Legendary Movie Quotes

Now, my all-time favorite accolade from a book reviewer was when Fernanda Pivano, Italy’s best-known critic, wrote in a leading Italian newspaper that “Tom Robbins is the most dangerous writer in the world.” I never read my reviews, even in English, but others sometimes pass choice bits along, so when I had occasion to meet the legendary Signora Pivano at a reception in Milan, I asked her what she meant by that wonderfully flattering remark. She replied, “Because you are saying zat love is zee only thing that matters and everything else eese a beeg joke.” Well, being uncertain, frankly, that is what I’d been saying, I changed the subject and inquired about her recent public denial that she’d ever gone to bed with Ernest Hemingway, whom she’d shown around Italy in the thirties. “Why didn’t you sleep with Hemingway?” I inquired. Signora Pivano sighed, closed her large brown eyes, shook her gray head, and answered in slow, heavily accented English, “I was a fool.” Okay, back to the New York Cinematheque. Why did I choose to go watch a bunch of jerky, esoteric, often self-indulgent 16mm movies rather than sleep with the sexy British actress? Move over, Fernanda, there’s room for two fools on your bus.

Cabin in the Sky, in 1943. Based on the story of a drunken gambler given a second chance to redeem himself or face the fiery pits, the movie featured a bevy of Black actors with breathtaking vocals, vivacious dancing co-choreographed by the legendary Katherine Dunham, and the pulsating music of jazz great Duke Ellington and his band.

For the benefit of this naïf, the movie experts ran through an inventory of all the lost movies they could think of: the eight-hour version of Greed, Jerry Lewis’s The Day the Clown Cried, about a clown who works in the Nazi concentration camps, the missing reels of The Magnificent Ambersons, Orson Welles’s legendary The Other Side of the Wind, The Blockhouse – a Second World War drama starring Peter Sellers,

People don’t say this much when I’m abroad, but a lot of people in Japan seem to hold the view that writing novels is an unhealthy activity, that novelists are somewhat degenerate and have to live hazardous lives in order to write. There’s a widely held view that by living an unhealthy lifestyle a writer can remove himself from the profane world and attain a kind of purity that has artistic value. This idea has taken shape over a long period of time. Movies and TV dramas perpetuate this stereotypical—or, to put a positive spin on it, legendary—figure of the artist. Basically I agree with the view that writing novels is an unhealthy type of work. When we set off to write a novel, when we use writing to create a story, like it or not a kind of toxin that lies deep down in all humanity rises to the surface. All writers have to come face-to-face with this toxin and, aware of the danger involved, discover a way to deal with it, because otherwise no creative activity in the real sense can take place.

Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.

In 1900, George and Clara Morris and their four children, Samuel, Selma, Marcella, and Malvina, left Bucharest, Romania, and boarded a ship for New York City. When they arrived in the United States, they stayed in New York City for a few weeks and then decided to move to Los Angeles, where George wanted to become a director in the movie business. Along the way, in St. Louis, Clara had another baby and died in childbirth. George put the children in an orphanage there before heading on to Los Angeles, where he promised to send for them. The children stayed in the orphanage until the oldest child, Marcella, was able to make enough money to get them all out. She moved them back to New York City, where she became the first Jewish female to hold a seat on the Wall Street stock exchange, where she made millions of dollars that she later gave to Brandeis University. She lived with her sisters in an apartment on Charles Street in Greenwich Village and had a house in Southampton, New York, and somewhere along the way had an affair with J. P. Morgan. Interesting? You bet. But don’t worry about remembering any of this, because it’s 90 percent wrong, which I didn’t find out until years later.

If Wolf Blitzer goes through his entire career on air without crying, I think that'll be the time to greenlight the remake of 'Never Cry Wolf.

When Rip Torn dies - heaven forbid - but when he dies, you'll only have to write RIP Torn.

I’ve never been more bummed walking out of a movie and back into present time than after seeing ‘Midnight in Paris.

I didn’t get around to reading the Lord of the Rings until after I saw Peter Jackson’s movie adaptations, which I thought did a much better job of telling the story than the books. I know the text is legendary and deeply beloved, but it is also slo-ow. It takes forever to get going. Frodo waits something like five years between discovering the ring and leaving the shire. Many characters get little or no introduction, important things happen in flashback or get relegated to the appendices, and the villain never even actually makes an appearance. The real central message isn’t about friendship or singsongy environmentalism, but is something that the late wife of William Burroughs could certainly appreciate: never trust a junkie. Conventional

Marilyn Monroe was pretty far along that curve, as close as one can come to dancing while still walking. In her classic 1953 movie Niagara she takes a legendary walk away from the camera, hips swinging—roiling—in a mode long since memorialized by catwalk models, drag queens, prima donnas, freaks and queers, street punks of all persuasions.

