Jeffrey Movie Quotes

I saw the movie," he said. "I know what it's about. Listen to this. When girls get to be about twelve or so"—he leaned toward us—"their tits bleed.

I kissed my fingers,held my palm flat beside my mouth and blew it into the air that surrounded her memory. I closed my eyes, thinking this was one of those moments you see in movies or read about in books where everything comes together.

Remember where you're standing when the spotlight goes off," Lovell warned me once, when our book was a best-seller and the movie it spawned was in theatres. "You'll have to find your own way off the stage.

I just want to make scary movies,” Jerome replied. “With occasional nudity.

I did what any loving, loyal daughter would have done who had been raised on a diet of Hercules movies.

During the dance, she made polite conversation, the kind beautiful young women make with dukes during waltzes in old movies. She held herself very straight, like Audrey Hepburn, whom all women idolize and men never think about.

The inner critic doesn’t exist in the present moment. It depends on endless rumination over the past. We wouldn’t rent the same bad movie 250 times, but we do that in our own mind. —JAN CHOZEN BAYS, PHYSICIAN, ZEN PRIEST, AND CO-ABBOT OF GREAT VOW ZEN MONASTERY

Every morning a great wall of fog descends upon the city of San Francisco. It begins far out at sea. It forms over the Farallons, covering the sea lions on their rocks, and then it sweeps onto Ocean Beach, filling the long green bowl of Golden Gate Park. The fog obscures the early morning joggers and the lone practitioners of tai chi. It mists up the windows of the Glass Pavilion. It creeps over the entire city, over the monuments and movie theaters, over the Panhandle dope dens and the flophouses in the Tenderloin. The fog covers the pastel Victorian mansions in Pacific Heights and shrouds the rainbow-colored houses in the Haight. It walks up and down the twisting streets of Chinatown; it boards the cable cars, making their clanging bells sound like buoys; it climbs to the top of Coit Tower until you can’t see it anymore; it moves in on the Mission, where the mariachi players are still asleep; and it bothers the tourists. The fog of San Francisco, that cold, identity-cleansing mist that rolls over the city every day, explains better than anything else why that city is what it is.

We are offered glimpses, even deep searches, into the questions that haunt people the most. We experience a level of intimacy with our clients that few will ever know. We are exposed to levels of drama and emotional arousal that are at once terrifying and captivating. We get to play detective and help solve mysteries that have plagued people throughout their lives. We hear stories so amazing that they make television shows, novels, and movies seem tedious and predictable by comparison. We become companions to people who are on the verge of making significant changes— and we are transformed as well. We go to sleep at night knowing that, in some way, we have made a difference in people’s lives. There is almost a spiritual transcendence associated with much of the work we do.

Company, Jeffrey Katzenberg not only won $280 million in compensation; he cofounded Dream-Works SKG, a Disney competitor that went on to release the highly successful movie Shrek. Not only did the movie make fun of Disney’s fairy tales, but its villain is also apparently a parody of the head of Disney at the time (and Katzenberg’s former boss), Michael Eisner. Now that you know Shrek’s background, I recommend you revisit the movie to see just how

As a general observation, I think our high school and college-age students are wonderful, that they’re striving collectively, I think, to be as fine a generation of young people as we have ever had in this Church. But even as I say that, I am quick to acknowledge--and I don’t want to minimize that compliment, but I am quick to acknowledge what you already know--that exceptions to that rule are too many and often far too serious. When our youth sin now, they can do so in such flagrantly offensive ways with ever more serious consequences in their lives. That is the world we are in and it is, by scriptural definition, a world that is getting progressively more wicked. So over time we will continue to see a steady deterioration of what is acceptable in movies, on television, in pop music (which, in the case of rap lyrics, isn’t even music at all), and, perhaps in our most dangerous contemporary foe, abuse of the Internet. I have learned what you have learned--that the door to permissiveness, the door to promiscuity and lewdness, swings only one way. It only opens farther and farther; it never swings back. Individuals can choose to close it, but it is quite certain, historically speaking, that public appetite and public policy will never close it.

