Hype Movie Quotes

Once you look past the hype, actors are nothing more than fugitives from reality who specialize in contradiction: we are both children and hardened adults—wide-eyed pupils and jaded working stiffs.

In the moral realm, there is very little consensus left in Western countries over the proper basis of moral behavior. And because of the power of the media, for millions of men and women the only venue where moral questions are discussed and weighed is the talk show, where more often than not the primary aim is to entertain, even shock, not to think. When Geraldo and Oprah become the arbiters of public morality, when the opinion of the latest media personality is sought on everything from abortion to transvestites, when banality is mistaken for profundity because [it's] uttered by a movie star or a basketball player, it is not surprising that there is less thought than hype. Oprah shapes more of the nation's grasp of right and wrong than most of the pulpits in the land. Personal and social ethics have been removed from the realms of truth and structures of thoughts; they have not only been relativized, but they have been democratized and trivialized.

Fear and desire for pleasure. Aggressiveness comes out of fear, predominantly, and sexuality predominantly out of the other. But they mix in the middle. Anyway, both of these impulses can destroy order, which comes out of both drives, and which is another human need I haven't yet fit into my scheme. So both have to be controlled. But in fact, despite religious commands to the contrary, aggressiveness has never really been condemned. It's been exalted, from the Bible through Homer and Virgil right down to Humbert Hemingway. Have you ever heard of a John Wayne movie being censored? did you ever see them take war books off the bookstands? They leave the genitals off Barbie and Ken, but they manufacture every kind of war toy. Because sex is more threatening to us than aggression. There have been strict rules about sex since the beginning of written rules, and even before, if we can believe myth. I think that's because it's in sex that men feel most vulnerable. In war they can hype themselves up, or they have a weapon. Sex means being literally naked and exposing your feelings. And that's more terrifying to most men than the risk of dying while fighting a bear or a soldier. Look at the rules! You can have sex if you're married, and you have to marry a person of the opposite gender, the same color and religion, an age close to your own, of the right social and economic background, even the right height, for God's sake, or else everybody gets up in arms, they disinherit you or threaten not to come to the wedding or they make nasty cracks behind your back. Or worse, if you cross color or gender lines. And once you're married, you're supposed to do only certain things when you make love: the others all have nasty names. When after all, sex itself, in itself, is harmless, and aggression is harmful. Sex never hurt anyone.

This is why people are so disappointed with the present. We talk so much about how wonderful tomorrow's going to be that even if it's great, it can't help but be a letdown. Tomorrow is like a summer blockbuster for which the studio starts showing trailers the previous November. By the time it comes to your complex, you feel like you've already seen it. All the best lines and biggest explosions. The most provocative coming-out-of-the-water bikini shot. You will already have seen the making-of-the-feature and heard the actors on the press junket talking about what a privilege it was to work with so-and-so and how they all did their own stunts. So because you feel like you've already seen it, by the time it comes, you have no desire to fork over $15 and actually sit through it in a theater. What's happened is that you've already experienced something which hasn't happened yet. In fact, when you think of it, the only reason to go to the movies isn't to see the feature but to get a taste of the future, to see the trailer for the NEXT big blockbuster and to experience THAT before it happens. And this phenomenon isn't limited to the movies, it is the we live today. And it is why I encourage you to ignore the hype of what's to come, and to get some popcorn and gummy bears during the previews, and to thoroughly enjoy the feature. In real time. Not in the black hole of expectation.

The world recoiled in horror in 2012 when 20 Connecticut schoolchildren and six adults were killed at Sandy Hook Elementary School. . . . The weapon was a Bushmaster AR-15 semiautomatic rifle adapted from its original role as a battlefield weapon. The AR-15, which is designed to inflict maximum casualties with rapid bursts, should never have been available for purchase by civilians (emphasis added).1 —New York Times editorial, March 4, 2016 Assault weapons were banned for 10 years until Congress, in bipartisan obeisance to the gun lobby, let the law lapse in 2004. As a result, gun manufacturers have been allowed to sell all manner of war weaponry to civilians, including the super destructive .50-caliber sniper rifle. . . .(emphasis added)2 —New York Times editorial, December 11, 2015 [James Holmes the Aurora, Colorado Batman Movie Theater Shooter] also bought bulletproof vests and other tactical gear” (emphasis added).3 —New York Times, July 22, 2012 It is hard to debate guns if you don’t know much about the subject. But it is probably not too surprising that gun control advocates who live in New York City know very little about guns. Semi-automatic guns don’t fire “rapid bursts” of bullets. The New York Times might be fearful of .50-caliber sniper rifles, but these bolt-action .50-caliber rifles were never covered by the federal assault weapons ban. “Urban assault vests” may sound like they are bulletproof, but they are made of nylon. These are just a few of the many errors that the New York Times made.4 If it really believes that it has a strong case, it wouldn’t feel the need to constantly hype its claims. What distinguishes the New York Times is that it doesn’t bother running corrections for these errors.

