Preston Movie Quotes

We are all like bit players in a Preston Sturges movie, ready to testify in front of a small-town jury in terms whose relevance would escape anyone but ourselves.

The town had a faint air of benign neglect that only added to its charm: a seaside village with white clapboard buildings, seagulls wheeling overhead, uneven brick sidewalks and local shops. They passed a gas station, several old storefronts with plate-glass windows, a diner, a funeral parlor, a movie theater turned into a bookstore, and an eighteenth-century sea captain’s mansion, complete with widow’s walk. A sign out front identified it as the Exmouth Historical Society and Museum.

As Titanic began production, there was an immediate chemistry between Barbara and myself—a lot of looks across the room. At this point Barbara Stanwyck was a legendary actress, universally respected for her level of craft and integrity. She also had the most valuable thing a performer can have: good taste. Besides a long list of successful bread-and-butter pictures, Barbara had made genuine classics for great directors: The Bitter Tea of General Yen and Meet John Doe for Frank Capra, Stella Dallas for King Vidor, The Lady Eve for Preston Sturges, Ball of Fire for Howard Hawks, and Double Indemnity for Billy Wilder. Barbara carried her success lightly; her attitude was one of utter professionalism and no noticeable temperament. As far as she was concerned, she was simply one of a hundred or so people gathered to make a movie—no more, no less.

Spending time around her house, I came across a cache of 16mm movies in her basement. It turned out that Barbara [Stanwyck] had a lot of her own movies, and I convinced her to spend some time watching them with me. I ran the projector. She had prints of Union Pacific, Ball of Fire, and Baby Face, among others. She didn't particularly like watching them, but she did enjoy reminiscing about their production: how she got the part, what the location was like, that sort of thing. She liked people with humor and always spoke highly of Gary Cooper, Joel McCrea, and Frank Capra. Oddly enough, she wasn't crazy about Preston Sturges; she seemed to feel that he expended all his charm and humor for his movies and that there wasn't anything left for his actors. In broad outline, all this sounds a little bit like the scene in Sunset Boulevard where Gloria Swanson sits with William Holden and watches a scene from Queen Kelly, rhapsodizing about her own face. But Barbara couldn't have cared less about how she looked; as I watched her films with her, it was clear that, for her, the movies were a job she loved, as well as a social occasion for a woman who was otherwise something of a loner.

Forgive my skepticism. All the journalists I’ve dealt with have been so poorly informed. They don’t make the slightest effort to understand the science. Journalists are lazy and stupid. I won’t mention any names. But take that young man from Esquire magazine. Did you know his journalism background was in celebrity profiles? He wrote about movie stars, so that gave him the authority to write about Jennie. Why, you see, Jennie was a celebrity. Make me laugh. And you’d think the Boston Globe would be concerned about scientific accuracy. That hapless reporter didn’t even know the difference between an ape and a monkey.

There’s nothing that makes me cry harder than fiction. There’s nothing that makes me weep, nothing that holds my breath and brings tears stinging to my eyes more than fiction. And all those sad realities which filter through my days. They leave no lasting impression. All they serve is small reminders of my busy life. Small purposes: remember the pain of the world. Okay, alright. I remember it all. Then I go watch a movie. I listen to the classical music station in my car at five-thirty pm where they always play that same song. I watch a play, watch the performance. Watch the smoke descend upon the stage. This fiction. It’s the only thing that affects me. Funny, isn’t it?

Napoleon Dynamite In small-town Preston, Idaho, awkward teen Napoleon Dynamite (Jon Heder) has trouble fitting in. After his grandmother is injured in an accident, his life is made even worse when his strangely nostalgic uncle, Rico (Jon Gries), shows up to keep an eye on him. With no safe haven at home or at school, Napoleon befriends the new kid, Pedro (Efren Ramirez), a morose Hispanic boy who speaks little English. Together the two launch a campaign to run for class president.     #101

That European diseases ran rampant in the New World is an old story, but recent discoveries in genetics, epidemiology, and archaeology have painted a picture of the die-off that is truly apocalyptic; the lived experience of the indigenous communities during this genocide exceeds the worst that any horror movie has imagined.

The New World was like a vast, tinder-dry forest waiting to burn—and Columbus brought the fire. That European diseases ran rampant in the New World is an old story, but recent discoveries in genetics, epidemiology, and archaeology have painted a picture of the die-off that is truly apocalyptic; the lived experience of the indigenous communities during this genocide exceeds the worst that any horror movie has imagined. It was disease, more than anything else, that allowed the Spanish to establish the world’s first imperio en el que nunca se pone el sol, the “empire on which the sun never sets,” so called because it occupied a swath of territory so extensive that some of it was always in daylight.