Masterpiece Movie Quotes

but was this funny? was this funny? was this funny? why was this funny? why was Sugar Kane funny? why were men dressed as women funny? why were men made up as women funny? why were men staggering in high heels funny? why was Sugar Kane funny, was Sugar Kane the supreme female impersonator? was this funny? why was this funny? why is female funny? why were people going to laugh at Sugar Kane & fall in love with Sugar Kane? why, another time? why would Sugar Kane Kovalchick girl ukulelist be such a box office success in America? why dazzling-blond girl ukulelist alcoholic Sugar Kane Kovalchick a success? why Some Like It Hot a masterpiece? why Monroe's masterpiece? why Monroe's most commercial movie? why did they love her? why when her life was in shreds like clawed silk? why when her life was in pieces like smashed glass? why when her insides had bled out? why when her insides had been scooped out? why when she carried poison in her womb? why when her head was ringing with pain? her mouth stinging with red ants? why when everybody on the set of the film hated her? resented her? feared her? why when she was drowning before their eyes? I wanna be loved by you boop boopie do! why was Sugar Kane Kovalchick of Sweet Sue's Society Syncopaters so seductive? I wanna be kissed by nobody else but you I wanna! I wanna! I wanna be loved by you alone but why? why was Marilyn so funny? why did the world adore Marilyn? who despised herself? was that why? why did the world love Marilyn? why when Marilyn had killed her baby? why when Marilyn had killed her babies? why did the world want to fuck Marilyn? why did the world want to fuck fuck fuck Marilyn? why did the world want to jam itself to the bloody hilt like a great tumescent sword in Marilyn? was it a riddle? was it a warning? was it just another joke? I wanna be loved by you boop boopie do nobody else but you nobody else but you nobody else

How did he know my name? My cheeks warmed at the way he said it in his charcoaled British accent. I was such a sucker for it. Too much PBS Masterpiece and Jane Austen movies.

I mean, the soundtrack to Remember the Titans? Stone-cold ridiculous. The curator had managed a masterpiece that left the songs forever changed for every person who’d seen the film.

Sure, some movies don’t work. Some fail in their intent. But anyone who says they hated a movie is treating a voluntarily shared human experience like a bad Red-Eye out of LAX. The departure is delayed for hours, there’s turbulence that scares even the flight attendants, the guy across from you vomits, they can’t serve any food and the booze runs out, you’re seated next to twin babies with the colic, and you land too late for your meeting in the city. You can hate that. But hating a movie misses the damn point. Would you say you hated the seventh birthday party of your girlfriend’s niece or a ball game that went eleven innings and ended 1–0? You hate cake and extra baseball for your money? Hate should be saved for fascism and steamed broccoli that’s gone cold.

system,” he explained to Time. “We can take full responsibility for the user experience. We can do things that the other guys can’t do.” Apple’s first integrated foray into the digital hub strategy was video. With FireWire, you could get your video onto your Mac, and with iMovie you could edit it into a masterpiece. Then what? You’d want to burn some DVDs so you and your friends could watch it on a TV. “So we spent a lot of time working with the drive manufacturers to get a consumer drive that could burn a DVD,” he said. “We were the first to ever ship that.” As usual Jobs focused on making the product as simple as possible for the user,

So what’s your favorite horror movie?” she asked. “Easy,” Gael said. “The Birds.” Not even its recent association with Anika could quell his love for the masterpiece. “Umm, The Birds totally doesn’t count as horror.” “Of course it does!” Gael ventured a sip of his hot chocolate, but it was still too hot. “What are you talking about?” “No one even dies,” Sammy protested. “You can’t have a horror movie without at least one death.” “The schoolteacher dies,” Gael said. Sammy rolled her eyes. “Fine, fine. Favorite slasher film, then. You know, where there’s a killer, and the killer is not, like, a pigeon.” It was actually mainly crows and seagulls in The Birds, but Gael let that one slide. 

When it comes to people we admire, it is in our nature to be selective with information, to load with personal associations, to elevate and make heroic. That is especially true after their deaths, especially if those deaths have been in any way untimely and/or shocking. It is hard to hold onto the real people, the true story. When we think of the Clash, we tend to forget or overlook the embarrassing moments, the mistakes, the musical filler, the petty squabbles, the squalid escapades, the unfulfilled promises. Instead, we take only selected highlights from the archive-the best songs, the most flatteringly-posed photographs, the most passionate live footage, the most stirring video clips, the sexiest slogans, the snappiest soundbites, the warmest personal memories-and from them we construct a near-perfect rock 'n' roll band, a Hollywood version of the real thing. The Clash have provided us with not just a soundtrack, but also a stock of images from which to create a movie we can run in our own heads. The exact content of the movie might differ from person to person and country to country, but certain key elements will remain much the same; and it is those elements that will make up the Essential Clash of folk memory. This book might have set out to take the movie apart scene by scene to analyse how it was put together; but this book also believes the movie is a masterpiece, and has no intention of spoiling the ending. It's time to freeze the frame. At the very moment they step out of history and into legend: the Last Gang In Town.

