Movie Trailers With Quotes

We don't really have a movie industry; we have a trailer industry. The movie guys make five minutes worth of stuff to get people in the theatre, and eighty-five minutes of filler.

Just sitting quietly, doing nothing at all, your brain churns through more information in thirty seconds than the Hubble Space Telescope has processed in thirty years. A morsel of cortex one cubic millimeter in size—about the size of a grain of sand—could hold two thousand terabytes of information, enough to store all the movies ever made, trailers included, or about 1.2 billion copies of this book.

I wanted Ole Miss to feel special, but mostly I felt that the Ole Miss crowd looked at me like I was just white trash from a town full of trailers.… All was not lost. I saw the movie All The President’s Men, mostly because Robert Redford was the star. The fast-paced world of the Washington Post…captivated me. Sitting in a dark theater that afternoon, I fell in love with the idea of becoming a reporter. That was the movie that clinched my plan to major in journalism and political science…. I'd started Ole Miss as a Lady Rebel but left more rebellious than ladylike.

I miss Latin. So much fun--all those exciting verbs that don't come until the end of the sentence. It's like a movie trailer for language.

I think that's such a beautiful sentiment. Love should only last as long as a very expensive and impractical bikini that looks stunning, but dissolves in the sea within days. So many pop songs tell of this terrible, tiresome love that they want to last forever. But that just makes me think of long-life milk, acrid and fake. Love should be like a movie trailer. Even if the film's a stinker, you get the best laughs and the biggest explosions in the space of two minutes.

Winter denial: therein lay the key to California Schadenfreude--the secret joy that the rest of the country feels at the misfortune of California. The country said: "Look at them, with their fitness and their tans, their beaches and their movie stars, their Silicon Valley and silicone breasts, their orange bridge and their palm trees. God, I hate those smug, sunshiny bastards!" Because if you're up to your navel in a snowdrift in Ohio, nothing warms your heart like the sight of California on fire. If you're shoveling silt out of your basement in the Fargo flood zone, nothing brightens your day like watching a Malibu mansion tumbling down a cliff into the sea. And if a tornado just peppered the land around your Oklahoma town with random trailer trash and redneck nuggets, then you can find a quantum of solace in the fact that the earth actually opened up in the San Fernando Valley and swallowed a whole caravan of commuting SUVs.

She stopped at a red light and turned to face him. “Look. You must know your eyes are truly distracting, and you keep LOOKING at me. I’ve also never talked to anyone who sounds like a movie trailer announcer before. Your voice is so cool. I’m sure you know that. It’s probably part of your famousness. But here in this car it’s unsettling, because I have this sensation you might suddenly begin sentences with some dramatic start.” She lowered her voice. “like...IN A WORLD, FAR, FAR AWAY...

People in trailers were canned and labeled much like the apple juice down at the plant, stamped with ingredients for all the world to see: chicken fried steak, overcooked vegetables, no working knowledge of any major Italian movie directors--the list went on and on.

And each year, more gunters called it quits, concluding that Halliday had indeed made the egg impossible to find. And another year went by. And another. Then, on the evening of February 11, 2045, an avatar’s name appeared at the top of the Scoreboard, for the whole world to see. After five long years, the Copper Key had finally been found, by an eighteen-year-old kid living in a trailer park on the outskirts of Oklahoma City. That kid was me. Dozens of books, cartoons, movies, and miniseries have attempted to tell the story of everything that happened next, but every single one of them got it wrong. So I want to set the record straight, once and for all.

I was deluded, and I knew it. Worse: my love for Pippa was muddied-up below the waterline with my mother, with my mother's death, with losing my mother and not being able to get her back. All that blind, infantile hunger to save and be saved, to repeat the past and make it different, had somehow attached itself, ravenously, to her. There was an instability in it, a sickness. I was seeing things that weren't there. I was only one step away from some trailer park loner stalking a girl he'd spotted in the mall. For the truth of it was: Pippa and I saw each other maybe twice a year; we e-mailed and texted, though with no great regularity; when she was in town we loaned each other books and went to the movies; we were friends; nothing more. My hopes for a relationship with her were wholly unreal, whereas my ongoing misery, and frustration, were an all-too-horrible reality. Was groundless, hopeless, unrequited obsession any way to waste the rest of my life?