We are offered glimpses, even deep searches, into the questions that haunt people the most. We experience a level of intimacy with our clients that few will ever know. We are exposed to levels of drama and emotional arousal that are at once terrifying and captivating. We get to play detective and help solve mysteries that have plagued people throughout their lives. We hear stories so amazing that they make television shows, novels, and movies seem tedious and predictable by comparison. We be come companions to people who are on the verge of making significant changes— and we are transformed as well. We go to sleep at night knowing that, in some way, we have made a difference in people’s lives. There is al most a spiritual transcendence associated with much of the work we do.

The necessary special effects are not in my possession, but what I’d like for you to imagine is Clementine’s white face coming close to mine, her sleepy eyes closing, her medicine-sweet lips puckering up, and all the other sounds of the world going silent—the rustling of our dresses, her mother counting leg lifts downstairs, the airplane outside making an exclamation mark in the sky—all silent, as Clementine’s highly educated, eight-year-old lips met mine. And then, somewhere below this, my heart reacting. Not a thump exactly. Not even a leap. But a kind of swish, like a frog kicking off from a muddy bank. My heart, that amphibian, moving that moment between two elements: one, excitement; the other, fear. I tried to pay attention. I tried to hold up my end of things. But Clementine was way ahead of me. She swiveled her head back and forth the way actresses did in the movies. I started doing the same, but out of the corner of her mouth she scolded, “You’re the man.” So I stopped. I stood stiffly with arms at my sides. Finally Clementine broke off the kiss. She looked at me blankly a moment, and then responded, “Not bad for your first time.

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.

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.

You have a pretty name." "So do you." "Not like you. 'Grace' is the name of a princess or a movie star or, you know, something from heaven. Grace. The fruit of redemption." Carter said it as though repeating something she'd heard many times, which of course she had. Grace just chewed, her mouth full of apple. "At least, that's what they say," Carter continued. "That's what they say." On the backs of Carter's hands Grace could see a few scrapes, the kind kids get from running around in the woods. Grace remembered when the backs of her hands looked just like that. "'Carter' means 'driver of a cart.' In Old English or something. But everyone thinks of the ex-president of Georgia." "Well, I didn't." Carter stared at Grace, blinking, as though looking for something. "I think it's a beautiful name," said Grace. "It's full of character.

Evidence from a group of women who had worked as prostitutes showed how pornography had been used on them in the course of their work, providing the model scenarios for gruesome rapes and assaults. They explained that, 'Women were forced constantly to enact specific scenes that men had witnessed in pornography.' The young women entering prostitution would be trained and accustomed by the use of pornography, '... the man would show either magazines or take you to a movie and then afterwards instruct her to act in the way that the magazines or films depicted.

He may not be the most well-known killer in this book, but he may well be the most influential in pop culture. No other killer has inspired as many movie franchises as the story of the Butcher of Plainfield. Norman Bates from Psycho, Leatherface from The Texas Chainsaw Massacre, and Buffalo Bill from The Silence of the Lambs were all inspired by his story. The account of the life of Ed Gein is so strange, and what they found in his barn was so macabre, it has influenced the way we think about modern horror.

The refusal of religious conservatives to acknowledge established scientific evidence reminds me of a movie, A Guide for the Married Man, with a scene acted by comedian Joey Bishop. Bishop’s wife catches him in bed with another woman. Both Bishop and his lady friend get out of bed and get dressed, while Bishop keeps denying what his wife is witnessing. “What woman? What bed? What are you talking about?” he says as he strolls into the living room, sits down, and begins reading a newspaper in front of his bewildered wife, who then closes the door behind the departing other woman. “I don’t know what you are talking about,” he says in reply to her befuddled protests. “I’ve been sitting here this whole time, reading, and waiting for you to make dinner.” She eventually stops believing her own eyes and goes off to make dinner. It worked for Bishop and it works for the religious science deniers. Keep denying what is known and repeating what is false, and soon, because it is easier, your listeners will lose their conviction because they will get tired of having to refute you so much. The deniers win because the less the listener has to argue, the happier they’ll be—and the more they can be manipulated because they have to pay more attention to earning a living so that they can put food on the table.

