Marty Movie Quotes

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Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.
George A. Romero (George A. Romero: Interviews)
Jack Webb had been active in radio for several years before Dragnet propelled him to national prominence. He had arrived at KGO, the ABC outlet in San Francisco, an unknown novice in 1945. Soon he was working as a staff announcer and disc jockey. His morning show, The Coffee Club, revealed his lifelong interest in jazz music, and in 1946 he was featured on a limited ABC-West network in the quarter-hour docudrama One out of Seven. His Jack Webb Show, also 1946, was a bizarre comedy series unlike anything else he ever attempted. His major break arrived with Pat Novak: for 26 weeks Webb played a waterfront detective in a series so hard-boiled it became high camp. He moved to Hollywood, abandoning Novak just as that series was hitting its peak. Mutual immediately slipped him into a Novak sound-alike, Johnny Modero: Pier 23, for the summer of 1947. He played leads and bit parts on such series as Escape, The Whistler, and This Is Your FBI. He began a film career: in He Walked by Night (1948), Webb played a crime lab cop. The film’s technical adviser was Sergeant Marty Wynn of the Los Angeles police. Webb and Wynn shared a belief that pure investigative procedure was dramatic enough without the melodrama of the private eye. The seeds of Dragnet were sown on a movie set.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)
The movie has Marty say "blues riff in B" and then WHAM, the entire band is playing Johnny B. Goode like they've done so for years.  It's amazing, and as a kid, I spent a lot of time trying to figure this out.  How was it possible that everyone knew what notes to play and when to come in??  The backup guitar and drums both hit a beat at the beginning of the song without any communication whatsoever.
Ryan North (B^F: The Novelization Of The Feature Film)
An example of a product principle for a movie site may be that the team believes that the user community’s opinions on movies are more valuable than those of professional reviewers. Later, if a studio wants to place reviews on your site, you can then decide if this is consistent with your principles or not. Whether
Marty Cagan (Inspired: How To Create Products Customers Love)
Marty coughed and spat a dark mass. Tears burned his eyes. The darkness grew darker. “No... help me!” And then
Tim Lebbon (The Cabin in the Woods: The Official Movie Novelization)
hawk, he would have been bankrupt years ago. I like to build cars and make movies. If you ask me, we would have been better off directing our resources toward making movies than putting up a fancy new building.” “Why did you go along with the plan?” “I didn’t have any choice. I told my father I thought it was a bad idea. He had the final vote. Did you and your father agree on everything when you were growing up?” “Of course not.” “Who usually won the arguments?” “My dad.” He gives me a knowing smile. “Same here. My father wanted to build his dream studio. It was his money. Do you think my opinion on the economic viability of the project carried any weight? He spent his life being told he was a genius. That word isn’t generally used when people talk about me. Now it’s going to cost us a fortune to get out.” Families. Rosie keeps her eye on the ball. “Richard, you told us you left your father’s house around two o’clock. Who was still there?” “My dad, Angelina, and Marty Kent.” “Do you know what time Kent left?” “No.” “Do you have any idea what happened to him?” “I understand he jumped.” Rosie lays the cards on the table. “Do you think he killed your father?” He starts mixing paint again. “I think Angelina killed my father. Then again, nothing Marty did would have surprised me. He was a self-righteous ass. He thought he was the brains behind the operation, and my dad and I were just pawns. And he was really ticked off.” The venom in his tone surprises me. He tells us Kent and his father had been fighting about the China Basin project for months. “Marty thought he was getting screwed. My dad went to the other investors to try to negotiate a bonus for him.” “Did something happen on Friday night?” “Yes. My dad told him that the other investors had vetoed the bonus.” This jibes with the information from Ward. He adds, “There was something else. Marty decided to try to pull some strings at city hall. He hired a consultant to help him get the approvals for the China Basin project.” I decide to play coy. “Do you know his name?” “Armando Rios. Some money may have changed hands. Marty never told me about it. Marty never told me
Sheldon Siegel (Criminal Intent (Mike Daley/Rosie Fernandez Mystery, #3))
I’ll walk you home,” Marty said. He was looking at me like I had one blue wire and one red wire and he didn’t know which one to cut.
Margaret Dumas (Movie Palace Cozy Mystery Boxed Set: Books 1-3 (A Movie Palace Mystery))
On the surface, nothing about Bryant’s move felt logical. He was a B student with a 1080 SAT score. He was being recruited by everyone, with Duke considered the most probable landing spot. He had yet to work out for a single NBA scout, many of whom had never actually heard of him. “He’s kidding himself,” Marty Blake, the NBA’s scouting director, told the Los Angeles Times. “Sure he’d like to come out. I’d like to be a movie star. He’s not ready.” “You watch Kobe Bryant and you don’t see special,” said Rob Babcock, Minnesota’s director of player personnel. “His game doesn’t say, ‘I’m a very special talent.’ ” “I think it’s a total mistake,” said Jon Jennings, the Boston Celtics’ director of basketball development. “Kevin Garnett was the best high school player I ever saw, and I wouldn’t have advised him to jump. And Kobe is no Kevin Garnett.
Jeff Pearlman (Three-Ring Circus: Kobe, Shaq, Phil, and the Crazy Years of the Lakers Dynasty)
The Fugitive was his father's choice for movie night. The day after they watched it, Marty Albertson was murdered and the day after that, his dad was charged with the crime.
Michael Betcherman (Breakaway)