Out Of Context Movie Quotes

The truth is technical, clinical, not well understood. Essentially, somewhere behind my overactive, often dysfunctional frontal lobe, my hippocampus is getting hot, and in the back of my brain, deep inside the little, almond-shaped amygdala, flashes of light are igniting a fire that burns through my memory like a box of random photos left for too long in a dusty firetrap of an attic. Some are vivid, bright, resplendent in the superior technology that preserves their detail, context, meaning. Truth. Others, many in fact, are so faded I can hardly see the contrast of negative on positive. I can barely remember the incidents, events, places, and people that were, for whatever reason, worth recording. Where does the brain stop and the mind begin? Which part of my movie is merely mechanical, chemical? And how do fantasy, fear, desire, joy, loss emerge to become the story? If there is an answer, it’s all in the editing. For most of my life, my memories have been cut together, if not perfectly, then according to some system that has allowed me reasonable access to my story. To what I wanted to remember and how I chose to remember it. I had final cut. Now they are a mess. A beautiful mess, cut and recut, and playing in no particular order across the insides of my eyelids, running both forward and backward in time as the electrical fire in my brain chases them down and ignites them. I want to reach out my hand. I want to salvage one or two of my favorite frames. But memory is fast and my hands are strapped to this table.

Of course, no china--however intricate and inviting--was as seductive as my fiancé, my future husband, who continued to eat me alive with one glance from his icy-blue eyes. Who greeted me not at the door of his house when I arrived almost every night of the week, but at my car. Who welcomed me not with a pat on the arm or even a hug but with an all-enveloping, all-encompassing embrace. Whose good-night kisses began the moment I arrived, not hours later when it was time to go home. We were already playing house, what with my almost daily trips to the ranch and our five o’clock suppers and our lazy movie nights on his thirty-year-old leather couch, the same one his parents had bought when they were a newly married couple. We’d already watched enough movies together to last a lifetime. Giant with James Dean, The Good, the Bad, and the Ugly, Reservoir Dogs, Guess Who’s Coming to Dinner, The Graduate, All Quiet on the Western Front, and, more than a handful of times, Gone With the Wind. I was continually surprised by the assortment of movies Marlboro Man loved to watch--his taste was surprisingly eclectic--and I loved discovering more and more about him through the VHS collection in his living room. He actually owned The Philadelphia Story. With Marlboro Man, surprises lurked around every corner. We were already a married couple--well, except for the whole “sleepover thing” and the fact that we hadn’t actually gotten hitched yet. We stayed in, like any married couple over the age of sixty, and continued to get to know everything about each other completely outside the realm of parties, dates, and gatherings. All of that was way too far away, anyway--a minimum hour-and-a-half drive to the nearest big city--and besides that, Marlboro Man was a fish out of water in a busy, crowded bar. As for me, I’d been there, done that--a thousand and one times. Going out and panting the town red was unnecessary and completely out of context for the kind of life we’d be building together. This was what we brought each other, I realized. He showed me a slower pace, and permission to be comfortable in the absence of exciting plans on the horizon. I gave him, I realized, something different. Different from the girls he’d dated before--girls who actually knew a thing or two about country life. Different from his mom, who’d also grown up on a ranch. Different from all of his female cousins, who knew how to saddle and ride and who were born with their boots on. As the youngest son in a family of three boys, maybe he looked forward to experiencing life with someone who’d see the country with fresh eyes. Someone who’d appreciate how miraculously countercultural, how strange and set apart it all really is. Someone who couldn’t ride to save her life. Who didn’t know north from south, or east from west. If that defined his criteria for a life partner, I was definitely the woman for the job.

Context: The sonar operator shouts an emergency situation where the submarine right in front of them has sudden stopped engines and turned to he side to listen for anyone following them … like they are. Only in the movie does it say: Conn, sonar! But, that adds to the effect … when something wildly unexpected happens, and you say this quote out loud to yourself or whoever is in the vicinity. Jonesy: Conn, sonar! Crazy Ivan!

>b>Context: The sonar operator shouts an emergency situation where the submarine right in front of them has sudden stopped engines and turned to he side to listen for anyone following them … like they are. Only in the movie does it say Conn, sonar! but it adds to the effect … when something wildly unexpected happens, to say out loud to yourself or whoever is in the room, this quote. Jonesy>: Conn, sonar! Crazy Ivan

The audience watching a magic show or a movie may experience one illusory being killing another. However, both the being that appears to be the killer and the one that is killed are empty; they are not really existent. Likewise, in the context of seeming reality, it is justified that the empty and illusory words of Nagarjuna's negations can negate or cancel out an illusory assumed nature of all things, thus arriving at the conclusion that all things are empty. Therefore, Centrists employ reasoning and such as expedient tools in their discourses only inasmuch as these tools have a certain effectiveness as illusory remedies against illusory fixed ideas. In other words, an illusionlike thesis may be deconstructed by an illusionlike refutation, since the latter has some conventional remedial power within the framework of seeming reality that appears due to fundamental ignorance.

