Madison Movie Quotes

Wrong' training can be a very innocent thing. Consider a father who allows his child to read good books. That child may soon cease to watch television or go to the movies, nor will he eventually read Book-of-the-Month Club selections, because they are ludicrous and dull. As a young man, then, he will effectually be excluded from all of Madison Avenue and Hollywood and most of publishing, because what moves him or what he creates is quite irrelevant to what is going on: it is too fine. His father has brought him up as a dodo.

What you've just said is one of the most insanely idiotic things I have ever heard. At no point in your rambling, incoherent response were you even close to anything that could be considered a rational thought. Everyone in this room is now dumber for having listened to it. I award you no points, and may God have mercy on your soul.

It seems right now that all I’ve ever done in my life is making my way here to you.’ I could see that Rosie could not place the line from The Bridges of Madison County that had produced such a powerful emotional reaction on the plane. She looked confused. ‘Don, what are you…what have you done to yourself?’ ‘I’ve made some changes.’ ‘Big changes.’ ‘Whatever behavioural modifications you require from me are a trivial price to pay for having you as my partner.’ Rosie made a downwards movement with her hand, which I could not interpret. Then she looked around the room and I followed her eyes. Everyone was watching. Nick had stopped partway to our table. I realised that in my intensity I had raised my voice. I didn’t care. ‘You are the world’s most perfect woman. All other women are irrelevant. Permanently. No Botox or implants will be required. ‘I need a minute to think,’ she said. I automatically started the timer on my watch. Suddenly Rosie started laughing. I looked at her, understandably puzzled at this outburst in the middle of a critical life decision. ‘The watch,’ she said. ‘I say “I need a minute” and you start timing. Don is not dead. 'Don, you don’t feel love, do you?’ said Rosie. ‘You can’t really love me.’ ‘Gene diagnosed love.’ I knew now that he had been wrong. I had watched thirteen romantic movies and felt nothing. That was not strictly true. I had felt suspense, curiosity and amusement. But I had not for one moment felt engaged in the love between the protagonists. I had cried no tears for Meg Ryan or Meryl Streep or Deborah Kerr or Vivien Leigh or Julia Roberts. I could not lie about so important a matter. ‘According to your definition, no.’ Rosie looked extremely unhappy. The evening had turned into a disaster. 'I thought my behaviour would make you happy, and instead it’s made you sad.’ ‘I’m upset because you can’t love me. Okay?’ This was worse! She wanted me to love her. And I was incapable. Gene and Claudia offered me a lift home, but I did not want to continue the conversation. I started walking, then accelerated to a jog. It made sense to get home before it rained. It also made sense to exercise hard and put the restaurant behind me as quickly as possible. The new shoes were workable, but the coat and tie were uncomfortable even on a cold night. I pulled off the jacket, the item that had made me temporarily acceptable in a world to which I did not belong, and threw it in a rubbish bin. The tie followed. On an impulse I retrieved the Daphne from the jacket and carried it in my hand for the remainder of the journey. There was rain in the air and my face was wet as I reached the safety of my apartment.

Our Constitution is not good. It is a document designed to create a society of enduring white male dominance, hastily edited in the margins to allow for what basic political rights white men could be convinced to share. The Constitution is an imperfect work that urgently and consistently needs to be modified and reimagined to make good on its unrealized promises of justice and equality for all. And yet you rarely see liberals make the point that the Constitution is actually trash. Conservatives are out here acting like the Constitution was etched by divine flame upon stone tablets, when in reality it was scrawled out over a sweaty summer by people making deals with actual monsters who were trying to protect their rights to rape the humans they held in bondage. Why would I give a fuck about the original public meaning of the words written by these men? Conservatives will tell you that the text of laws explicitly passed in response to growing political, social, or economic power of nonwhite minorities should be followed to their highest grammatical accuracy, and I’m supposed to agree the text of this bullshit is the valid starting point of the debate? Nah. As Rory Breaker says in the movie Lock, Stock and Two Smoking Barrels: “If the milk turns out to be sour, I ain’t the kind of pussy to drink it.” The Constitution was so flawed upon its release in 1787 that it came with immediate updates. The first ten amendments, the “Bill of Rights,” were demanded by some to ensure ratification of the rest of the document. All of them were written by James Madison, who didn’t think they were actually necessary but did it to placate political interests.