I wanted monsters that ate whole cities, radioactive corpses that came out of the ocean and ate surfers, and girls in black bras who looked like trailer trash. Horror movies, science fiction movies, movies about losers on motorcycles- this was the stuff that turned my dials up to ten.

I hate to sound like an old man, but why are these people famous? What qualities do they possess that endear them to the wider world? We may at once eliminate talent, intelligence, attractiveness, and charm from the equation, so what does that leave? Dainty feet? Fresh, minty breath? I am at a loss to say. Anatomically, many of them don’t even seem quite human. Many have names that suggest they have reached us from a distant galaxy: Ri-Ri, Tulisa, Naya, Jai, K-Pez, Chlamydia, Mo-Ron. (I may be imagining some of these.) As I read the magazine, I kept hearing a voice in my head, like the voice from a 1950s B-movie trailer, saying: “They came from Planet Imbecile!

This place is just a trailer for a film, Brandon. Our lives here. Heaven is like the movie. Except there’s only one trailer before the movie. And the movie won’t ever end.

Most of our friendships live and die like trailers never knowing that they could be a movie. And the ones that do turn into a movie feel only like a trailer.

It is a truism that Hollywood trailers advertise not the movie that has been made, but the movie that the studio wishes had been made.

Consciousness is like the trailer of a movie; short, fragmentary, confused and deceptive. And the title of the movie? “The Subconscious and the wider world beyond”.

Alex Rogan: Listen, Centauri. I'm not any of those guys, I'm a kid from a trailer park." "Centauri: If that's what you think, then that's all you'll ever be!

She is not given to fawning over celebrities, no more than most people, but can't help being drawn to the aura of fame—and more than fame, actual immortality— implied by the presence of a movie star in a trailer.

But she knows this isn’t true. They’re more than just people. They’re a mood, a feeling, a vibe, an aspiration. They’re like a music video or a trailer for a really cool movie. They’re a billboard poster for a hip clothing brand.

what encourages me when I’m faced with the call of the cross in a newly exposed area of my life is when I look around at the beloved people in my church and see that the cross is just as relentless in their lives. They are living, breathing movie trailers displaying the future redemption story. My single friends who want to be married could be traipsing around the city dating and sleeping with anyone and everyone. They could be taking their future into their own hands rather than waiting on the Lord and entrusting themselves to him. My married friends who have experienced difficulties in their marriages could be taking their spouses to divorce court. My same-sex attracted friends could be succumbing to their desires. All these hold steady in truth and grace for the sake of the gospel, and their stories not only compel me to do the same but also solidify our bonds of unity and friendship and show me anew the surpassing worth of the gospel.

Suddenly the door to one of the trailers opens, and a famous head emerges. It is a woman’s head, quite a distance away, seen in profile, like the head on a coin, and while Clarissa cannot immediately identify her (Meryl Streep? Vanessa Redgrave?) she knows without question that the woman is a movie star. She knows by her aura of regal assurance, and by the eagerness with which one of the prop men speaks to her (inaudibly to Clarissa) about the source of the noise. The woman’s head quickly withdraws, the door to the trailer closes again, but she leaves behind her an unmistakable sense of watchful remonstrance, as if an angel had briefly touched the surface of the world with one sandaled foot, asked if there was any trouble and, being told all was well, had resumed her place in the ether with skeptical gravity, having reminded the children of earth that they are just barely trusted to manage their own business, and that further carelessness will not go unremarked.

