Gregory Peck Movie Quotes

If these Mount Everests of the financial world are going to labor and bring forth still more pictures with people being blown to bits with bazookas and automatic assault rifles with no gory detail left unexploited, if they are going to encourage anxious, ambitious actors, directors, writers and producers to continue their assault on the English language by reducing the vocabularies of their characters to half a dozen words, with one colorful but overused Anglo-Saxon verb and one unbeautiful Anglo-Saxon noun covering just about every situation, then I would like to suggest that they stop and think about this: making millions is not the whole ball game, fellows. Pride of workmanship is worth more. Artistry is worth more.

It was a feeling shared by most of the boys Ebright coached, among them Robert McNamara, later the U.S. secretary of defense, and the movie star Gregory Peck, who in 1997 donated twenty-five thousand dollars to the Cal crew in Ebright’s memory.

The surviving human beings there could do nothing but wait for the end to come. They chose different ways to live out their final days. That was the plot.** It was a dark movie offering no hope of salvation. (Though, watching it, Aomame reconfirmed her belief that everyone, deep in their hearts, is waiting for the end of the world to come.) ** On the Beach, the 1959 movie, director: Stanley Kramer, writer: John Paxton, starring: Gregory Peck, Ava Gardner, Fred Astaire & Anthony Perkins. On the Beach, the 1957 novel, writer: Nevil Shute.

For all his early-morning bravado, Bannon sounded as if he still couldn’t quite believe it all. And what an incredible story it was. Given the central role he had played in the greatest political upset in American history, the reporter suggested that it had all the makings of a Hollywood movie. Without missing a beat, Bannon shot back a reply worthy of his favorite vintage star, Gregory Peck in Twelve O’Clock High. “Brother,” he said, “Hollywood doesn’t make movies where the bad guys win.

I decided to begin with romantic films specifically mentioned by Rosie. There were four: Casablanca, The Bridges of Madison County, When Harry Met Sally, and An Affair to Remember. I added To Kill a Mockingbird and The Big Country for Gregory Peck, whom Rosie had cited as the sexiest man ever. It took a full week to watch all six, including time for pausing the DVD player and taking notes. The films were incredibly useful but also highly challenging. The emotional dynamics were so complex! I persevered, drawing on movies recommended by Claudia about male-female relationships with both happy and unhappy outcomes. I watched Hitch, Gone with the Wind, Bridget Jones’s Diary, Annie Hall, Notting Hill, Love Actually, and Fatal Attraction. Claudia also suggested I watch As Good as It Gets, “just for fun.” Although her advice was to use it as an example of what not to do, I was impressed that the Jack Nicholson character handled a jacket problem with more finesse than I had. It was also encouraging that, despite serious social incompetence, a significant difference in age between him and the Helen Hunt character, probable multiple psychiatric disorders, and a level of intolerance far more severe than mine, he succeeded in winning the love of the woman in the end. An excellent choice by Claudia.

I lift the lid of the chest. Inside, the air is musty and stale, held hostage for years in its three-foot-by-four-foot tomb. I lean in to survey the contents cautiously, then pull out a stack of old photos tied with twine. On top is a photo of a couple on their wedding day. She's a young bride, wearing one of those 1950's netted veils. He looks older, distinguished- sort of like Cary Grant or Gregory Peck in the old black-and-white movies I used to watch with my grandmother. I set the stack down and turn back to the chest, where I find a notebook, filled with handwritten recipes. The page for Cinnamon Rolls is labeled "Dex's Favorite." 'Dex.' I wonder if he's the man in the photo. There are two ticket stubs from 1959, one to a Frank Sinatra concert, another to the movie 'An Affair to Remember.' A single shriveled rosebud rests on a white handkerchief. A corsage? When I lift it into my hand, it disintegrates; the petals crinkle into tiny pieces that fall onto the living room carpet. At the bottom of the chest is what looks like a wedding dress. It's yellowed and moth-eaten, but I imagine it was once stark white and beautiful. As I lift it, I can hear the lace swishing as if to say, "Ahh." Whoever wore it was very petite. The waist circumference is tiny. A pair of long white gloves falls to the floor. They must have been tucked inside the dress. I refold the finery and set the ensemble back inside. Whose things are these? And why have they been left here? I thumb through the recipe book. All cookies, cakes, desserts. She must have loved to bake. I tuck the book back inside the chest, along with the photographs after I've retied the twine, which is when I notice a book tucked into the corner. It's an old paperback copy of Ernest Hemingway's 'The Sun Also Rises.' I've read a little of Hemingway over the years- 'A Moveable Feast' and some of his later work- but not this one. I flip through the book and notice that one page is dog-eared. I open to it and see a line that has been underscored. "You can't get away from yourself by moving from one place to another." I look out to the lake, letting the words sink in. 'Is that what I'm trying to do? Get away from myself?' I stare at the line in the book again and wonder if it resonated with the woman who underlined it so many years ago. Did she have her own secret pain? 'Was she trying to escape it just like me?

Given the central role he had played in the greatest political upset in American history, the reporter suggested that it had all the makings of a Hollywood movie. Without missing a beat, Bannon shot back a reply worthy of his favorite vintage star, Gregory Peck in Twelve O’Clock High. “Brother,” he said, “Hollywood doesn’t make movies where the bad guys win.