During this period, the legendary Louis B. Mayer contracted him to Hollywood to become a screenwriter. Nathan ultimately didn’t enjoy the experience, though the movie industry continually craved his work. Five of his novels have been made into films. The aforementioned “Portrait of Jennie” and “The Bishop’s Wife,” as well as “One More Spring,” “Wake Up and Dream” (from the novel “The Enchanted Voyage”) and “Color of Evening.

As Titanic began production, there was an immediate chemistry between Barbara and myself—a lot of looks across the room. At this point Barbara Stanwyck was a legendary actress, universally respected for her level of craft and integrity. She also had the most valuable thing a performer can have: good taste. Besides a long list of successful bread-and-butter pictures, Barbara had made genuine classics for great directors: The Bitter Tea of General Yen and Meet John Doe for Frank Capra, Stella Dallas for King Vidor, The Lady Eve for Preston Sturges, Ball of Fire for Howard Hawks, and Double Indemnity for Billy Wilder. Barbara carried her success lightly; her attitude was one of utter professionalism and no noticeable temperament. As far as she was concerned, she was simply one of a hundred or so people gathered to make a movie—no more, no less.

They made a Bollywood movie about Mary Kom, the legendary Olympic boxer from Manipur, but instead of casting an actual Northeastern actor to play her, they cast Priyanka Chopra,” he explained.

Some viewed Chinese investors as the latest “dumb money” to hit Hollywood. It is no doubt true that financing movies is not the smartest way for any investor, from anywhere in the world, to earn the best returns. Others had a different theory—that some wealthy Chinese individuals and businesses were seeking to get their money out of China, where an autocratic government could still steal anyone’s wealth at any time, for any reason. Certainly Hollywood had long been a destination for legal money laundering. But those who worked most closely with the Chinese knew that the biggest reason for these investments was a form of reverse-colonialism. After more than a decade as a place for Hollywood to make money, China wanted to turn the tables. The United States had already proved the power of pop culture to help establish a nation’s global dominance. Now China wanted to do the same. The Beijing government considered art and culture to be a form of “soft power,” whereby it could extend influence around the world without the use of weapons. Over the past few years, locally produced Chinese films had become more successful at the box office there. But most were culturally specific comedies and love stories that didn’t translate anywhere else. China had yet to produce a global blockbuster. And with box-office growth in that country slowing in 2016 and early 2017, hits that resonated internationally would be critical if the Communist nation was to grow its movie business and use it to become the kind of global power it wanted to be. So Chinese companies, with the backing of the government, started investing in Hollywood, with a mission to learn how experienced hands there made blockbusters that thrived worldwide. Within a few years, they figured, China would learn how to do that without anyone’s help. “Working with a company like Universal will help us elevate our skill set in moviemaking,” the head of the Chinese entertainment company Perfect World Pictures said, while investing $250 million in a slate of upcoming films from the American studio. Getting there wouldn’t be easy. One of the highest-profile efforts to produce a worldwide hit out of China was The Great Wall, starring Matt Damon and made by Wanda’s Legendary Pictures. The $150 million film, about a war against monsters set on the Chinese historic landmark, grossed an underwhelming $171 million and a disastrous $45 million in the United States. Then, to create another obstacle, Chinese government currency controls established in early 2017 slowed, at least temporarily, the flow of money from China into Hollywood. But by then it was too late to turn back. As seemed to always be true when it came to Hollywood’s relationship with China, the Americans had no choice but to keep playing along. Nobody else was willing to pour billions of dollars into the struggling movie business in the mid-2010s, particularly for original or lower-budget productions.

Monday is the most important day because you want to look your best—it sets the tone for the rest of the week. So wearing something like sweats on a Monday is like going to church and screaming ‘I hate Jesus!’ when you walk in the door. Friday is downtime. When we hang out that night, we wear sweats, watch movies, and talk about what bothered us during the week.” This results in the movie’s legendary edict “On Wednesdays, we wear pink.

ChatGPT said: Bro… honestly? Your films are legendary.

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