Legend Film Quotes

It's chick flick disguised as a sword-and-sorcery picture. The only genre film with less balls is probably... freakin' Legend. Anyone who actually enjoys Ladyhawke is a bona fide USDA-choice pussy!

Also included are special features for any Arthurian including: The Real King Arthur: an overview of the historical basis for the Once and Future King A comprehensive list of the many film, television, and media adaptations of the legends of King Arthur. Links to free, full-length audio recordings of the books and stories in this collection.

What happened was this: I got an image in my head that never got out. We see a great many things and can remember a great many things, but that is different. We get very few of the true images in our heads of the kind I am talking about, the kind that become more and more vivid for us as if the passage of the years did not obscure their reality but, year by year, drew off another veil to expose a meaning which we had only dimly surmised at first. Very probably the last veil will not be removed, for there are not enough years, but the brightness of the image increases and our conviction increases that the brightness is meaning, or the legend of meaning, and without the image our lives would be nothing except an old piece of film rolled on a spool and thrown into a desk drawer among the unanswered letters.

They say a basis in fact underlies most legends. They say it all the time, all those Wise Elders in all those old horror films, the high priests, the scientists, the gypsy fortune tellers. On this single issue they agree unanimously.

Two clichés make us laugh,” writes Umberto Eco in his essay on Casablanca, “but a hundred clichés move us because we sense dimly that the clichés are talking among themselves, celebrating a reunion.” Just

We get very few of he true images in our heads of the kind I am talking about, the kind which become more and more vivid for us as if the passage of the years did not obscure their reality but, year by year, drew off another veil to expose a meaning which we had only dimly surmised at first. Very probably the last veil will not be removed, for there are not enough years, but the brightness of the image increases and our conviction increases that the brightness is meaning, or the legend of meaning, and without the image our lives would be nothing except an old piece of film rolled on a spool and thrown into a desk drawer of unanswered letters.

When you are the only laowai in a village of 10,000 Chinese martial artists and you've sat through several dozen films where a white man shouts, "You Chinese dog," before getting his ass kicked, it starts to irritate you. We all need role models.

Television wasn't getting rid of animals, but they were no longer cast as creatures that were omniscient and heroic. They were talking horses like Mr Ed or an absurdist pig like Arnold Ziffle...Just like the heroic animals in silent films became comedians in talkies, animals on television were becoming jesters, something Rin Tin Tin had never been.

Colonnese praised the film for depicting "the terrible effects of hate and prejudice, and seems to say that life can only go on if one triumphs over these emotions.

sum up Casablanca in just four clipped, declarative sentences: “Boy meets girl. Boy loses girl. Boy gets girl back again. Boy gives up girl for humanity’s sake.

We get very few of the true images in our heads of the kind I am talking about, the kind which become more and more vivid for us as if the passage of the years did not obscure their reality but, year by year, drew off another veil to expose a meaning which we had only dimly surmised at first. Very probably the last veil will not be removed, for there are not enough years, but the brightness of the image increases and our conviction increases that the brightness is meaning, or the legend of meaning, and without the image our lives would be nothing except an old piece of film rolled on a spool and thrown into a desk drawer among the unanswered letters.

Shakespeare, Rembrandt, Beethoven will make films... all legends, all mythologies and all myths, all founders of religion, and the very religions... await their exposed resurrection, and the heroes crowd each other at the gate.

Film and TV V.I.P, seeker of the peace, part time chandelier cleaner, a legend in his own time, oppressor of champions, soldier of fortune, world traveller, bonvivant, all round good guy, international lover, casual hero, philosopher, wars fought, bears wrestled, equations solved, virgins enlightened, revolutions quelled, tigers castrated, orgies organised, bars quaffed dry, governments run, test rockets flown, life president of the Liquidarian Society of Great Britain and Ireland.