I think we all collectively have gone a little crazy. We worry about the wrong things. I have an acquaintance, Christy, whose twelve–year–old son managed to get into a very violent PG–13 movie. I don’t know how many machine–gunnings, explosions, and killings this boy wound up witnessing. As I recall, the boy had nightmares for a week afterward. That disturbed his mother—but not as much as if her son had stumbled into a different kind of movie. “At least there wasn’t any sex,” she said with dead–serious concern. “No,” I said, “probably not a single bare breast.” I didn’t add that most societies do not regard the adult female breast as being primarily an object of sexual desire. After all, it’s just a big gland that makes milk in order to feed hungry babies. “You know what I’m talking about,” she snapped. “I mean graphic sex.” We were sitting in a café drinking tea. She cut off the volume of her speech at the end of her sentence, whispering and exaggerating the consonants of S–E–X as if she needed me to read her lips—as if giving voice to this word might disturb our neighbors and brand her as a deviant. “I don’t think children should see that kind of thing,” she added. “What should children see?” I asked her. I am not arguing that we should let our children buy tickets to raunchy movies. I never let my daughters bring home steamy videos or surf the Internet for porn. But something is wrong when sex becomes a dirty word that we don’t even want our children to hear. Why must we regard almost anything sexual as tantamount to obscene? I think many of us are like Christy. We wouldn’t want our children—even our very sexual teenagers—to see certain kinds of movies, even if they happened to be erotic masterpieces, true works of art. It wouldn’t matter if a movie gave us a wonderful scene of a wife and a husband very lovingly making love with the conscious intention of engendering new life. It wouldn’t matter that sex is life, and therefore must be regarded as sacred as anything could possibly be. It wouldn’t even matter that not one of us could have come into the world but for the sexual union of our fathers and our mothers. If a movie portrayed a man and woman in the ecstatic dance of love—actually showed naked bellies and breasts, burning lips and adoring eyes and the glistening, impassioned organs of sex—most people I know would rather their children watch the vile action movie. They would rather their “innocent” sons and daughters behold the images of bloody, blasted bodies, torture, murder, and death.

But there were problems. After the movie came out I couldn’t go to a tournament without being surrounded by fans asking for autographs. Instead of focusing on chess positions, I was pulled into the image of myself as a celebrity. Since childhood I had treasured the sublime study of chess, the swim through ever-deepening layers of complexity. I could spend hours at a chessboard and stand up from the experience on fire with insight about chess, basketball, the ocean, psychology, love, art. The game was exhilarating and also spiritually calming. It centered me. Chess was my friend. Then, suddenly, the game became alien and disquieting. I recall one tournament in Las Vegas: I was a young International Master in a field of a thousand competitors including twenty-six strong Grandmasters from around the world. As an up-and-coming player, I had huge respect for the great sages around me. I had studied their masterpieces for hundreds of hours and was awed by the artistry of these men. Before first-round play began I was seated at my board, deep in thought about my opening preparation, when the public address system announced that the subject of Searching for Bobby Fischer was at the event. A tournament director placed a poster of the movie next to my table, and immediately a sea of fans surged around the ropes separating the top boards from the audience. As the games progressed, when I rose to clear my mind young girls gave me their phone numbers and asked me to autograph their stomachs or legs. This might sound like a dream for a seventeen-year-old boy, and I won’t deny enjoying the attention, but professionally it was a nightmare. My game began to unravel. I caught myself thinking about how I looked thinking instead of losing myself in thought. The Grandmasters, my elders, were ignored and scowled at me. Some of them treated me like a pariah. I had won eight national championships and had more fans, public support and recognition than I could dream of, but none of this was helping my search for excellence, let alone for happiness. At a young age I came to know that there is something profoundly hollow about the nature of fame. I had spent my life devoted to artistic growth and was used to the sweaty-palmed sense of contentment one gets after many hours of intense reflection. This peaceful feeling had nothing to do with external adulation, and I yearned for a return to that innocent, fertile time. I missed just being a student of the game, but there was no escaping the spotlight. I found myself dreading chess, miserable before leaving for tournaments. I played without inspiration and was invited to appear on television shows. I smiled.