There was a big “Sesame Street Live” extravaganza over at Madison Square Garden, so thousands of people decided to make a day of it and go straight from Sesame Street to Santa. We were packed today, absolutely packed, and everyone was cranky. Once the line gets long we break it up into four different lines because anyone in their right mind would leave if they knew it would take over two hours to see Santa. Two hours — you could see a movie in two hours. Standing in a two-hour line makes people worry that they’re not living in a democratic nation. People stand in line for two hours and they go over the edge. I was sent into the hallway to direct the second phase of the line. The hallway was packed with people, and all of them seemed to stop me with a question: which way to the down escalator, which way to the elevator, the Patio Restaurant, gift wrap, the women’s rest room, Trim-A-Tree. There was a line for Santa and a line for the women’s bathroom, and one woman, after asking me a dozen questions already, asked, “Which is the line for the women’s bathroom?” I shouted that I thought it was the line with all the women in it. She said, “I’m going to have you fired.” I had two people say that to me today, “I’m going to have you fired.” Go ahead, be my guest. I’m wearing a green velvet costume; it doesn’t get any worse than this. Who do these people think they are? “I’m going to have you fired!” and I wanted to lean over and say, “I’m going to have you killed.

If we went to Les Agarves, which is twice the cost, but about as gourmet as we can get without actually being in France, that would qualify as a special evening out. Ronnie will do it on an anniversary or on a birthday, but I know his true opinion of it is that it’s not worth it. I’ve come to believe his taste buds can’t reach gourmet level so he can’t appreciate the difference. For him, then, it makes little sense. But it’s not only the food that is exquisite; it’s the ambience and the service. You feel you’re special, even if only for one night, one dinner. Ronnie likes to make it seem that only women want this. Sometimes I wonder if that’s not true. It’s certainly true when it comes to his friends or most of the husbands of my girlfriends. It’s almost as if there’s something unmanly about elegance. They’d rather associate themselves with Clint Eastwood than Cary Grant or George Clooney. Eastwood can be tough, virile and dangerous, and be grimy at the same time, except, of course, in a movie like The Bridges of Madison County, but men don’t talk about that film.

I decided to begin with romantic films specifically mentioned by Rosie. There were four: Casablanca, The Bridges of Madison County, When Harry Met Sally, and An Affair to Remember. I added To Kill a Mockingbird and The Big Country for Gregory Peck, whom Rosie had cited as the sexiest man ever. It took a full week to watch all six, including time for pausing the DVD player and taking notes. The films were incredibly useful but also highly challenging. The emotional dynamics were so complex! I persevered, drawing on movies recommended by Claudia about male-female relationships with both happy and unhappy outcomes. I watched Hitch, Gone with the Wind, Bridget Jones’s Diary, Annie Hall, Notting Hill, Love Actually, and Fatal Attraction. Claudia also suggested I watch As Good as It Gets, “just for fun.” Although her advice was to use it as an example of what not to do, I was impressed that the Jack Nicholson character handled a jacket problem with more finesse than I had. It was also encouraging that, despite serious social incompetence, a significant difference in age between him and the Helen Hunt character, probable multiple psychiatric disorders, and a level of intolerance far more severe than mine, he succeeded in winning the love of the woman in the end. An excellent choice by Claudia.

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.

Knightmare. Breezeo’s archenemy. Where Breezeo is light, a breath of fresh air, the nice breeze on a warm summer day, Knightmare is the storm that rolls in and takes it all away. Darkness, thick and suffocating, the shadows you can’t escape in the night in back alleyways. Black leather framed with dark armor, head to toe, from the combat boots the whole way up to the oversized black hood with a metal mask covering part of the face, rendering him unrecognizable. I’ve always been envious of the costume. Beats the damn pseudo-spandex, that’s for sure. “I, uh, wow.” Kennedy stands in the doorway of her apartment with a look of awe as her eyes scan the costume. “That’s just… wow.” “Wow, huh?” I glance down. “Good or bad?” “It’s just, uh, you know…” “Wow?” I guess. She nods, fighting off a smile. “Wow.” I smirk. “It’s the original.” “Seriously?” “Straight from the second movie,” I say, touching an armored chest plate with a fingerless glove-clad hand. “Well, except for these gloves. The real ones wouldn’t fit because of the cast, so I had to improvise.” “It’s, uh…” “Wow?” “Nice,” she says, touching the costume, fingertips grazing the armor. “Kind of weird seeing you like this, but still, it’s nice.” “Thanks,” I say as she steps aside for me to come in the apartment. “I talked them into letting me borrow it. Might not give it back, though. I’m kind of enjoying it.” “You should keep it,” she says, her eyes still scanning me as she closes the door. “It’s, uh…” “Nice?” “Wow.” She smiles playfully as she walks away. “I need to finish getting ready for work. Maddie, you've got a visitor!” A moment after Kennedy disappears, Madison runs in. She skids to a stop when she spots me, eyes wide, mouth popping open. “Whoa.” I push the hood off, shoving the mask up, her expression changing when she sees it’s me, face lighting up. She runs right at me, slamming into me so hard I stumble. I laugh as she hugs me. “Hey, pretty girl.” She looks up at me. “You think I’m pretty?” “What? Of course.” I kneel next to her, grinning as I press a finger to the tip of her nose. “You look like your mom.” “You think Mommy’s pretty, too?” “I think she's the most beautiful woman in the world.” Her expression shifts rapidly when I say that before her eyes widen. “Even more beautifuler than Maryanne?” I lean closer, whispering, repeating her words. “Even more beautifuler than Maryanne.” “Whoa