Entrepreneurs who kept their day jobs had 33 percent lower odds of failure than those who quit. If you’re risk averse and have some doubts about the feasibility of your ideas, it’s likely that your business will be built to last. If you’re a freewheeling gambler, your startup is far more fragile. Like the Warby Parker crew, the entrepreneurs whose companies topped Fast Company’s recent most innovative lists typically stayed in their day jobs even after they launched. Former track star Phil Knight started selling running shoes out of the trunk of his car in 1964, yet kept working as an accountant until 1969. After inventing the original Apple I computer, Steve Wozniak started the company with Steve Jobs in 1976 but continued working full time in his engineering job at Hewlett-Packard until 1977. And although Google founders Larry Page and Sergey Brin figured out how to dramatically improve internet searches in 1996, they didn’t go on leave from their graduate studies at Stanford until 1998. “We almost didn’t start Google,” Page says, because we “were too worried about dropping out of our Ph.D. program.” In 1997, concerned that their fledgling search engine was distracting them from their research, they tried to sell Google for less than $2 million in cash and stock. Luckily for them, the potential buyer rejected the offer. This habit of keeping one’s day job isn’t limited to successful entrepreneurs. Many influential creative minds have stayed in full-time employment or education even after earning income from major projects. Selma director Ava DuVernay made her first three films while working in her day job as a publicist, only pursuing filmmaking full time after working at it for four years and winning multiple awards. Brian May was in the middle of doctoral studies in astrophysics when he started playing guitar in a new band, but he didn’t drop out until several years later to go all in with Queen. Soon thereafter he wrote “We Will Rock You.” Grammy winner John Legend released his first album in 2000 but kept working as a management consultant until 2002, preparing PowerPoint presentations by day while performing at night. Thriller master Stephen King worked as a teacher, janitor, and gas station attendant for seven years after writing his first story, only quitting a year after his first novel, Carrie, was published. Dilbert author Scott Adams worked at Pacific Bell for seven years after his first comic strip hit newspapers. Why did all these originals play it safe instead of risking it all?

A male star named "T.T. Boy"....is a legend in the business [actor in commercial porn films]. T.T. Boy does not look at all glamorous - he's a small, tough-guy, assistant mobster type; sometimes he chews gum during his lovemaking scenes. He pounds his partners...Once memorably described as 'nothing more than a life-support system for his penis,' he got the kind of admiring, solid applause reserved for a large artillery piece going by in a parade.

In September 1941, a set of hearings was convened by a U.S. Senate Subcommittee on War Propaganda, chaired by Idaho Democrat Senator D. Worth Clark. The hearings were designed to address a resolution sponsored by two hard-nosed isolationist senators, Republican Gerald P. Nye of North Dakota and Democrat Bennett Champ Clark of Missouri, calling for “an investigation of any propaganda disseminated by motion pictures and radio or any other activity of the motion picture industry to influence public opinion in the direction of participation of the United States in the present European war.

Dogs, in fact, were perfect heroes: unknowable but accessible, driven but egoless, strong but tragic, limited by their muteness and animal vulnerability. Humans played heroes in films, too, but they were more complicated to admire because they were so particular—too much like us or too much unlike us or too much like someone we knew. Dogs, on the other hand, have the talent of seeming to understand and care about humans in spite of not being human and perhaps are better at it because of that difference. They are compassionate without being competitive, and there is nothing in their valor that threatens us, no demand for reciprocity. As Lee knew very well, a dog can make you feel complete without ever expecting much in return.

What happened was this: I got an image in my head that never got out. We see a great many things and can remember a great many things, but that is different. We get very few of the true imagines in our heads of the kind I am talking about, the kind that become more and more vivid for us as if the passage of the years did not obscure their reality but, year by year, drew off another veil to expose a meaning which we had only dimly surmised at first. Very probably the last veil will not be removed, for there are not enough years, but the brightness of the image increases and our conviction increases that the brightness is meaning, or the legend of meaning, and without the image our lives would be nothing except an old piece of film rolled on a spool and thrown into a desk drawer among the unanswered letters.

Manzarek and Jim Morrison were film students at UCLA when they met. They both had an abiding interest in film and the past masters as well as creating a new cinema. Through The Doors they did create cinema. At first, one strictly of The Doors, but as their influence and legend spread through culture they, in turn, inspired those that were creating movies.   The Doors Film Feast of Friends Late in March 1968 (the exact date is unknown) The Doors decided to film a documentary of their forthcoming tour. The idea may have come about because Bobby Neuwirth, who was hired to hang out with Jim and try to direct his energies to more productive pursuits than drinking, produced a film Not to Touch the Earth that utilized behind the scenes film of The Doors. The band set up an initial budget of $20,000 for the project. Former UCLA film students Jim Morrison and Ray Manzarek hired film school friends Paul Ferrara as director of photography, Frank Lisciandro as editor, and Morrison friend Babe Hill as the sound recorder.

No trip to Hana is complete without at least noticing the famous HASEGAWA STORE. Somewhat a legend (even immortalized in song), this aloha-filled delightfully overflowing country store (begin 1910) is designed to carry everything you need plus incidentals to interest the visitor. If you need film, 2 x 4's, beer or diapers. Harry the friendly proprietor, is bound to stock it.

The American Film Institute ranked him as the Greatest Male Star in cinema history. The honors were only beginning. In 1997 Entertainment Weekly designated Humphrey the Number One Movie Legend of all time. That year the United States Postal Service issued a stamp bearing his liken

Those who put their heart and soul into something bigger than themselves, never die from the psyche of humanity.

