Quasi Movie Quotes

Nudity and explicit sex are far more easily available now than are clear images of death. The quasi-violence of movies and television dwells on the lively acts of killing – flying kicks, roaring weapons, crashing cars, flaming explosions. These are the moral equivalents of old-time cinematic sex. The fictional spurting of gun muzzles after flirtation and seduction but stop a titillating instant short of actual copulation. The results of such aggressive vivacity remain a mystery. The corpse itself, riddled and gaping, swelling or dismembered, the action of heat and bacteria, of mummification or decay are the most illicit pornography.

Non mi sfuggiva il fatto che il nostro giro di shopping-restyling, fino a quel momento, era esattamente come me l'ero immaginato, ma più sul genere "La dura verità" che "Kiss me". Wes ricorda va così tanto Mike quando porta Abby a fare shopping che era quasi divertente, con l'unica differenza che Wes non era il protagonista e io non mi stavo innamorando di lui.

Overused Settings All too often, games borrow settings from one another or from common settings found in the movies, books, or television. A huge number of games are set in science fiction and fantasy worlds, especially the quasi-medieval, sword-and-sorcery fantasy inspired by J. R. R. Tolkien and Dungeons & Dragons, popular with the young people who used to be the primary—indeed, almost the only—market for computer games. But a more diverse audience plays games nowadays, and they want new worlds to play in. You should look beyond these hoary old staples of gaming.

Nudity and explicit sex are far more easily available now than are clear images of death. The quasi-violence of movies and television dwells on the lively acts of killing – flying kicks, roaring weapons, crashing cars, flaming explosions. These are the moral equivalents of old-time cinematic sex. The fictional spurting of gun muzzles after flirtation and seduction but stop a titillating instant short of actual copulation. The results of such aggressive vivacity remain a mystery. The corpse itself, riddled and gaping, swelling or dismembered, the action of heat and bacteria, of mummification or decay are the most illicit pornography. The images we seldom see are the aftermath of violent deaths. Your family newspaper will not print photos of the puddled suicide who jumped from the fourteenth floor. No car wrecks with the body parts unevenly distributed, no murder victim sprawled in his own juices. Despite the endless preaching against violent crime, despite the enormous and avid audience for mayhem, these images are taboo.

In the pre-internet age, holding conspiratorial beliefs usually meant holding those beliefs in isolation - you read discredited books, you wrote letters to fringe magazines, and you listened to Coast to Coast AM alone in the garage. The thought of an unsubstantiated conspiracy theory crossing into real politics (or even being quasi-validated by a main-stream newspaper) was absurd. Only the internet could make that possible. Before social media, there was no way to gauge the size of a conspiracy population, and individuals promoting unconventional concepts surrendered their credibility within the straight world. When Oliver Stone released the film JFK in 1991, it trafficked in a conspiracy a majority of Americans accepted - that the assassination of John F. Kennedy had involved more than one gunman. But JFK was still ridiculed in most serious publication, sometimes before the movie was even released. Stone was marginalized as a loon for promoting a possibility most people already believed.

His last project was his favorite, a movie script of Milton's Paradise Lost. In an interview, Collier said, "I think the theme of Paradise Lost is singularly suited to attract a wide audience, and especially the young audience, of today. It is quasi-religious, quasi-scientific, and deeply humanistic, being the thrilling story, with which we can all identify, of how innocent, vegetarian, Proconsul or Pithecanthropus was caught up in the guerrilla war waged by Satan against the authoritarian universe, and how he emerged as moral and immoral, curious, inspired, murderous and suffering Man." The film was not made but the script was published as "A Screenplay for the Cinema of the Mind" in America in 1973. It is an astonishing thing—not quite what Milton intended—and Satan is the hero.