But film sometimes flinches at the expertise of actresses, and the sympathetic viewer may come to realize that there was a mute honesty in Novak: she did not conceal the fact that she had been drawn into a world capable of exploiting her. Filming seemed an ordeal for her; it was as if the camera hurt her. But while many hostile to the movies rose in defense of the devastation of Marilyn Monroe—whether or not she was a sentient victim—Novak was stoical, obdurate, or sullen. She allowed very few barriers between that raw self and the audience and now looks dignified, reflective, and responsive to feeling where Monroe appears haphazard and oblivious. Novak is the epitome of every small-town waitress or beauty contest winner who thought of being in the movies. Despite a thorough attempt by Columbia to glamorize her, she never lost the desperate attentiveness of someone out of her depth but refusing to give in. Her performances improve with time so that ordinary films come to center on her; even Vertigo, Hitchcock’s masterpiece, owes some of its power to Novak’s harrowing suspension between tranquility and anxiety.

Pulp Fiction was a major success, commercially and critically,” according to Scott Cooper Florida, “It was Quentin Tarantino’s masterpiece. Winning the Palme d'Or at Cannes in 1994, the movie was also nominated for seven Academy Awards, including Best Picture, and even won Best Original Screenplay.

both hands against the door. “Feet wider apart. That’s right. Like in the American movies.” Satisfied, Qazi patted the man down. “What, no gun? A GRU man without a gun …” Qazi carefully felt the man’s crotch and the arms above the wrists. “First humor and now this! The GRU will become a laughingstock. But of course there is a microphone.” Qazi lifted all the pens from the Russian’s shirt pocket and examined them, one by one. “It had better be here, Chekhov, or you will have to part with your buttons and your shoes.” It was in the third pen. “Now turn around and sit against the door.” The Russian’s face was covered with perspiration, his fleshy lips twisted in a sneer. “The shoes.” Qazi examined them carefully and tossed them back. “Now the coat.” This he scrutinized minutely. From the uppermost of the large three buttons on the front of the coat a very fine wire was just visible buried amid the thread that held the button on. Qazi sawed the button free with a small pocketknife, then dropped the pen and button down a commode. He tossed the coat back to Chekhov. “And the belt.” After a quick glance, Qazi handed it back. “Hurry, we have much to say to each other.” He unscrewed the silencer and replaced the pistol in his ankle holster. He opened the door as the Russian scrambled awkwardly to his feet. An hour later the two men were seated in the Sistine Chapel against the back wall, facing the altar and Michelangelo’s masterpiece The Last Judgment behind it. On the right the high windows admitted a subdued light. Qazi kept his eyes on the tourists examining the paintings on the ceiling and walls. “Is it in Rome, as General Simonov promised?” “Yes. But you must tell us why you want it.” “Is it genuine, or is it a masterpiece from an Aquarium print shop?” The Aquarium was the nickname for GRU headquarters in Moscow. The Russian’s lips curled, revealing yellow, impacted teeth. This was his smile. “We obtained it from Warrant Officer Walker.” “Ah, those Americans! One wonders just how long they knew about Walker’s activities.” The Russian raised his shoulders and lowered them. “Why do you want the document?” “El Hakim has not authorized me to reveal his reasons. Not that we don’t trust you. We value the goodwill of the Soviet Union most highly. And we intend to continue to cultivate that goodwill. But to reveal what you do not need to know is to take the risk that the Americans will learn of our plans through their activities against you.” “If you are implying they have penetrated—” “Chekhov, I am not implying anything. I am merely weighing risks. And I am being very forthright with you. No subterfuge. No evasion. Just the plain truth. Surely a professional like you can appreciate that?” “This document is very valuable.

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The first American serial killer of the twentieth century was a strangler—Earle Leonard Nelson, aka the “Gorilla Murderer,” a Bible-quoting psycho who traveled from coast to coast, choking women to death before raping their corpses (Alfred Hitchcock also made a movie loosely inspired by this notorious case: his 1943 masterpiece, Shadow of a Doubt).

Making movies is complicated, maddening, highly technical at times, ephemeral and Gossamer at others, slow asthma lalasses on a Wednesday but with a gun to the head deadline on a Friday. Imagine a jet plane, the funds for which were held up by Congress, designed by poets, riveted together by Musicians, supervised by executives fresh out of business school, to be piloted by wannabes with attention Deficiencies.