I thoroughly enjoy writing the type of ‘avant-garde’ novels I strongly believe no else would remotely write, and which possess an energetic ‘c-i-n-e-m-a-t-i-c’ quality that makes them not only intriguingly suspenseful and ‘audiovisually’ unique, but offer modern readers involving, sophisticated stories with a distinct, atmospheric style that justifies my ‘christening’ these beautiful volumes… ‘Cotayesque.’ What does that term actually signify in the ‘artistic’ context of my books? I cordially and wholeheartedly invite readers to find out, to ‘discover’ what I sincerely hope will be unanimously perceived as ‘aesthetically conscious,’ genuinely enthralling literary entertainment by a nouveau author of wide-canvassed tales in diverse genres that I’d absolutely recommend (and I’ve always been extremely selective about the n-o-v-e-l-s I read and, of course, the m-o-v-i-e-s I see) to a… family member, to a… friend. Thank you!

For most Westerners, 'harem' is a word which conjures up a heady image of some kind of closely guarded Oriental pleasure palace, filled with scantily clad nubile virgins, stretched out on pillows in languid preparation for nights of sexual adventure in a sultan's bed. It is a world of scatter cushions, jewels in the belly button, gyrating hips, and fluttering eyelashes set above gauzy yashmak (face veils). These cliches find their most vivid expression in nineteenth-century Orientalist paintings and in popular movies. This vision of Eastern sensual excess has often led scholarship to dismiss the notion of the harem as a Western fabrication, an open sesame to an Arabian Nights fantasy world. If we want to utilise the word 'harem' in its correct context and use it to consolidate some legitimate facts about royal women in the Persian empire, we must dispense with the Orientalist cliches entirely and understand what, in historical terms, a 'harem' was all about.

During: ●   Meals: Fundraising in the time of Zoom is an even more intense experience. It can be difficult to carve out enough time to get out of your house, or even away from your computer, for a proper meal. I suggest doing meal prep or planning every Sunday. Meals should be light and calorically restricted to keep your mind and body active — you shouldn’t bring any afternoon grogginess to a pitch because you ate a burger for lunch. ●    Exercise: Add blocks to your calendar to carve out exercise time. Getting your blood pumping and providing an alternative to staring at your own face on Zoom is key to providing context and awareness. Exercise helps reset the body and the mind. ●    Emotional support: A great fundraise is still an experience in rejection (seriously, most meetings result in a “no”). Make sure you have a weekly check-in with someone (not your cofounder) who can help rationalize and normalize this crazy process. ●        Breaks: Schedule time to take breaks. Watch a movie. Take a hike. Go swimming. Do something to get your mind off the fundraise for at least 30 minutes every day. ●      Meditating: There is nothing in this world that I believe in more than meditation. I started meditating twelve months ago, and since then have nearly 10X’d our business. It’s never too late to start!

Line 4 - Sales (Director) Throughout the Golden Path Program we have gotten to know the 4th line as the great ‘friendmaker’. This gift comes from a truly genuine heart, and an easy warmth with people and community. This is the kind of person that emerges through the Venus Sequence, as those 4th lines release some of their inner restrictions and fears. To have a 4th line Vocation is to be a spokesperson. Such gifts are given to us to serve the whole, and although the 4th line wound may feel reluctant to engage at this level, they do have to overcome the fear that they inherited in their very early years. When we say that the 4th line is the most natural salesperson of all the lines, it does not mean only in business. The open 4th line is always selling their heart. They are here to create more openness, to help others overcome their fears, and to be examples of open-hearted communication. Like the 4th line, the 3rd line can be hugely successful in a business context. However, the role and style of the 4th line is very different. Their role is more like the director of the movie. They have to work closely with people, which involves diplomacy, conviction, and focus. The 4th line knows what the movie should look like, and their one-pointed drive will ensure that everyone else comes into harmony around that direction. The 4th line is comfortable taking control and guiding others to work towards a collective vision or ideal. This is where the notion of sales comes in - the 4th line can diffuse difficulties through the sheer strength and goodwill of its character. The 4th line also has a strong theme of aloneness as a counterbalance to its communal warmth. The inner strength and commitment of these people is rooted in this ability to stand alone and remain committed to one’s ideal, despite the odds. If you have a 4th line Vocation, then you are here to influence humanity. You are here to use your considerable gifts to open people’s hearts. If you happen to be selling a specific idea or product, then at the deepest level it is really an excuse to share your spirit with others. Sometimes you may also be here to deliver a rousing message that shakes people out of their comfort zones, and brings them to a new place inside themselves. Since the 4th line is so good at convincing people about things, it is for a very good reason. When this reason is for a higher purpose, then your whole life moves onto a higher level. There is nothing more powerful or authentic than when one of us stands alone in the world and expresses the love in our heart - whatever creative form that may take.

Others find it easy to dismiss the Bible out of hand, as negative, vengeful, violent. I can only hope that they are rejecting the violence-as-entertainment of movies and television on the same grounds, and that they say a prayer every time they pick up a daily newspaper or turn on CNN. In the context of real life, the Bible seems refreshingly whole, an honest reflection on humanity in relation to the sacred and the profane.