a Des Moines radio studio, he regularly pretended he was at Wrigley Field in Chicago, performing fake play-by-play broadcasts of Cubs games based on real-time wire-service descriptions. He visited Hollywood and got his first movie role — playing a radio announcer. During World War II he was an officer in the army — serving in the First Motion Picture Unit, stationed in Burbank and Culver City, where he starred in "This Is the Army," a movie in which he played a corporal who stages a piece of musical theater called "This Is the Army.
Kurt Andersen (Fantasyland: How America Went Haywire: A 500-Year History)
On the wall is a large blow up photo of Humphrey Bogart.” I only picked Bogart because there was a popular poster of him selling around at that time. It was logical then, having the movie fantasies, that Bogart would be in one, and I conveniently used him over and over as I wrote and he became a major character in the story. I wrote and rewrote in that Chicago hotel room. I ate ribs with my friends John and Jean Doumanian. In those days, Chicago had a joint called the Black Angus that had ribs the taste of which gave life meaning you couldn’t get from religion, psychoanalysis, or great art. At that age I ate ribs,
Woody Allen (Apropos of Nothing)
Can I talk you into sharing a snack with me while we watch a movie or something for a bit? I know you need to go to bed soon, but I’d love to spend some time with you first. I promise to keep my hands to myself.” Stepping back, Kayla shook her head with mock disappointment. “I was going to say yes… but then you blew it with the hands thing.
Dianne Duvall (Broken Dawn (Immortal Guardians, #10))
My hesitation, as an adult, to find myself within the heroine universe has been rooted in a suspicion that that identification would never be truly reciprocal: I would see myself in Jo March, but the world’s Jo Marches would rarely, if ever, be expected or able to see themselves in me. Over lazy dinner conversations, my white friends would be able to fantasy-cast their own biopic from an endless cereal aisle of nearly identical celebrities, hundreds of manifestations of blonde or brunette or redhead selfhood represented with Pantone subtlety and variation—if, of course, hardly any variation in ability or body type—while I would have no one to choose from except about three actresses who’d probably all had minor roles in some movie five years back. In most contemporary novels, women who looked like me would pop up only occasionally, as a piece of set decoration on the subway or at a dinner party, as a character whose Asian ethnicity would be noted by the white author as diligently as the whiteness of his or her unmarked protagonist was not. If women were not allowed to be seen as emblematic of the human condition, I wouldn’t even get to be seen as emblematic of the female condition.
Jia Tolentino (Trick Mirror)
In the dark melodramas of the forties, woman came down from her pedestal and she didn’t stop when she reached the ground. She kept going – down, down, like Eurydice, to the depths of the criminal world, the enfer of the film noir – and then compelled her lover to glance back and betray himself…. But for all her guts and valor, and for all her unredeemable venality…she hadn’t a soul she could call her own. She was, in fact, a male fantasy. She was playing a man’s game in a man’s world of crime and carnal innuendo, where her long hair was the equivalent of a gun, where sex was the equivalent of evil. And where her power to destroy was projection of man’s feeling of impotence. Only this could never be spelled out; hence the subterfuge and melodrama. She is to her thirties’ counterpart as night – or dusk – is to day. And the difference between their worlds, between the drawing room of romantic comedy and the underground of melodrama, is the difference between flirtation and fornication … or rape” (Haskell 191).
Molly Haskell (From Reverence to Rape: The Treatment of Women in the Movies)
Do you feel the need for-" One look at her and speed died in his throat. Silence collected. Awareness amplified. The mirror reflected her uncertainty. His self-confidence. The fluorescent lights cast Jack on the fast track with his Top Gun zip-front flight suit. His white T-shirt peeked from beneath. A Maverick name badge and dark aviator glasses were included. He could easily give Tom Cruise a run for his money. "You look like a movie star," she managed. He leaned a shoulder against the doorjamb. Crossed his arms over his wide chest. His gaze was a visual touch. "The Queen of Hearts," he admired, his voice husky. He reached out, skimmed his forefinger along her heart-shaped bodice. "I have few words. You're indescribable and desirable as hell. A fantasy, sweetheart." In spite of the customer traffic in a nearby aisle, he leaned in, his whisper possessive. "I'm looking forward to a night in Wonderland." He kissed her then, full on the mouth. A lingering kiss that sped up her heart and tented his flight suit.