A morsel of cortex one cubic millimeter in size—about the size of a grain of sand—could hold two thousand terabytes of information, enough to store all the movies ever made, trailers included, or about 1.2 billion copies of this book. Altogether, the human brain is estimated to hold something on the order of two hundred exabytes of information, roughly equal to “the entire digital content of today’s world,

Just sitting quietly, doing nothing at all, your brain churns through more information in thirty seconds than the Hubble Space Telescope has processed in thirty years. A morsel of cortex one cubic millimeter in size—about the size of a grain of sand—could hold two thousand terabytes of information, enough to store all the movies ever made, trailers included, or about 1.2 billion copies of this book. Altogether, the human brain is estimated to hold something on the order of two hundred exabytes of information, roughly equal to “the entire digital content of today’s world,” according to Nature Neuroscience.*1 If that is not the most extraordinary thing in the universe, then we certainly have some wonders yet to find.

When I stepped into the trailer, I froze. The head of wardrobe was a guy—a very good-looking guy with ash blond hair, hazel eyes, and a body on him that would make my trainer proud. There was no way I was going to let this guy see any of my flaws. Of course, maybe I wouldn’t be dealing with him. Over the last two weeks, all of my wardrobe fittings had been with a woman. “Where’s Jackie?” I asked, hoping she was still assigned to me. “Oh, honey, that girl quit to go work on a Leonardo DiCaprio movie.” He threw his hip out as he flipped his hand in the air. “But can you blame her? Leo is way too hot to turn down. I’m Steve,” he said, putting his hand over his chest. “And I promise I’ll take much better care of you than Jackie.

Six horses died in a tractor-trailer fire. There. That's the hard part. I wanted to tell you straight away so we could grieve together. So many sad things, that's just one on a long recent list that loops and elongates in the chest, in the diaphragm, in the alveoli. What is it they say, heartsick or downhearted? I picture a heart lying down on the floor of the torso, pulling up the blankets over its head, thinking the pain will go on forever (even though it won't). The heart is watching Lifetime movies and wishing, and missing all the good parts of her that she has forgotten. The heart is so tired of beating herself up, she wants to stop it still, but also she wants the blood to return, wants to bring in the thrill and wind of the ride, the fast pull of life driving underneath her. What the heart wants? The heart wants her horses back.

This is why people are so disappointed with the present. We talk so much about how wonderful tomorrow's going to be that even if it's great, it can't help but be a letdown. Tomorrow is like a summer blockbuster for which the studio starts showing trailers the previous November. By the time it comes to your complex, you feel like you've already seen it. All the best lines and biggest explosions. The most provocative coming-out-of-the-water bikini shot. You will already have seen the making-of-the-feature and heard the actors on the press junket talking about what a privilege it was to work with so-and-so and how they all did their own stunts. So because you feel like you've already seen it, by the time it comes, you have no desire to fork over $15 and actually sit through it in a theater. What's happened is that you've already experienced something which hasn't happened yet. In fact, when you think of it, the only reason to go to the movies isn't to see the feature but to get a taste of the future, to see the trailer for the NEXT big blockbuster and to experience THAT before it happens. And this phenomenon isn't limited to the movies, it is the we live today. And it is why I encourage you to ignore the hype of what's to come, and to get some popcorn and gummy bears during the previews, and to thoroughly enjoy the feature. In real time. Not in the black hole of expectation.