Madison’s enthralled from the very first moment. I’m sitting on the blanket, my legs stretched out, while Kennedy lays down, her head in my lap. I cringe my way through the movie, absently stroking Kennedy’s hair. I glance down at her after a while, realizing she’s not watching the screen, her attention fixed on me. “What’s wrong?” “Nothing,” she says. “It’s just strange.” I caress her flushed cheek. “Being here with me?” “Yes,” she says. “Just when I was starting to doubt I’d ever see you again.” “You didn’t think I’d keep popping up every so often?” “Oh, sure, but that’s not you,” she says. “I knew that guy would keep coming back. I thought I’d be dealing with him for the rest of my life. Drunk, high, out of his mind… but I never thought I’d see you again, real you, yet you’re here. I thought it would always be him.” I know what she means as she motions toward the screen. I can tell I was strung out. It’s painful. “I’m here,” I say, “and I’m not going anywhere.” “I want to believe that.” “You can.” She smiles, and I don’t know if she believes it yet, but she looks content in the moment. I brush my thumb along her lips as they part, and I want to kiss her so fucking bad right now, but I know I’ll catch hell from my daughter if I try. “Ohhhh, Daddy!” Madison says, grabbing my attention, catching me off guard as she launches herself my way. Laughing, Kennedy sits up, moving out of the line of fire as Madison damn near tackles me, leaping on my back and trying to cover my face with her hands from behind. “You’re not supposed to do that!” “What?” I laugh. “I didn’t do anything!” “You’re kissing her!” she says as I pull her hands away from my mouth when she tries to cover it. I playfully pretend to bite her, making her squeal. “Stop, Daddy!” She flings herself on me, falling into my lap, as I glance up at the screen, realizing Breezeo is kissing Maryanne. I scowl, tickling Madison. “It’s just a movie. It’s not real.” She giggles, slapping my hands away. “You didn’t really kiss her?” “Well, yeah, but it doesn’t count.” “Why not?” “Because it’s Breezeo, not me.” “It’s still yucky,” she says, making a face. “You think kissing me is yucky?” I tickle her again, and she struggles, laughing, trying to get away, but I’m not going to let it go that easy. Grabbing ahold of her, pinning her to me, I nuzzle against her cheek as she shoves my face. “Help, Mommy!” “Oh, no, you’re on your own there,” Kennedy says. “You got yourself into that one.” “Ugh, no fair!” Madison says, slapping her hands over my mouth. “No kissing ‘till the end!” “Fine.” I let out a long, exaggerated sigh. “You win.” She sticks her tongue out at me. The girl seriously sticks her tongue out, gloating, as she leaps at her mother and kisses on her—planting big, sloppy kisses right on Kennedy, making sure I see it. She’s gone again then, right back to her movie now that the love scene is over. “Unbelievable.” I shake my head. “I get no love.” Grinning, Kennedy lays back down with her head in my lap. She stares at me, reaching up, her fingertips brushing across my lips. “You be good, and I’ll make it worth it for you later.” I cock an eyebrow at her. “Is that right?

She considered him further and decided he could definitely pass for a pirate. No, she thought, correcting herself. More like a sea captain, a younger version of the captain from that old movie where the pretty woman rents an old sea captain's house only to find the place haunted by the sea captain himself. She let out a heavy breath. Man, she loved that movie.

Then he and Steele hoisted the body up between them and tossed it straight into the middle of the pig pen. Clothes and all. "You're not serious, are you?" I whispered, aghast. "That's... guys, that's not going to work. This isn't a movie. Pigs don't just chow down on a human body

Then he and Steele hoisted the body up between them and tossed it straight into the middle of the pig pen. Clothes and all. "You're not serious, are you?" I whispered, aghast. "That's... guys, that's not going to work. This isn't a movie. Pigs don't just chow down on a human body and leave no evidence after the fact.

Is this what you want to have written on your gravestone? - "I watched all the top-trending YouTube videos." Well done. Gold Star. Sad.