Kate Angell (The Bakeshop at Pumpkin and Spice)
On the way to work, Nina felt pretty chirpy, and put in her earbuds and pretended she was in a movie, smiling at all the people who passed her and saying hello to the dogs. She had this fantasy a lot, that her life was like The Truman Show, that audiences all over the world were enjoying her playlist and hairstyle as much as she was. She would angle her face to the sun to help the lighting guy, or look over her shoulder to give the camera back there something to do. In public Nina was a quiet, reserved person; in private she was an all-singing, all-dancing cavalcade of light and motion.
Abbi Waxman (The Bookish Life of Nina Hill)
Americans’ enthusiasm for apocalyptic fantasy probably owes more to movies like The Exorcist and The Omen than to the Bible itself.
Susan Jacoby (The Age of American Unreason)
devotees and detractors alike seem to agree that the film’s strongest sequence is neither fantasy nor flimflam, but instead a rather different sort of magic—Astaire magic—embodied in the movie’s big production number, “Coffee Time.
John C. Tibbetts (American Classic Screen Interviews)
Thunder, lightning, rain, hail, anxious fog and all the other things that accompany an iconic horror movie or damn fire tale about Tea, Cake, and lashings of Untimely Death, were occurring all over the little island known colloquially (and everywhere else) as The Skull.
Penny Blake (Necromancers)
All art is either great - or someone else's fantasy.
D.A. Holdsworth
The outer critic typically arises most powerfully during emotional flashbacks. At such times, it transmutes unconscious abandonment pain into an overwhelmingly negative perception of people and of life in general. It obsessively fantasizes, consciously and unconsciously, about how people have or could hurt us. Over the years these fantasies typically expand from scary snapshots into film clips and even movies. Without realizing it, we can amass a video collection of real and imagined betrayals that destroy our capacity to be nurtured by human contact.
Pete Walker (Complex PTSD: From Surviving to Thriving)
We needn't quibble about numbers," I said, loftily. "Oh, I think we do need," he said, and then just when I was about to relax, thinking I'd steered us back into safer waters, he dropped his arms again and his face went open and a little pale, leaving scared pink standing out on the edges of his collarbone. "I'd - - I'd like to ask. But not - - in here. After we - - if we - -" "Don't even try. I'm not getting engaged to go out with you," I said rudely, shoving in before he could drag us back onto the shoals. "If you're not asking, that's sufficient unto the day! If we make it out of here alive and you slog across the pond to come ask me, I'll decide what I think of it at the time, and until then, you can keep your Disney movie fantasies," and your secret pet mal, my brain unhelpfully inserted, "to yourself." He said, "Okay, okay, fine!" in a tone one-tenth irritation and nine-tenths relief, while I looked away, trying to stop my mouth contorting around the laugh I was having to fight so desperately to keep in yet again: thanks ever so, Aadhya. Her mum was a genius, actually.
Naomi Novik (A Deadly Education (The Scholomance, #1))
So while we formally mourn the dead from our past wars once a year, we increasingly see war as something that happens when peace—the normal state of affairs—breaks down. At the same time we can indulge a fascination with great military heroes and their battles of the past; we admire stories of courage and daring exploits in war; the shelves of bookshops and libraries are packed with military histories; and movie and television producers know that war is always a popular subject. The public never seems to tire of Napoleon and his campaigns, Dunkirk, D-Day or the fantasies of Star Wars or The Lord of the Rings. We enjoy them in part because they are at a safe distance; we are confident that we ourselves will never have to take part in war. The result is that we do not take war as seriously as it deserves. We may prefer to avert our eyes from what is so often a grim and depressing subject, but we should not.
Margaret MacMillan (War: How Conflict Shaped Us)
Under the Code, actresses lost their edge, their ability to surprise. As one studio executive grumbled, “The leading lady must start out good, stay good, and be whitewashed for the finish.” Consigned by censorship to a fantasy land of purity, they lost their social relevance. After all, what is the point of a Kay Francis movie in which Kay Francis is less sophisticated than the viewer?
