Parker Movie Quotes

I took my .38 out and looked to see that there were bullets in all the proper places. I knew there would be, but it did no harm to be careful. And I'd seen Clint Eastwood do it once in the movies.

When making his music, he [Elvis Presley] had been the essence of cool, but in his movies he was often a self-parody embarrassing to watch. Colonel Parker, his manager, who had picked movie scrips for him, had served Elvis less well than the monk Rasputin had served Czar Nicholas and Alexandra.

I miss you more than Michael Bay missed the mark When he made Pearl Harbor. I miss you more than that movie missed the point And that's an awful lot, girl. And now, now you've gone away And all I'm trying to say, is: Pearl Harbor sucked and I miss you. I need you like Ben Affleck needs acting school He was terrible in that film. I need you like Cuba Gooding needed a bigger part He's way better than Ben Affleck. And now, all I can think about is your smile and that shitty movie, too. Pearl Harbor sucked and I miss you. Why does Michael Bay get to keep on making movies? I guess Pearl Harbor sucked just a little bit more than I miss you.

If I had to boycott assholes out of my artistic menu, I’d be starved for movies, books, and songs.

Fact is, blatant heterosexuals are all over the place. Supermarkets, movies, on your job, in church, in books, on television every day and night, every place - even in gay bars. & they want gay men & women to go hide in the closets - So to you straight folks i say - Sure, i'll go if you go too but i'm polite so - after you.

Parker let the letter drop to the floor, an act she often criticized in movies for its melodrama.

Kyle, every boy pays for kisses. Do you know what I am saying? If you've got a girl, and she kisses you, sooner or later you're paying for it. You've gotta take her out to lunch, take her to a movie, and then spend time listenin' to all her stupid problems. Look, look at Stan right there. [Kyle turns to see Stan, who's listening to Wendy over at the merry-go-round] Why he's gotta sit there and listen to her stupid motherfuckin' problems 'cause she kisses him. If you ask me, that's a lot more than the five dollars my company charges.

Why is it that men reduce themselves to one-liners and bad movie quotes whenever they get into a fight?" said Parker. "Is there some kind of script they're supposed to follow when they get to this point? Or does the raging testosterone just shut down their higher brain functions?

Kim Jong Il: Hans Brix? Oh no! Oh, herro. Great to see you again, Hans! Hans Blix: Mr. Il, I was supposed to be allowed to inspect your palace today, but your guards won't let me enter certain areas. Kim Jong Il: Hans, Hans, Hans! We've been frew this a dozen times. I don't have any weapons of mass destwuction, OK Hans? Hans Blix: Then let me look around, so I can ease the UN's collective mind. I'm sorry, but the UN must be firm with you. Let me in, or else. Kim Jong Il: Or else what? Hans Blix: Or else we will be very angry with you... and we will write you a letter, telling you how angry we are.

If you need some inspiration to push back against those sponsors, consider the case of George Lucas. When he was filming the original Star Wars, he wanted a bold launch for his movie. The Directors Guild of America protested. Most films at the time started by naming the writer and director in the opening title sequence—in this case, thanking the film’s creators rather than its sponsors. It was how things were done. Despite the protests of the Directors Guild, Lucas decided to forgo opening credits entirely. The result was one of the most memorable beginnings in movie history. And he paid for it—the Directors Guild fined him $250,000 for his daring. His loyalty was to his audience’s experience, and he was willing to sacrifice for it. You should be, too.

According to that book, only one Marx contributed an unforgotten pun to the Round Tablers’ vaunted word games. It wasn’t Groucho, who must have been furious. Nor was it Harpo, who for all we know sat at the table naked. Nor was it Chico, who had more dangerous games elsewhere. It was Gummo. Evidently Gummo had a seat at that table at least once, and he made it count. Everybody knows that Dorothy Parker, challenged to make a sentence with the word horticulture, quipped as follows: “You can lead a horticulture, but you can’t make her think.” But who knew that Gummo, taking on euphoria, came up with this: LEFT TO RIGHT: Harpo, Zeppo, Chico, Groucho, and Gummo, 1957. “Go outside and play,” Minnie told the brothers. “Which ones?” they asked. And she said: “Euphoria.”*

