Skyline Movie Quotes

When we got to the marina we saw this beautiful boat named Tara waiting for us. Fredo, Carin, Ryan, Dan, Kenny, Allison, my mom, and me were all together to enjoy that extraordinary day. As the boat pulled away from the city, its skyline vanished into the horizon. The captain took us to this area where we sailed through caves and lush hilly landscapes. All of a sudden, the captain pushed the throttle all the way down and we started bombing across the water like we were in a James Bond movie. Everyone's hair was blowing all over the place, especially the girls'. Of course, mine was perfect (ha,ha), but theirs ended up looking like the worst case of bed head I've seen! It was so funny.

There is no word to describe exactly what the High Line is to the non-architects among us, nor the collective reframing process required to see beyond its dingy path. 24 The promenade’s landscaping and minimal architectural interference is meant to find a balance between “melancholia and exuberance,” Diller told me. “Whatever that intermediate thing is, it’s ineffable and is kind of what makes the High Line so popular.” “Part of what is so successful about the High Line is that it looks like it’s about nothing,” Diller said. Everything is prohibited on the promenade but the act of moving forward or stopping to look at the vistas from that vantage point. A dedicated place for strolling, where there are no dogs, no bicycles, or wheeled objects of any kind, it is “radically old fashioned,” designed to let us do what we ordinarily don’t, like taking time to linger and gaze at passing traffic. There is even a “sunken overlook” viewing station with movie-theater-style rows of descending seats and a window instead of a screen to see Tenth Avenue’s traffic instead of a featured film. Looking at the path beneath our feet and the view before us are the High Line’s activities. The High Line’s path will extend up the island in nearly interminable stages, “perpetually unfinished.” 25 As if to underscore it, on the west-facing side of the High Line, with views of the skyline and the Hudson River, sculptor Anatsui erected a monumental mural, Broken Bridge II, a three-dimensional painting the size of a city block made of flattened, dull-finish tin and mirrors with expert placement and hours of scaling. The vista in its upper reaches blends sky and land “in such a way that you do not know where mirrors end and sky begins.” 26 Anatsui, known for his radiant, monumental murals with a unique luster, fashioned as they are out of recycled metal bottle caps from his studio in Nigeria, starts his work from an approximate center with exquisite discards. He then builds outward, unscrolling the once-scattered shards so that they shine in their new form, as if they could unfurl to the full extent of vision.

La DolceVita. The movie opens with a panorama of Rome’s magnificent skyline, the grand dome of St. Peter’s in the center. A helicopter carrying a large object appears in the distance. The camera zooms in; the object is a statue of Christ being hauled away from a downtown square. The camera then focuses on a group of young sunbathers who, distracted from their pleasure by the whirring blades, laugh mockingly. Why shouldn’t Jesus take the bus like everyone else? The helicopter flies on to discard its outdated cargo on a trash pile, and the youngsters return to their sun worship.