I believe that information technologies, especially well-designed, purposeful ones, empower and renew us and serve to amplify our reach and our abilities. The ensuing connectedness dissolves away intermediary layers of inefficiency and indirection. Some of the most visible recent examples of this dissolving of layers are the transformations we have seen in music, movies and books. Physical books and the bookstores they inhabited have been rapidly disappearing, as have physical compact discs, phonograph records, videotapes and the stores that housed them. Yet there is more music than ever before, more books and more movies. Their content got separated from their containers and got housed in more convenient, more modular vessels, which better tie into our lives, in more consumable ways. In the process, layers of inefficiency got dissolved. By putting 3000 songs in our pockets, the iPod liberated our music from the housings that confined it. The iPhone has a high-definition camera within it, along with a bunch of services for sharing, distributing and publishing pictures, even editing them — services that used to be inside darkrooms and studios. 3D printing is an even more dramatic example of this transformation. The capabilities and services provided by workshops and factories are now embodied within a printer that can print things like tools and accessories, food and musical instruments. A remarkable musical flute was printed recently at MIT, its sound indistinguishable from that produced by factory-built flutes of yesterday.

Amply funded and consistently ignored, the group developed a close bond. Catmull ran the organization in a highly collegial, non-bureaucratic manner. When Lucas decided to sell the division, Catmull made every effort he could to find a buyer who would keep the group together. Lasseter was being heavily recruited by Disney’s Jeffrey Katzenberg, who had seen his short movies and come to regret letting such a talent get away. But the culture Catmull had created was so appealing that Lasseter, like most of the other employees, wanted to stay put.

McVeigh had been thinking about the movie Clear and Present Danger, which was based on the novel by Tom Clancy. “In the movie, the bad guys deliver a bomb with a helicopter, but they drop it on a truck, to make it look like it was a truck bomb,” McVeigh told Nigh. “We could say someone did the same thing here—that it was really a helicopter bomb.

Idealism is materialism upside down. It proposes that all that exists is pure consciousness. Everything in the physical world, all matter and energy, are emergent properties of consciousness. In its more radical form, it asserts that the entire physical world is a mind-generated illusion, somewhat like the virtual world in the movie The Matrix. Idealism runs into a miracle if it proposes that out of ephemeral nonphysical consciousness there emerges a hard, physical world. How does that happen? Once emerged, is it still connected to mind or does it go on its merry way? On the other hand, if it proposes that everything is an imaginary projection of consciousness, then the miracle is that everyone other than me is also a part of my imagination. Does that mean I still have to pay taxes? Panpsychism is the fourth main worldview. It acknowledges that mind and matter are quite real, but it also proposes that these elements of reality are inseparable and go all the way down to elementary particles and “below,” and also all the way up to the universe and beyond. The idea of a complementary relationship, where something is “both/and” rather than “either/or,” is a core concept within quantum theory. Light, for example, behaves both as a wave and as a particle, depending on how you look at it. The advantage of panpsychism is that no miracles are required to account for how matter can be sentient, or how mind can have physical consequences. It is both/and. But all is not completely rosy. The trouble with panpsychism is called the binding problem. This means that if all matter is already sentient, then every atom of your body, your cells, and your organs should also be sentient. Why then is your sense of self a unity and not a multitude? What binds it all together so that the “I” within you experiences just one self rather than trillions of tiny selves? Dealing with the New Story One of the more interesting takes on the developing new story of reality has been proposed by Rice University’s Jeffrey Kripal, who, as a scholar of comparative religion, has explored the core themes of his discipline—the sacred, the paranormal, the supernormal, the mystical, and the spiritual—in a direction that few academics have dared to tred.80 He views the intense popular interest in the paranormal as more than a mere fascination with fictional miracles, but rather as a sign of the original meaning of fascination—a bewitching accompanied simultaneously by awe and terror. He defines “psychic phenomena” as “the sacred in transit from a traditional religious register into a modern scientific one,” and the sacred as what the German theologian and historian of religions Rudolf Otto meant, that is, a particular structure of human consciousness that corresponds to a palpable presence, energy, or power encountered in the environment.

for Berlin, a minstrel scene was not just a good way to begin a movie but also a way to dramatize the origins and foundations of American show business.