a young Goldman Sachs banker named Joseph Park was sitting in his apartment, frustrated at the effort required to get access to entertainment. Why should he trek all the way to Blockbuster to rent a movie? He should just be able to open a website, pick out a movie, and have it delivered to his door. Despite raising around $250 million, Kozmo, the company Park founded, went bankrupt in 2001. His biggest mistake was making a brash promise for one-hour delivery of virtually anything, and investing in building national operations to support growth that never happened. One study of over three thousand startups indicates that roughly three out of every four fail because of premature scaling—making investments that the market isn’t yet ready to support. Had Park proceeded more slowly, he might have noticed that with the current technology available, one-hour delivery was an impractical and low-margin business. There was, however, a tremendous demand for online movie rentals. Netflix was just then getting off the ground, and Kozmo might have been able to compete in the area of mail-order rentals and then online movie streaming. Later, he might have been able to capitalize on technological changes that made it possible for Instacart to build a logistics operation that made one-hour grocery delivery scalable and profitable. Since the market is more defined when settlers enter, they can focus on providing superior quality instead of deliberating about what to offer in the first place. “Wouldn’t you rather be second or third and see how the guy in first did, and then . . . improve it?” Malcolm Gladwell asked in an interview. “When ideas get really complicated, and when the world gets complicated, it’s foolish to think the person who’s first can work it all out,” Gladwell remarked. “Most good things, it takes a long time to figure them out.”* Second, there’s reason to believe that the kinds of people who choose to be late movers may be better suited to succeed. Risk seekers are drawn to being first, and they’re prone to making impulsive decisions. Meanwhile, more risk-averse entrepreneurs watch from the sidelines, waiting for the right opportunity and balancing their risk portfolios before entering. In a study of software startups, strategy researchers Elizabeth Pontikes and William Barnett find that when entrepreneurs rush to follow the crowd into hyped markets, their startups are less likely to survive and grow. When entrepreneurs wait for the market to cool down, they have higher odds of success: “Nonconformists . . . that buck the trend are most likely to stay in the market, receive funding, and ultimately go public.” Third, along with being less recklessly ambitious, settlers can improve upon competitors’ technology to make products better. When you’re the first to market, you have to make all the mistakes yourself. Meanwhile, settlers can watch and learn from your errors. “Moving first is a tactic, not a goal,” Peter Thiel writes in Zero to One; “being the first mover doesn’t do you any good if someone else comes along and unseats you.” Fourth, whereas pioneers tend to get stuck in their early offerings, settlers can observe market changes and shifting consumer tastes and adjust accordingly. In a study of the U.S. automobile industry over nearly a century, pioneers had lower survival rates because they struggled to establish legitimacy, developed routines that didn’t fit the market, and became obsolete as consumer needs clarified. Settlers also have the luxury of waiting for the market to be ready. When Warby Parker launched, e-commerce companies had been thriving for more than a decade, though other companies had tried selling glasses online with little success. “There’s no way it would have worked before,” Neil Blumenthal tells me. “We had to wait for Amazon, Zappos, and Blue Nile to get people comfortable buying products they typically wouldn’t order online.

I don’t know how much of St. Yvette you’ve seen so far, but I really think you’ll like the Falls. It’s a ways out of town though, so people sort of forget about it.” “I don’t.” Roo frowned. “I go there a lot.” “And that way we sort of forget about you, too.” Parker spoke up. “So it works out great.” Determined, Ashley kept on. “There’s hardly ever anybody out there. That’s why we like it so much.” “Well, that and the poisonous swamp. And the man-eating diamondback water snakes. Don’t forget those.” In the rearview mirror, Parker’s eyes widened dramatically. “And then one day…the new girl in town went off to the Falls with her friends.” His voice deepened, horror-movie style. “And she was never seen again.” “Parker, will you stop? That’s not funny.

Oooo, I love attics.” Ashley gave a little squirm of anticipation. “Maybe your grandpa has some old trunks up there, do you think? Like attics in the movies? With clothes and old hats and those dressmaker dummies?” Roo drew on her cigarette. “You’re looking for dummies? Don’t tempt me, Ash.” “Well, as tempting as it is to continue this fascinating and stimulating discussion”--Parker grimaced--“I’ve got to get home.” Standing, he pulled Ashley up with him. “I guess we’ll see y’all later?” As the others got to their feet, Ashley gave Miranda a tight hug. “We’re coming tonight. You know, to the wake.” Miranda, once more, was touched. “Look, you guys, I appreciate it--really. But you don’t have to. It’s going to be so depressing.” “We’re coming,” Roo said. “Yeah, Roo likes depressing,” Parker insisted. “She’ll feel right at home.” “Parker, that’s so rude,” Ashley scolded him. “This isn’t anything to joke about.” “Right. Sorry.” The last to leave, Gage paused on the top step to look back at her. “We’ll be there.