Sony paid both stars handsomely for their consistent success: $20 million against 20 percent of the gross receipts, whichever was higher, was their standard compensation. They also received as much as $5 million against 5 percent for their production companies, where they employed family and friends. Sony also provided Happy Madison and Overbrook with a generous overhead to cover expenses—worth about $4 million per year. To top it off, Sandler and Smith enjoyed the perks of the luxe studio life. Flights on a corporate jet were common, with family members and friends often invited along. On occasion, Smith’s entourage and its belongings necessitated the use of two jets for travel to premieres. Knowing that Sandler was a huge sports fan, Sony regularly sent him and his pals to the Super Bowl to do publicity. In addition to enjoying the best tickets and accommodations, they had a private basketball court to play on, which the studio rented for them. Back at the Sony lot, the basketball court was renamed Happy Madison Square Garden in the star’s honor. When anybody questioned the wide latitude and endless indulgence given to Sandler and Smith, Sony executives had a standard answer: “Will and Adam bought our houses.

wants to be a zombie, but finds that she can’t get bit to save her life.” Madison thought about that for a minute. “You are a strange man. But I mean that in a good way.” She looked up, seeing the surprise that she had arranged for him walking down the aisle toward his booth. With a little prodding, Spenser and Target had agreed to be zombies hanging around ExBoy’s booth. Target in particular was quite eager. But best of all, Crystal had agreed to try to get Toonie out of the house by bringing her to the convention, and Madison could see now that they were doing more than just attending. They, too, were walking toward them, made up as zombies. Crystal, her beautiful complexion drained to a deathly pallor, was dressed like a cheerleader with her little pleated skirt and sleeveless shell top in bloody tatters, carrying what Madison had thought was a dirtied pom-pom but now realized was a head with long bloody hair. Spenser wore a nurse’s old fashioned white uniform, with a little white hat attached to her blonde hair pinned up like Tippy Hedren’s in an Alfred Hitchcock movie. Choosing to keep her face its prettiest, she sported a bloody gouge on her left forearm. Instead of sensible nurse’s shoes, she wore high heels. The blood on her uniform

Movies are like poems. You’re supposed to experience them in a single sitting, then let them rattle around in your mind long after. TV is like reading a novel, or playing a video game, or having a roommate. It’s this thing that’s going to be around for a while. It always wants to keep going—to be more, to give more, to tell more. There’s room for nooks and crannies. Bottle episodes. Winking callbacks across baffled time, like Amy Madison stuck as a rat for a whole season of Buffy or that one half-second shot of Superintendent Rawls in the crowd at the gay bar in The Wire.

Teenage girls were so desperate to be needed. None of them actually wanted boyfriends, or high drama, or true pain. They just wanted to feel essential, exposed in some crucial way to the vicissitudes of the world. And so they did things like give blow jobs in movie theaters, cry in public when something tragic happened to strangers across the country, throw themselves into her path in the hallway to ask her how Madison was feeling today. How she was managing. Did Amanda know anything. They just wanted the communal energy of crisis, the sense that they had to yank their best selves from somewhere deep within. They wanted, so very badly, to rise to the occasion.

An elegant Italian woman, worldly, sophisticated. Francesca. At the end of World War II, she meets and marries an American soldier, moves with him to his small Iowan farm town of good people who bring carrot cakes to their neighbors, look after the elderly, and ostracize those who flout norms by, say, committing adultery. Her husband is kind, devoted, and limited. She loves her children. One day her family leaves town for a week, to show their pigs at a state fair. She's alone in the farmhouse for the first time in her married life. She relishes her solitude. Until a photographer fro National Geographic knocks on the door, asking directions to a nearby landmark... and they fall into a passionate, four-day affair. He begs her to run away with him; she packs her bags. Until, at the last minute, she unpacks them. Partly because she's married, and she has children, and the town's eyes are on them all. But also because she knows that she and the photographer have already taken each other to the perfect and beautiful world. And that now it's time to descend to the actual one. If they try to live in that other world for good, it will recede into the distance; it will be as if they'd never been there at all. She says goodbye, and they long for each other for the rest of their lives. Yet Francesca is quietly sustained by their encounter, the photographer creatively renewed. On his deathbed years later, he sends her a book of images he made, commemorating their four days together. If this story sounds familiar , it's because it comes from The Bridges of Madison County, a 1992 novel by Robert James Waller that sold more than twelve million copies, and a 1995 movie, starring Meryl Streep and Clint Eastwood, that grossed $182 million. The press attributed its popularity to a rash of women trapped in unhappy marriages and pining for handsome photographers. But that's not what the story was really about. In the frenzy after the book came out, there were two camps: one that loved it because the couple's love was pure and endured over the decades. The other camp saw this as a copout--that real love is working through challenges of an actual relationship. Which was right?