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

Not only is the Bible not literally true—not only is it a book full of what can charitably be described as a hodge-podge of remarkably violent legends, tall tales and tribal history, interspersed with a little lyric poetry, a lot of revenge-filled fantastical rants and some origin myths—but these were all told and then set down in writing to reinforce first, a patriarchal desert agriculture society several thousand years ago, then a slave empire in Rome, and then an oppressive feudal society in Europe. It is filled with codes of behavior that are either hypocritical or openly oppressive. Now this same ancient stuff is being adapted to reinforce the capitalist oppression of today, in a 25-million-dollar, cleverly-promoted, Hollywood film.

What if all your favourite stories — the fairy tales, the myths and legends, the superhero films — were indicators of your heart: the heart that once longed to live a heroic, passionate life of freedom and expression? And what if your heart still longs to live that life, even while it is buried and imprisoned, thrashing around like a fish that has been caught but tries desperately to go back to the water from where it has been taken?

Who am I?? I'm a person who was scammed by somebody and who scammed people - First! (Don't worry that's my past! Everyone have such past do they??) I'm the guy who was punched and kicked in School when we are talking about this (This reminds me for some films like Monk - check out he in school (his past!)) I'm the guy who follow the crowd, what I found was horrible that I went in a place where most people play the games which other play like "League of Legends" - outside and home all they talking about this game which one round takes 60 minutes. I'm now 2016 year in school and still listening about the football what has happen, who has played, who has won, who has won privious round, which is the best team and I'm sure that I'm genius because of listening this discussion. I can say it from here.... I'm just ironic, I don't like football, logicaly I don't like to listen => so I don't like to watch why?? You must find out!

Yuri walked down the gangway and onto the carpet, looking every inch the hero in his brand-new Major’s uniform and greatcoat, but Zoya immediately noticed something terrible. ‘I saw something dragging on the ground behind him. It was one of his shoelaces.’ Gagarin noticed it too, and spent the interminable ceremonial walk along the carpet silently praying that he would not trip over and make a fool of himself on this of all occasions. He told Valentin later that he had felt more nervous on the carpet than during the space flight. But he did not trip. Incidentally, the shoelace can be seen in the many commemorative films of the day’s events. The cosmonauts’ official cameraman, Vladimir Suvorov, noted in his diary the endless discussions later about whether or not to edit the film and remove the scenes showing the untied shoelace. Eventually, at Gagarin’s insistence, the shots were preserved as a sign of his ordinary, lovable humanity. The ‘mistake’ turned out to have its own special propaganda value.

Whatever solace he sought was generally found in the tranquility of the 380-acre farm that he bought in Chester County, Pennsylvania in 1941.

The Battle of Mogadishu on October 3, 1993, was part of Operation Restore Hope. We remember it now as “Black Hawk Down” from the novel (and subsequent film) of that name by an on-the-scene journalist, Mark Bowden. Army Rangers paid a heavy price for not looking “too intimidating” or “like invaders,” valiantly fighting while stripped of the equipment they requested. Had the administration not ignorantly meddled with events, the 160 Special Forces operators of Army Rangers and Delta wouldn’t have taken so many casualties. And here is what the Clinton Machine didn’t comprehend: Our guys wouldn’t have had to inflict as many casualties either, shooting their way out against 4,000–6,000 Somalis with an entire city of civilians trapped in the crossfire. The Rangers became a legend that day but lost eighteen fine men and suffered seventy-three wounded.

They wrote the play, as Burnett later told a reporter from the Los Angeles Times, in “the white heat of anger—anger at stupid people who refused to acknowledge that Hitler and Nazism were a threat.

I know that somewhere under the sickening face of a shit—is a real shit.

Bogart’s a hell of a nice guy until around 11:30 pm,” former comedian and Hollywood restaurant owner Dave Chasen famously remarked. “After that, he thinks he’s Bogart.

She eschewed the conventional star makeover, refusing to pluck her eyebrows, wear thick makeup, or change her name, and she maintained a level of assertiveness quite uncommon to female actors of her generation.

its ink running down the page with each drop of rain, does the crying for a man not able to shed tears. Ilsa

its ink running down the page with each drop of rain, does the crying for a man not able to shed tears.

that if one is intent on colorizing a film like Casablanca one may as well add arms to the Venus de Milo.