Mick LaSalle (Complicated Women: Sex and Power in Pre-Code Hollywood)
Party time Part 1 After school, we go to Maddie’s. When we were little, like freshman year and even some of the sophomore year, we would sometimes stay in her room and put on x-out and pluck out eyebrows into that fine little line, and color our hair with highlights, and order pizza, cramming down as much as we could eat. Those days are going, we can’t get fat. Now Jenny hardly eats anything, and if she does, she can hardly keep it down. I think maybe that’s what I get so lightheaded, I only eat like once a day now. Jenny back then had a little extra around the middle, and now you can see her ribs, she even has that two-defined line on her tummy that goes into her underwear. I remember sneaking around late at night in her hose stealing a cookie from the jar on the top shelf in the old wood cabinet, that is also where her mom would hide her cigarettes that Jenny loved also, and the condoms were in a trinity box on top of the fridge, I sorry but I find that hilarious. At that time, we would stretch out on one of her, old enormous worn-out couches and watch, TV or movies until we fell asleep in our nightshirts’-the TV in Maddie’s living room is like 80 inches it’s like being in a movie theater our legs tangled together under an enormous fleece blanket. Maddie and liv are always entangled more passionately than Jenny and me on the loveseat! Maddie has an ancient TV in her room from the 1990s. It sucks and is small, it’s one of those with the big back on it, and the color is green, like looking into a fish tank. It’s funny her mom and dad don’t have money blinds on the windows, yet they have a big ass TV. You can sometimes see the people in the next condo overlooking us like we can see them get busy in their room! Yet nothing beats the hot guy taking a leak in room 302, he looks to be in his late twenties. He takes the boxes off at 10 pm and we get a free show. He knows we can see him because he makes it look inflexible and you are no more personable. Jenny and we girls love to press upon the glass, and just have fun and be a little crazy, like lifting our nighties and flashing the goods. Facebook stocking gets boring quickly anymore, so some nights the webcam comes out too. After her mom and dad are asleep… I like it’s more fun to be bad! Like we all have profiles and fake names because none of us are eighteen yet. Any- how’s mine is ‘Angel Pink Wings 01’ Maddie goes by: ‘Mad kitty 69’ Jenny goes by: ‘Ms. Little Lover 14’ Liv goes by: ‘Olivia O 123’ Yet everyone knows her by Liv so that name is okay- I guess. We make good money- ‘Double Clicking the Mouse.’ You would not believe all the pervs on this cam. the site, just wanting to see us doing it. Like old guys like our PE teacher! Man- that I didn’t even think about how to turn on a computer. Just like him, I guess they need too to see more of us close up. We have our checks mailed to Jenny's college boyfriend’s PO Box. Me this is what I do and yes- I come for you all, I just put in fake blue hair dye in, and have fake long lashes, and put in my blue contacts, and you don’t even know me. And then pen in more eyebrows. Fake, fake, fake, fake FAKE! Boys don’t like it when you fake it or do, they look at me, that's why I am Bi.
Marcel Ray Duriez (Nevaeh Young Taboo)
I’ve imagined us lying side by side, under the stars, or like in that book by Marcel Ray Duriez that Liv loves, where they make love under a bridge. I never thought about just in a bed farting and snorting around. Like with if I have to pee or do number two…? OMG- I never want Ray seeing me getting up to do that. In my imagined desires, I have seen us touching like those in romance movies, all hushed, wind blowing my hair, while the sun slowly rises and looks so big and lovely. I love how romance should be… why is it so wrong to not have it be like that? Ha- sorry boys that I like to take like three honors to finish, unlike Ray that takes less than one minute. I and most girls can pick more than once, however, the boys need to stimulate us, so we girls will be able to pick at least once and is not a one pump trump. Will, at least I have what’s in the Pringles can to satisfy me. But even that can’t be all mine or lead me into the perfect fantasy because I have to share it with my little sis! It’s like I can’t have any peace. She is my sis, so I guess it’s okay?
Marcel Ray Duriez (Nevaeh Young Taboo)