As the subject watches the movies, the MRI machine creates a 3-D image of the blood flow within the brain. The MRI image looks like a vast collection of thirty thousand dots, or voxels. Each voxel represents a pinpoint of neural energy, and the color of the dot corresponds to the intensity of the signal and blood flow. Red dots represent points of large neural activity, while blue dots represent points of less activity. (The final image looks very much like thousands of Christmas lights in the shape of the brain. Immediately you can see that the brain is concentrating most of its mental energy in the visual cortex, which is located at the back of the brain, while watching these videos.) Gallant’s MRI machine is so powerful it can identify two to three hundred distinct regions of the brain and, on average, can take snapshots that have one hundred dots per region of the brain. (One goal for future generations of MRI technology is to provide an even sharper resolution by increasing the number of dots per region of the brain.) At first, this 3-D collection of colored dots looks like gibberish. But after years of research, Dr. Gallant and his colleagues have developed a mathematical formula that begins to find relationships between certain features of a picture (edges, textures, intensity, etc.) and the MRI voxels. For example, if you look at a boundary, you’ll notice it’s a region separating lighter and darker areas, and hence the edge generates a certain pattern of voxels. By having subject after subject view such a large library of movie clips, this mathematical formula is refined, allowing the computer to analyze how all sorts of images are converted into MRI voxels. Eventually the scientists were able to ascertain a direct correlation between certain MRI patterns of voxels and features within each picture. At this point, the subject is then shown another movie trailer. The computer analyzes the voxels generated during this viewing and re-creates a rough approximation of the original image. (The computer selects images from one hundred movie clips that most closely resemble the one that the subject just saw and then merges images to create a close approximation.) In this way, the computer is able to create a fuzzy video of the visual imagery going through your mind. Dr. Gallant’s mathematical formula is so versatile that it can take a collection of MRI voxels and convert it into a picture, or it can do the reverse, taking a picture and then converting it to MRI voxels. I had a chance to view the video created by Dr. Gallant’s group, and it was very impressive. Watching it was like viewing a movie with faces, animals, street scenes, and buildings through dark glasses. Although you could not see the details within each face or animal, you could clearly identify the kind of object you were seeing. Not only can this program decode what you are looking at, it can also decode imaginary images circulating in your head.

All the promise of a movie is in the trailer.

That same year, Will Smith returned to the big screen after a hiatus, following 2008’s surprise disappointment, Seven Pounds. He starred in a sequel that Sony had been dying to make for many years. Men in Black 3 was a challenging movie to produce with a mature Will Smith. Now used to being the dominant creative force in his productions, he often demanded repeated changes to scripts and never worked with directors who could wield more power than he did. That was fine for Overbrook-led productions, but it became a challenge on the third Men in Black offering, which was made in a rush, to take advantage of New York tax credits. The production was a nightmare. The unhappy Smith holed up in his fifty-three-foot-long trailer, which featured a screening room, offices for assistants, and an all-granite bathroom, while multiple screenwriters reworked the script again and again. The creative conflicts between the star, his producers, and the studio were so severe that production was halted for three months to resolve them. Greenlit with a budget of $210 million, Men in Black 3 ended up costing $250 million and barely broke even.

In the domain of cinema, the latest example of such “classism” is Nomadland (Chloe Zhao, 2020) which portrays the daily lives of our “nomadic proletarians,” workers without a permanent home who live in trailers and wander around from one temporary job to another. They are shown as decent people, full of spontaneous goodness and solidarity with each other, inhabiting their own world of small customs and rituals, enjoying their modest happiness (even the occasional work in an Amazon packaging center goes quite well . . . ). That’s how our hegemonic ideology likes to see workers—no wonder the movie was the big winner of the last Oscars. Although the lives depicted are rather miserable, we are bribed into enjoying the movie with the charming details of the workers’ specific way of life, the underlying message being: enjoy being a nomadic proletarian!

Content is like a movie trailer for your brand. It allows people to get a sense of your overall vibe and what they can expect from you. Especially if it’s a personal brand, content is the only place outside of advertisements where people can really start to know, like, and trust you.

Just two days before, big white film-production trailers took over her entire block. That happens all the bloody time these days, because movie people invariably seem to want multicultural working-class New York as backdrop for their all-white upper-class dramedies—which means Queens, since East New York is still too Black for their tastes and the Bronx has a “reputation

I spend most of my Mondays with blood. I am a hematologist by training. I study blood and treat blood diseases, including cancers and precancers of white blood cells. On Monday, I arrive much earlier than my patients, when the morning light is still aslant across the black slate of the lab benches. I close the shutters and peer through the microscope at blood smears. A droplet of blood has been spread across a glass slide, to make a film of single cells, each stained with special dyes. The slides are like previews of books, or movie trailers. The cells will begin to reveal the stories of the patients even before I see them in person. I sit by the microscope in the darkened room, a notepad by my side, and whisper to myself as I go through the slides. It’s an old habit; a passerby might well consider me unhinged. Each time I examine a slide, I mumble out the method that my hematology professor in medical school, a tall man with a perpetually leaking pen in his pocket, taught me: “Divide the main cellular components of blood. Red cell. White cell. Platelet. Examine each cell type separately. Write what you observe about each type. Move methodically. Number, color, morphology, shape, size.” It is, by far, the favorite time of my day at work. Number, color, morphology, shape, size. I move methodically. I love looking at cells, in the way that a gardener loves looking at plants—not just the whole but also the parts within the parts: the leaves, the fronds, the precise smell of loam around a fern, the way the woodpecker has bored into the high branches of a tree. Blood speaks to me—but only if I pay attention.