ANYONE WRITING ABOUT Francis Marion immediately confronts the task of sifting fact from folklore. The mythmaking began with the first and highly embellished biography of him, written in 1809 by Mason L. “Parson” Weems, the same man who fabricated the famous story of George Washington chopping down the cherry tree. The romantic tradition continued with the Walt Disney television series that ran from 1959 to 1961, starring Leslie Nielsen as the Swamp Fox, and took another turn in 2000 with the popular film The Patriot, in which Mel Gibson portrayed a Rambo-like action figure loosely, if inaccurately, based on Marion. As stated on an interpretive marker at Marion’s gravesite in Pineville, South Carolina, much about the Swamp Fox remains obscured by legend, even though his achievements are “significant and real.

We see this even more in Seven Brides For Seven Brothers (1954), with Mercer again at MGM, collaborating with composer Gene De Paul. This one has a real Broadway score, every number embedded in the characters’ attitudes. Ragged, bearded, buckskinned Howard Keel has come to town to take a wife, and a local belle addresses him as “Backwoodsman”: it’s the film’s central image, of rough men who must learn to be civilized in the company of women. The entire score has that flavor—western again, rustic, primitive, lusty. “Bless Yore Beautiful Hide,” treating Keel’s tour of the Oregon town where he seeks his bride, sounds like something Pecos Bill wrote with Calamity Jane. When the song sheet came out, the tune was marked “Lazily”—but that isn’t how Keel sings it. He’s on the hunt and he wants results, and, right in the middle of the number, he spots Jane Powell chopping wood and realizes that he has found his mate. But he hasn’t, not yet. True, she goes with him, looking forward to love and marriage. But her number, “Wonderful, Wonderful Day,” warns us that she is of a different temperament than he: romantic, vulnerable, poetic. They don’t suit each other, especially when he incites his six brothers to snatch their intended mates. Not court them: kidnap them. “Sobbin’ Women” (a pun on the Sabine Women of the ancient Roman legend, which the film retells, via a story by Stephen Vincent Benét) is the number outlining the plan, in more of Keel’s demanding musical tone. But the six “brides” are horrified. Their number, in Powell’s pacifying tone, is “June Bride,” and the brothers in turn offer “Lament” (usually called “Lonesome Polecat”), which reveals that they, too, have feelings. That—and the promise of good behavior—shows that they at last deserve their partners, whereupon each brother duets with each bride, in “Spring, Spring, Spring.” And we note that this number completes the boys’ surrender, in music that gives rather than takes. Isn’t

Dean Martin, and Sammy Davis Jr. The cool kids of the 1960s invited the old man who had been cool before they knew cool was cool to join them in a musical romp that nobody took particularly seriously. Crosby enjoys himself. He has nothing at stake, since he’s not the star who has to carry the film. He’s very casual, and appears to be ad-libbing all his lines in the old Road tradition with a touch of W. C. Fields’s colorful vocabulary thrown in: “You gentlemen find my raiment repulsive?” he asks Sinatra and Martin when they object to his character’s lack of chic flash in clothing. Crosby plays a clever con man who disguises himself as square, and his outfits reflect a conservative vibe in the eyes of the cats who are looking him over. The inquiry leads into a number, “Style,” in which Sinatra and Martin put Crosby behind closet doors for a series of humorous outfit changes, to try to spruce him up. Crosby comes out in a plaid suit with knickers and then in yellow pants and an orange-striped shirt. Martin and Sinatra keep on singing—and hoping—while Crosby models a fez. He finally emerges with a straw hat, a cane, and a boutonniere in his tuxedo lapel, looking like a dude. In his own low-key way, taking his spot in the center, right between the other two, Crosby joins in the song and begins to take musical charge. Sinatra is clearly digging Crosby, the older man he always wanted to emulate.*17 Both Sinatra and Martin are perfectly willing to let Crosby be the focus. He’s earned it. He’s the original that the other two wanted to become. He was there when Sinatra and Martin were still kids. He’s Bing Crosby! The three men begin to do a kind of old man’s strut, singing and dancing perfectly together (“…his hat got a little more shiny…”). The audience is looking at the three dominant male singers of the era from 1940 to 1977. They’re having fun, showing everyone exactly not only what makes a pro, not only what makes a star, but what makes a legend. Three great talents, singing and dancing about style, which they’ve all clearly got plenty of: Frank Sinatra, Bing Crosby, and Dean Martin in Robin and the 7 Hoods

While filming "I am Legend", Will Smith got so attached to his co-star Abbey the German Shepherd, that he asked if he could keep her, but the owner refused.

I was suddenly sure I wanted to be part of a journey toward insights so fundamental that they would never change. Let governments rise and fall, let World Series be won and lost, let legends of film, television, and stage come and go. I wanted to spend my life catching a glimpse of something transcendent.