Newer Movie Quotes

We must first begin again to learn "'learning" and to know standards of measure. Cultural dissolution will not be abated by the mere introduction of newer and more convenient "textbooks." The youth must not wait until more fundamental acquaintance and actual contemplation are demanded of them from above, for it is precisely the other way around. It is the prerogative of a true and wakeful youth to develop exhortations to knowledge from out of itself, and to cling to these exhortations for itself, in order to construct the future. Whether one occasionally "reads a book" is a measure for the petite bourgeoisie. It does not ask whether today's man, who gets his "education" from "charts" and "magazines," from radio reports and movie theaters. whether such a confused, dizzy, and purely American man still knows, or can know, what "reading" means.

The idea that John Lasseter pitched was called “Toy Story.” It sprang from a belief, which he and Jobs shared, that products have an essence to them, a purpose for which they were made. If the object were to have feelings, these would be based on its desire to fulfill its essence. The purpose of a glass, for example, is to hold water; if it had feelings, it would be happy when full and sad when empty. The essence of a computer screen is to interface with a human. The essence of a unicycle is to be ridden in a circus. As for toys, their purpose is to be played with by kids, and thus their existential fear is of being discarded or upstaged by newer toys. So a buddy movie pairing an old favorite toy with a shiny new one would have an essential drama to it, especially when the action revolved around the toys’ being separated from their kid. The original treatment began, “Everyone has had the traumatic childhood experience of losing a toy. Our story takes the toy’s point of view as he loses and tries to regain the single thing most important to him: to be played with by children. This is the reason for the existence of all toys. It is the emotional foundation of their existence.

says Robert Faris, a sociologist at UC Davis. If you were to screen the movie Cool Hand Luke for an audience of chimps—something he has not done—they would have no trouble determining who prevails in the prison boxing scene: the hulking boss, Dragline, beats Luke until the title character can barely stand. But the next scene would leave the chimps scratching their heads. Luke, the loser, has become the new leader of the prisoners. A human moviegoer could attempt to explain. Because Luke kept getting up out of the dirt, even when he was beat, he won the other prisoners’ respect. But the chimps would just not get it. “That’s a complexity of humans,” Faris says: it was not until after the human-chimpanzee split that Homo sapiens developed a newer, uniquely human path to power. Scholars call it “prestige.

Somehow, Naomi was of another, newer, generation than Nathan, despite the fact that they were the same age. Nathan seemed to have absorbed his sense of journalistic ethics from old movies about newspaper reporters. For Naomi, internet sampling and scratching was a completely valid form of journalism, presenting no ethical clouds on its open-source horizon. To not be photographed daily, even by oneself, to not be recorded and videoed and dispersed into the turbulent winds of the net, was to court nonexistence.