With Great Power Comes Great Responsibility.

wave which invaded her personal space like an invisible third person.

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

Cassidy readily understood that most dreamy high school thespians would not become international movie stars; most tots prancing across stages wearing rhinestone tiaras would not become Miss America; most ROTC standouts would not become heroes or astronauts. But at the same time he was pretty sure that a few would. He had to believe in his heart that some of them would do these things. He understood that, even if Gary Castleton did not.

What were you arguing about?” When Jack simply shrugged, Parker let out a groan. “For fuck’s sake, you two agreed to a ceasefire. I even made you sign that agreement never to discuss it!” Jack’s sputtered defense was one Parker had heard too many times before. “I’m sorry, but it’s bullshit! Saving Private Ryan is an epic movie, and one of these days that asshole is gonna have to admit it. I refuse to hear a bad word about—” “I don’t want to hear it. I swear, I had

You shoot, you always shoot to kill. It’s not the movies. You’re in a crisis situation, you got about a half second to do what needs to be done. Your

The her to a Texas oil fortune, Parker had the face of a movie star and the body of a Greek god.

When I was seeing this guy, I fully believed that being loved by someone was synonymous with having a sexual relationship with them. And I believed this because it was what I had been told time and time again by TV shows, commercials, magazines, and movies.

I'm thinking about a guy who's thinking about me. And thinking about him thinking about me has me all worked up. I don't actually know if I'm thinking about him because he's thinking about me, or if I'm thinking about him because he's cute and funny and sweet and sexy. He wears tweed Parker. Grandfathers wear tweed. Old guys in British movies wear tweed. Why do I find it sexy that he wears tweed? This is a question that haunts me.

Hopelessness surged inside me. It was like watching the saddest movie you’d ever seen, knowing you couldn’t change the plot.

This book holds one of my favorite quotes: I am too fond of books to care to write them. It’s true. Once your art becomes your job, it loses its elusive, sexy charm. It’s like seeing the behind-the-scenes of your favorite movie.

One of the biggest surprises of my adult life is how unethical reporters are. In movies they’re always the good guys. “In movies they’re always the good guys.” Indeed! If you think about it, superheros are literally portrayed as journalists (that’s the day job of both Clark Kent and Peter Parker), and journalists are likewise portrayed as superheros (see movies like Spotlight and The Post). The Intrepid Reporter is as much of a stock character as the Evil Corporation.70 You don’t hear much about the evil reporter, though. You don’t hear much about the evil communist, either.

You look like … like a boxer, or like somebody in a Tarzan movie.” “Cheetah,” I said.

You want some?” Cha0s said as he turned toward Eliot. “Come and get it!” “Why is it that men reduce themselves to one-liners and bad movie quotes whenever they get into a fight?” said Parker. “Is there some kind of script they’re supposed to follow when they get to this point? Or does the raging testosterone just shut down their higher brain functions?

The two companies also clashed over creative control. Marvel wanted guarantees, for instance, that Peter Parker would be a heterosexual male who didn’t lose his virginity before age sixteen and never slept with anyone under sixteen (which Sony agreed to) and that he would be a Caucasian of average height who doesn’t smoke, drink, use drugs, or curse (which Sony would not accept). Both sides were regularly auditing each other, and Sony eventually formed a committee that met weekly just to deal with the nonstop barrage of Marvel-related issues.

Suze,” I said, “I’m a middle-aged man.” “I know,” Susan said. “I see it as a challenge.” We went into the bedroom and lay close in the bed, sipping the champagne and watching the late movie in the air-conditioned darkness. Life may be flawed but sometimes things are just right. The late movie was The Magnificent Seven. When Steve McQueen looked at Eli Wallach and said, “We deal in lead, friend,” I said it along with him.

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.

She doesn’t care for his movies and couldn’t care less about his personal life (she’s from the none-of-my-business generation), and was “a moldy fig” in her teen years—that’s what a group of particular jazz enthusiasts called themselves in Manhattan at that time; they liked Dixieland jazz, pure jazz, not the Duke Ellington stuff.

At one point he said I was a terrific actress and a complicated woman but that he didn’t want to see any of that in his movie.