a young Goldman Sachs banker named Joseph Park was sitting in his apartment, frustrated at the effort required to get access to entertainment. Why should he trek all the way to Blockbuster to rent a movie? He should just be able to open a website, pick out a movie, and have it delivered to his door. Despite raising around $250 million, Kozmo, the company Park founded, went bankrupt in 2001. His biggest mistake was making a brash promise for one-hour delivery of virtually anything, and investing in building national operations to support growth that never happened. One study of over three thousand startups indicates that roughly three out of every four fail because of premature scaling—making investments that the market isn’t yet ready to support. Had Park proceeded more slowly, he might have noticed that with the current technology available, one-hour delivery was an impractical and low-margin business. There was, however, a tremendous demand for online movie rentals. Netflix was just then getting off the ground, and Kozmo might have been able to compete in the area of mail-order rentals and then online movie streaming. Later, he might have been able to capitalize on technological changes that made it possible for Instacart to build a logistics operation that made one-hour grocery delivery scalable and profitable. Since the market is more defined when settlers enter, they can focus on providing superior quality instead of deliberating about what to offer in the first place. “Wouldn’t you rather be second or third and see how the guy in first did, and then . . . improve it?” Malcolm Gladwell asked in an interview. “When ideas get really complicated, and when the world gets complicated, it’s foolish to think the person who’s first can work it all out,” Gladwell remarked. “Most good things, it takes a long time to figure them out.”* Second, there’s reason to believe that the kinds of people who choose to be late movers may be better suited to succeed. Risk seekers are drawn to being first, and they’re prone to making impulsive decisions. Meanwhile, more risk-averse entrepreneurs watch from the sidelines, waiting for the right opportunity and balancing their risk portfolios before entering. In a study of software startups, strategy researchers Elizabeth Pontikes and William Barnett find that when entrepreneurs rush to follow the crowd into hyped markets, their startups are less likely to survive and grow. When entrepreneurs wait for the market to cool down, they have higher odds of success: “Nonconformists . . . that buck the trend are most likely to stay in the market, receive funding, and ultimately go public.” Third, along with being less recklessly ambitious, settlers can improve upon competitors’ technology to make products better. When you’re the first to market, you have to make all the mistakes yourself. Meanwhile, settlers can watch and learn from your errors. “Moving first is a tactic, not a goal,” Peter Thiel writes in Zero to One; “being the first mover doesn’t do you any good if someone else comes along and unseats you.” Fourth, whereas pioneers tend to get stuck in their early offerings, settlers can observe market changes and shifting consumer tastes and adjust accordingly. In a study of the U.S. automobile industry over nearly a century, pioneers had lower survival rates because they struggled to establish legitimacy, developed routines that didn’t fit the market, and became obsolete as consumer needs clarified. Settlers also have the luxury of waiting for the market to be ready. When Warby Parker launched, e-commerce companies had been thriving for more than a decade, though other companies had tried selling glasses online with little success. “There’s no way it would have worked before,” Neil Blumenthal tells me. “We had to wait for Amazon, Zappos, and Blue Nile to get people comfortable buying products they typically wouldn’t order online.

Aside from the movies, examples of positive-Black Swan businesses are: some segments of publishing, scientific research, and venture capital. In these businesses, you lose small to make big. You have little to lose per book and, for completely unexpected reasons, any given book might take off. The downside is small and easily controlled. The problem with publishers, of course, is that they regularly pay up for books, thus making their upside rather limited and their downside monstrous. (If you pay $10 million for a book, your Black Swan is it not being a bestseller.) Likewise, while technology can carry a great payoff, paying for the hyped-up story, as people did with the dot-com bubble, can make any upside limited and any downside huge. It is the venture capitalist who invested in a speculative company and sold his stake to unimaginative investors who is the beneficiary of the Black Swan, not the "me, too" investors.

Virtual Reality (VR) is a technology that creates the illusion of real-life conditions. It does this using computer games, movies, and other programs where fluid images are displayed on a video screen or headset. A virtual reality video game or movie can provide fully immersive experiences for users with full interactivity and 360-degree views. Virtual Reality headsets are used to create the illusion of a virtual environment by using a computer known as an HMD (head-mounted display) that connects to a computer and/or gaming console.

Anticipation draws you through your days—the impending release of a hyped new album, a trailer for a movie that we should see next month. You look forward to the future, even if you can no longer imagine life beyond that morning.

Every year at the Academy Awards the most notable prize is for “Best Picture.” The media speculate on it for weeks prior to the broadcast, and most viewers stay up well past their bedtimes to see it awarded. There is a far less hyped award on the night: the one for film editing. Let’s face it: most viewers flip the channel or go into the kitchen to refill their popcorn bowl when the winner of “Best Film Editing” is announced. Yet what most people don’t know is that the two awards are highly correlated: since 1981 not a single film has won Best Picture without at least being nominated for Film Editing. In fact, in about two-thirds of the cases the movie nominated for Film Editing has gone on to win Best Picture.

You sound so hyped." I shook my head and giggled. "You're making me sound like that girl from that book who started a revolution." "Katniss Everdeen." Finnick put his fingers into the symbolic sign used in the movie The Hunger Games. "I'll volunteer as tribute for our Red any day of the week.