Niche Film Quotes

Water splashes and runs in a film across the glass floor suspended above the mosaics. The Hacı Kadın hamam is a typical post-Union fusion of architectures; Ottoman domes and niches built over some forgotten Byzantine palace, years and decades of trash blinding, gagging, burying the angel-eyed Greek faces in the mosaic floor; century upon century. That haunted face was only exposed to the light again when the builders tore down the cheap apartment blocks and discovered a wonder. But Istanbul is wonder upon wonder, sedimented wonder, metamorphic cross-bedded wonder. You can’t plant a row of beans without turning up some saint or Sufi. At some point every country realizes it must eat its history. Romans ate Greeks, Byzantines ate Romans, Ottomans ate Byzantines, Turks ate Ottomans. The EU eats everything. Again, the splash and run as Ferid Bey scoops warm water in a bronze bowl from the marble basin and pours it over his head.

That's . . . because I am pathetic. In life as in film, find your niche and work it.

My work is part detective, part cultural anthropologist. I am a spy, a researcher, a negotiator, a trendsetter, a socialite, and a dealmaker. This is the reason I own this one-man niche. I supply the world with the most brilliant stories in adrenaline-packed adventures concocted by writers, stalkers, hackers, and odd characters, and then produced and marketed by heads of studios and publishers who come to me with preemptive offers. I have the power to turn someone’s obscure dream into one hundred TV episodes, then syndication. I can find a screenplay written in film school and turn it into a blockbuster.

Like Alan, Jep turned his life around after overcoming the struggles of alcohol and drugs. He came to work for Duck Commander and found his niche as a videographer. He films the footage for our Duckmen videos and works with Willie on the Buck Commander videos. Jep is with us on nearly every hunt, filming the action from a distance. He knows exactly what we’re looking for in the videos and films it, downloads it, edits it, and sends it to the duplicator, who produces and distributes our DVDs. Having worked with the crew of Duck Dynasty over the last few years, I’ve noticed that most people who work in the film industry are a little bit weird. And Jep, my youngest son, is a little strange. It’s his personality-he’s easygoing, likable, and a lot more reserved than his brothers. But he’s the only one who will come up to me and give me a bear hug. He’ll just walk up and say, “Daddy, I need a hug.” The good news for Jep is that as far as the Duck Commander crowd goes, one thing is for sure: weirdos are in! We covet weirdos; they can do things we can’t because they’re so strange. You have to have two or three weirdos in your company to make it work. It’s truly been a blessing to watch Jep grow and mature and become a loving husband and father. He and his wife, Jessica, have four beautiful children.

Ten temat, ten moralny twór służący ocenie tożsamości i wartości, Snowden spotykał wielokrotnie na swojej drodze rozwoju intelektualnego, w tym także – wyjaśnił z pewnym zażenowaniem – w grach wideo. Lekcja moralności, jaką z nich wyciągnął, mówiła, że jedna osoba, nawet najbardziej bezsilna, może naprawić wielką niesprawiedliwość. – Bohater jest często zwykłym człowiekiem, który staje w obliczu ogromnej niesprawiedliwości wyrządzanej przez potężne siły i ma wybór: uciec w strachu lub walczyć o swoje przekonania. A historia pokazuje, że pozornie zwykli ludzie potrafią zatriumfować nawet nad najpotężniejszymi przeciwnikami, jeśli wystarczająco mocno wierzą w sprawiedliwość. To nie on pierwszy powiedział mi, że gry wideo istotnie przyczyniły się do kształtowania światopoglądu. Przed laty zapewne bym parsknął lekceważąco, ale nauczyłem się już akceptować fakt, że dla pokolenia Snowdena rola gier w kształtowaniu świadomości politycznej, racji moralnych i zrozumienia swego miejsca w świecie była równie znacząca jak literatura, telewizja i film. Także w grach występują skomplikowane, skłaniające do rozważań dylematy moralne, a szczególnie dotyczy to ludzi, którzy zaczynają kwestionować wpajane im zasady.

Netflix’s focus on niche and foreign films sharpened with Lowe’s discovery that many of the service’s early customers were Indian students and immigrant technologists whose selection of Bollywood films was limited to what they could find at local Indian markets. At

It is because what is male is universal (and what is female is niche) that a film about the fight of British women for their right to vote is slammed (in the Guardian, no less) as ‘peculiarly hermetic’ for not covering the First World War – sadly proving that Virginia Woolf’s 1929 observation (‘This is an important book, the critic assumes, because it deals with war. This is an insignificant book because it deals with the feelings of women in a drawing-room’) is still relevant today.

Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The

Finally, gatekeepers still matter. Technology makes it easier for people to listen to any kind of music they like, but digital availability and ubiquity are steering them increasingly to the biggest hits, not the niches. Bloggers and podcasters and tweeters have shaken up purveyors of news, but not replaced them. Book publishers, art dealers and film producers will still play the biggest role in what gets bought, read, contemplated and listened to.

Some blacks have carved out profitable niches for themselves as racial shakedown artists. For more than ten years, Mustafa Majeed of New York City has made a business of extorting money from moviemakers. When directors try to film a scene outdoors, Mr. Majeed shows up with a gang and demands that more blacks be hired for the crew. If he is refused, Mr. Majeed’s recruits blow whistles and shoot off flashbulbs, making it impossible to film. Mr. Majeed appears to be happy to accept money rather than more black employees. In 1991 he reportedly told film director Woody Allen that in return for $100,000 he would leave Mr. Allen’s sets alone. Other filmmakers have hired private security guards to keep Mr. Majeed away. Mr. Majeed is the head of the Communications Industry Skills Center, an organization that is supposed to train blacks for jobs in the entertainment field. Until April 1990 it was financed by the city of New York.740

Islam isn't about ayats and hadiths and niches and lamps. Its about us. All of us. Allah’s too big and too open for my Islam to be small and closed