Anticipation draws you through your days—the impending release of a hyped new album, a trailer for a movie that we should see next month. You look forward to the future, even if you can no longer imagine life beyond that morning.

At least, that was what the uplifting movie trailer playing in her head was saying.

I showed them a clip from Brokeback Mountain, which I think was done a tremendous disservice when they pitched it as a gay cowboy movie. I didn’t see it, but it’s fairly clear from the trailer that the point of the movie is that it’s great to have a job that consumes most of your day.

Don LaFontaine, “the voice of movie trailers,” voiced an estimated 5,000 trailers, and 350,000 commercials. His favorite was his trailer for “The Elephant Man.

All the promise of a movie is in the trailer.

Movie trailers were once played after the movies, that’s why they are called ‘trailers’!

Know today that it’s not just you who battles with sin and struggles in the middle of suffering. The Messiah, prophesied by those saints of old, battles on your behalf, and he will not quit until sin and suffering are no more. Like movie trailers, the prophets give you a taste of God’s plot, of which you now live in the middle. The movement of the plot doesn’t rest on your wisdom, power, or goodness, but on the unstoppable zeal of the One who is perfect in his holiness and plenteous in his grace, and because it does, the last chapter, for which we all long, is secure.

Still, the tentacle must be pretty big for her to be able to discern that it's a tentacle at all. That's not real, she thinks, with the instant scorn of any true New Yorker. Just two days before, big white film-production trailers took over her entire block. That happens all the bloody time these days, because movie people invariably seem to want multicultural working-class New York as a backdrop for their all-white upper-class dramedies—which means Queens, since East New York is still too Black for their tastes and the Bronx has a "reputation".

Wow, I miss Latin. So much fun - all those exciting verbs that don't come unit the end of the sentence. It's like a movie trailer for language.

Great Sardaar" An ornamental piece of work by the Punjabi industry. Produced by Amritjit Singh Sran and Directed by Ranjeet Bal under the production house Apna Heritage &Sapphire Films presents to you "Great Sardaar" an Action/Drama film starring none other than the budding artist Dilpreet Dhillon and the multi talented Yograj Singh. This movie is an Action/Drama film in which the protagonist ends up with a series of challenges. The movie stars Dilpreet Dhillon as the lead along with Yograj singh who plays the role of (Dilpreet Dhillon) Gurjant's father. After watching the trailer one can surely say there's tasty substance beneath the froth, just enough to keep you hooked. "GREAT SRADAAR" is based on the true events about Major Shaitan Singh, who was awarded the Param Vir Chakra posthumously for his 'C' company's dig-in at Rezang La pass during the Sino-India conflict of 1962. This motivational movie is a Tribute to Sikkhism. It's really healing to see movies that are based on true events. It builds so much more compassion. Dilpreet Dhillon popularly known for his role in "once upon a time in Amritsar" has gained a great fan following. He is considered is one of the popular emerging male playback singer and actor in Punjabi music industry. And when it comes to Yograj Singh, he is not only a former Indian cricketer but also a boon to the Punjabi industry. Since the release of the official trailer on 7th of June,2017 which shows that the movie is action-packed and will leave the audience spellbound and wanting for more, the audience is eagerly waiting for the release of the movie.The trailer rolls by effortlessly and the Director has done an impeccable job. Ranjeet Bal evidently knew what he was doing and has ensured that every minute detail was taken care of particularly considering the genre he was treading. The audience will surely be sitting on the edge of their seats. Visual Effects Director- VFx Star has once again proved that there is nothing that will leave India from evolving in the field of technology. "Great Sardaar" which is set to be released on the 30th of June,2017 will be a very carefully structured story. The main question that will be raised is not what kind of world we live in, or what reality is like, rather what it has done to us.

