Larger Than Life Movie Quotes

The honeymoon, like Hollywood, is an animated movie. It’s larger than life, not a reality we should expect to see once we exit the theater.

It was striking to see my family loving this cinematic abomination as much as they were. The room was filled with laughter from beginning to end—huge, bright, joyful laughter. We finished watching it at 1:00 a.m. Our cheeks hurt, our stomachs ached, and we felt closer to one another than we had in a long time.... Their response to The Room was a powerful indicator of what this film would do on a much larger scale.

Bette Davis lived long enough to hear the Kim Carnes song, 'Bette Davis Eyes'. The lyrics to that song were not very interesting. But the fact of the song was the proof of an acknowledgement that in the twentieth century we lived through an age of immense romantic personalities larger than life, yet models for it, too - for good or ill. Like twin moons, promising a struggle and an embrace, the Davis eyes would survive her - and us. Kim Carnes has hardly had a consistent career, but that one song - sluggish yet surging, druggy and dreamy - became an instant classic. It's like the sigh of the islanders when they behold their Kong. And I suspect it made the real eyes smile, whatever else was on their mind.

Stahl trailed him upstairs, across a mezzanine, and out into the darkness of the sloping balcony. Tom gave the aisle his torch so his guest could see. On the screen below a woman's head was wavering, two or three times larger than life. A metallic voice clanged out, echoing sepulchrally all over the house, like a modern Delphic Oracle. 'Go back, go back!' she said. 'This is no place for you!' Her big luminous eyes seemed to be looking right at Lew Stahl as she spoke. Her finger came out and pointed, and it seemed to aim straight at him and him alone. It was weird; he almost stopped in his tracks, then went on again. He hadn't eaten all day; he figured he must be woozy, to think things like that. ("Dusk To Dawn")

I thought I might get a cinematic love story, and I've gotten some of that. But sitting here in my parents' house, with Ava a couple feet away from me, eating chow fun and watching Melrose Place, I realize that all of the sets and the props and the performances, the scripts that take years to write; the perfect camera angles and painstaking lighting, the directors that call take after take until it turns out right, the projections on the huge theater screens - so much larger and louder than life - it's all done in hopes of portraying what I'm feeling right now. As much as I had wanted a love story out of a movie, I know now that movies can only hope to capture this kind of love.

Stories are the preferred way human beings learn and define our values. In our stories we find heroes whose larger than life examples make heroism possible in our own small struggles. A society without stories has no dreams, no nobility, no challenge, no depth.

think that everyone that knew Kesey knew him differently. Maybe that’s true about all larger than life people, or it may be that no one really ever knows them at all - we just have exper - iences near them and claim them as our own. We say their names and wish that something intimate is coming out of our mouths. But intimacy isn’t like in books or movies.

Tho was Buffalo Bill Cody? Most people know, at the very least, that he was a hero of the Old West, like Daniel Boone, Davy Crockett, and Kit Carson-one of those larger-than-life figures from which legends are made. Cody himself provided such a linkage to his heroic predecessors in 1888 when he published a book with biographies of Boone, Crockett, Carson-and one of his own autobiographies: Story of the Wild West and Campfire Chats, by Buffalo Bill (Hon. W.F. Cody), a Full and Complete History of the Renowned Pioneer Quartette, Boone, Crockett, Carson and Buffalo Bill. In this context, Cody was often called "the last of the great scouts." Some are also aware that he was an enormously popular showman, creator and star of Buffalo Bill's Wild West, a spectacular entertainment of the late nineteenth and early twentieth centuries. It has been estimated that more than a billion words were written by or about William Frederick Cody during his own lifetime, and biographies of him have appeared at irregular intervals ever since. A search of "Buffalo Bill Cody" on amazon.com reveals twenty-seven items. Most of these, however, are children's books, and it is likely that many of them play up the more melodramatic and questionable aspects of his life story; a notable exception is Ingri and Edgar Parin d'Aulaire's Buffalo Bill, which is solidly based on fact. Cody has also shown up in movies and television shows, though not in recent years, for whatever else he was, he was never cool or cynical. As his latest biographer, I believe his life has a valuable contribution to make in this new millennium-it provides a sense of who we once were and who we might be again. He was a commanding presence in our American history, a man who helped shape the way we look at that history. It was he, in fact, who created the Wild West, in all its adventure, violence, and romance. Buffalo Bill is important to me as the symbol of the growth of our nation, for his life spanned the settlement of the Great Plains, the Indian Wars, the Gold Rush, the Pony Express, the building of the transcontinental railroad, and the enduring romance of the American frontier-especially the Great Plains. Consider what he witnessed in his lifetime: the invention of the telephone, the transatlantic cable, the automobile, the airplane, and the introduction of modem warfare, with great armies massed against each other, with tanks, armored cars, flame-throwers, and poison gas-a far cry from the days when Cody and the troopers of the Fifth Cavalry rode hell-for-leather across the prairie in pursuit of hostile Indians. Nor, though it is not usually considered

There were more important things than passion and love in a marriage, such as understanding, affection, compassion, and that most godlike act a person could perform, forgiveness. Love was secondary to any of these. Unless, that is, one lived in novels or romantic movies, where the protagonists were always larger than life and their love nothing short of legend.

I spent plenty of hours trying to escape my childhood reality holed up in a ratty movie theater watching larger-than-life heroes take on the bad guys.

There were more important things than passion and love in a marriage, such as understanding, affection, compassion, and that most godlike act a person could perform forgiveness. Love was secondary to any of these. Unless, that is, one lived in novels or romantic movies, where the protagonists were always larger than life and their love nothing short of a legend.

Specifically, they argue that digital technology drives inequality in three different ways. First, by replacing old jobs with ones requiring more skills, technology has rewarded the educated: since the mid-1970s, salaries rose about 25% for those with graduate degrees while the average high school dropout took a 30% pay cut.45 Second, they claim that since the year 2000, an ever-larger share of corporate income has gone to those who own the companies as opposed to those who work there—and that as long as automation continues, we should expect those who own the machines to take a growing fraction of the pie. This edge of capital over labor may be particularly important for the growing digital economy, which tech visionary Nicholas Negroponte defines as moving bits, not atoms. Now that everything from books to movies and tax preparation tools has gone digital, additional copies can be sold worldwide at essentially zero cost, without hiring additional employees. This allows most of the revenue to go to investors rather than workers, and helps explain why, even though the combined revenues of Detroit’s “Big 3” (GM, Ford and Chrysler) in 1990 were almost identical to those of Silicon Valley’s “Big 3” (Google, Apple, Facebook) in 2014, the latter had nine times fewer employees and were worth thirty times more on the stock market.47 Figure 3.5: How the economy has grown average income over the past century, and what fraction of this income has gone to different groups. Before the 1970s, rich and poor are seen to all be getting better off in lockstep, after which most of the gains have gone to the top 1% while the bottom 90% have on average gained close to nothing.46 The amounts have been inflation-corrected to year-2017 dollars. Third, Erik and collaborators argue that the digital economy often benefits superstars over everyone else.