I don’t hate any films. Movies are too hard to make to warrant hatred, even when they are turkeys. If a movie is not great, I just wait it out in my seat. It will be over soon enough. Walking out of a movie is a sin.

Making movies is complicated, maddening, highly technical at times, ephemeral and gossamer at others, slow as molasses on a Wednesday but with a gun-to-the-head deadline on a Friday. Imagine a jet plane, the funds for which were held up by Congress, designed by poets, riveted together by musicians, supervised by executives fresh out of business school, to be piloted by wannabes with attention deficiencies. What are the chances that such an aeroplane is going to soar? There you have the making of a movie, at least as I saw it at the Skunk Works.

A school bus is many things. A school bus is a substitute for a limousine. More class. A school bus is a classroom with a substitute teacher. A school bus is the students' version of a teachers' lounge. A school bus is the principal's desk. A school bus is the nurse's cot. A school bus is an office with all the phones ringing. A school bus is a command center. A school bus is a pillow fort that rolls. A school bus is a tank reshaped- hot dogs and baloney are the same meat. A school bus is a science lab- hot dogs and baloney are the same meat. A school bus is a safe zone. A school bus is a war zone. A school bus is a concert hall. A school bus is a food court. A school bus is a court of law, all judges, all jury. A school bus is a magic show full of disappearing acts. Saw someone in half. Pick a card, any card. Pass it on to the person next to you. He like you. She like you. K-i-s-s-i . . . s-s-i-p-p-i is only funny on a school bus. A school bus is a stage. A school bus is a stage play. A school bus is a spelling bee. A speaking bee. A get your hand out of my face bee. A your breath smell like sour turnips bee. A you don't even know what a turnip bee is. A maybe not, but I know what a turn up is and your breath smell all the way turnt up bee. A school bus is a bumblebee, buzzing around with a bunch of stingers on the inside of it. Windows for wings that flutter up and down like the windows inside Chinese restaurants and post offices in neighborhoods where school bus is a book of stamps. Passing mail through windows. Notes in the form of candy wrappers telling the street something sweet came by. Notes in the form of sneaky middle fingers. Notes in the form of fingers pointing at the world zooming by. A school bus is a paintbrush painting the world a blurry brushstroke. A school bus is also wet paint. Good for adding an extra coat, but it will dirty you if you lean against it, if you get too comfortable. A school bus is a reclining chair. In the kitchen. Nothing cool about it but makes perfect sense. A school bus is a dirty fridge. A school bus is cheese. A school bus is a ketchup packet with a tiny hole in it. Left on the seat. A plastic fork-knife-spoon. A paper tube around a straw. That straw will puncture the lid on things, make the world drink something with some fizz and fight. Something delightful and uncomfortable. Something that will stain. And cause gas. A school bus is a fast food joint with extra value and no food. Order taken. Take a number. Send a text to the person sitting next to you. There is so much trouble to get into. Have you ever thought about opening the back door? My mother not home till five thirty. I can't. I got dance practice at four. A school bus is a talent show. I got dance practice right now. On this bus. A school bus is a microphone. A beat machine. A recording booth. A school bus is a horn section. A rhythm section. An orchestra pit. A balcony to shot paper ball three-pointers from. A school bus is a basketball court. A football stadium. A soccer field. Sometimes a boxing ring. A school bus is a movie set. Actors, directors, producers, script. Scenes. Settings. Motivations. Action! Cut. Your fake tears look real. These are real tears. But I thought we were making a comedy. A school bus is a misunderstanding. A school bus is a masterpiece that everyone pretends to understand. A school bus is the mountain range behind Mona Lisa. The Sphinx's nose. An unknown wonder of the world. An unknown wonder to Canton Post, who heard bus riders talk about their journeys to and from school. But to Canton, a school bus is also a cannonball. A thing that almost destroyed him. Almost made him motherless.

Making movies is complicated, maddening, highly technical at times, ephemeral and Gossamer at others, slow as molasses on a Wednesday but with a gun to the head deadline on a Friday. Imagine a jet plane, the funds for which were held up by Congress, designed by poets, riveted together by Musicians, supervised by executives fresh out of business school, to be piloted by wannabes with attention Deficiencies.

It’s upsetting that he looks so clean and crisp and beautiful standing beside a run-down tenement. Upsetting that he looks so good when he’s clearly a bad man. That his movie star smile hides a terrible broken soul. “You’re not the boy I knew.” “No,” he agrees. “Are you the girl I knew?” “You’ll never find out.