Avengers Endgame done, Spider-Man Far From Home theory says Tony Stark made the spider that bit Peter Parker A new fan theory says that it will be revealed in the upcoming Marvel movie Spider-Man: Far From Home that Tony Stark created the spider that bit a teenage Peter Parker and gave him his superpowers. Tony died at the end of Avengers: Endgame, and shared a fatherly relationship with Peter in the Marvel Cinematic Universe. If this theory were to be proven true, it would give new meaning to their father-son relationship. It has previously been reported that Far From Home, a sequel to 2017’s Spider-Man: Homecoming, will reveal a major secret about Tony. A trailer revealed that Tony has left behind a secret lab for Peter. The theory, posted on Reddit, suggests that Tony worked with Norman Osborne to create the spider that bit Peter, which is why he knew his identity in Captain America: Civil War, and shared such a close bond with him. This will also allow Marvel to introduce Norman into the MCU. A fan had previously ‘leaked’ that Marvel is considering making Norman Osborne (who goes on to become the Green Goblin) a major new villain in the overarching story of the MCU. Another theory suggests that Tony was behind Uncle Ben’s death, which happens before we’re introduced to this version of Peter in the films. A version of this theory previously stated suggests that Uncle Ben died during the Battle of New York, which could indirectly mean that Tony was responsible for it. Far From Home is directed by Jon Watts, and stars Samuel L Jackson, Cobie Smulders and Jake Gyllenhaal in supporting roles, in addition to Tom Holland as Peter. The embargo on reviews will lift on Wednesday - two weeks ahead of release - which suggests that Marvel is positive about the quality of the film.

More specifically, watching movie trailers.

WHAT MAKES A BLOCKBUSTER MOVIE TRAILER?

So, just for the moment, let’s think of your product as the movie. And let’s think of your sales copy as the “trailer.

The secret of great movie trailers – and of great sales copy – is something I call the Dominant Story Idea, or “DSI” for short.

The best and most successful movie trailers do three things without fail: • Give you the Dominant Story Idea (DSI) • Offer a sample of the feelings you’ll get from the movie itself • Provide proof that the movie “works

Showcase Your Dominant Story Idea: Imagine you’re making a Hollywood Movie Trailer... how would you sum up your DSI? Look at the movie examples above for some clues.

Sample feelings: Again, looking to our movie trailer examples, can you show – in your copy – some scenes that will help the reader feel the feelings they want to get from your product? You do this by telling stories, and directing the reader’s imagination so that they see themselves in the end state your product provides (financial freedom, quitting their job, being a best-selling author, enjoying their new car, or whatever your product does for them).

Split is doing well at the box office around the world, but it misrepresents people with dissociative identity disorder (DID; previously called multiple personality disorder). The trailer is particularly gripping, luring in audiences by depicting a man with DID kidnapping and preparing to torture three teenage girls. Kevin (played by James McAvoy) juggles 24 personalities that are based on stereotypes: a cutesy 9-year-old infatuated with Kanye West, a flamboyant designer, and the “Beast,” a superhuman monster who sees the girls as “sacred food.” Kevin falsely represents people with DID through exaggerated symptoms, extreme violence, and unrealistic physical characteristics. The senior author, an expert in DID, has not seen any DID patient who is this violent in 25 years of clinical practice. Kevin’s ghastly personalities are so over-the-top that terrifying scenes are making audiences laugh.

You’ve probably had this experience: It’s late at night and you start browsing Netflix, looking for something to watch. You scroll through different titles, you watch a couple of trailers, you even read a few reviews—but you just can’t commit to watching any given movie. Suddenly it’s been thirty minutes and you’re still stuck in Infinite Browsing Mode, so you just give up. You’re too tired to watch anything now, so you cut your losses and fall asleep.