Stitch Movie Quotes

Weren’t movies his generation’s faith anyway- its true religion? Wasn’t the theatre our temple, the one place we enter separately but emerge from two hours later together, with the same experience, same guided emotions, same moral? A million schools taught ten million curricula, a million churches featured ten thousand sects with a billion sermons- but the same movie showed in every mall in the country. And we all saw it. That summer, the one you’ll never forget, every movie house beamed the same set of thematic and narrative images…flickering pictures stitched in our minds that replaced our own memories, archetypal stories that become our shared history, that taught us what to expect from life, that defined our values. What was that but a religion?

I always wondered why nobody did it before me. I mean, all those comic book movies and television shows, you'd think at least one eccentric loner would have stitched himself a costume.

Life, I realized, was not a meticulously edited movie. It was a tapestry of scenes, each more real and raw than the last, stitched together in a pattern that often made sense only in retrospect. Each day was a snapshot, a moment frozen in time.

It’s one of the secrets to life that no one ever tells you. Joy cures everything.” I flared my nostrils. “Everything?” I challenged, pointing at the bandage over my stitches.” “Everything emotional,” Max clarified. “I don’t think you can cure emotions,” I said. But Max just nodded. “Joy is an antidote to fear. To anger. To boredom. To sorrow.” “But you can’t just decide to feel joyful.” “True. But you can decide to do something joyful.” I considered that. “You can hug somebody. Or crank up the radio. Or watch a funny movie. Or tickle somebody. Or lip-synch your favorite song. Or buy the person behind you at Starbucks a coffee. Or wear a flower hat to work.

The Scream Death changes the meaning of words 　 Life is not what it use to mean the carefree seamless summer of my childhood is stitched into seasons years decades appointments filling the void with more blackness like oil roiling from the ocean floor love is bottom-lined to to the slit of pleasure God to the slit of the confessional work to clock-punching family to obligation friends to activity partners going through the motions watching myself in a movie in a dream at a wake... we are all amnesiacs lost we suffer from anosognosia and adderall and chronic fatigue and hypochondria he hobbles trembling forsaken alone pressing his ears like a vise in the Krakatoan twilight 　 I scream

You are all more or less wearing the same types of clothes—look around the room and you will see it’s true. Now imagine you’re the only one not wearing a cool symbol. How would that make you feel? The Nike swoop, the three Adidas stripes, the little Polo player on a horse, the Hollister seagull, the symbols of Philadelphia’s professional sports teams, even our high school mascot that you athletes wear to battle other schools—some of you wear our Mustang to class even when there is no sporting event scheduled. These are your symbols, what you wear to prove that your identity matches the identity of others. Much like the Nazis had their swastika. We have a very loose dress code here and yet most of you pretty much dress the same. Why? Perhaps you feel it’s important not to stray too far from the norm. Would you not also wear a government symbol if it became important and normal to do so? If it were marketed the right way? If it was stitched on the most expensive brand at the mall? Worn by movie stars? The president of the United States?

I always wondered why nobody did it before me. I mean, all those comic book movies and television shows, you'd think at least one eccentric loner would have stitched himself a costume. Is everyday life really so exciting? Are schools and offices really so thrilling that I'm the only one who ever fantasized about this? C'mon. Be honest with yourself. We all planned to be a superhero at some point in our lives.

It Rained for Two Days Straight Yesterday, Ryan told me his grandfather was admitted to the hospital. It was raining the way it rains in the movies, like whoever does the dishes left the faucet running, heavy drops polishing everything in the city dark. We ran from one drooling awning to the next, quicker, then slower, quicker, slower. If one had watched from the sky, our bodies would have looked like two small needles being pulsed forward by some invisible machine, stitching the streets together. Today, Patric was left by a girl he did not love but did not not love. He told me it was impossible to imagine himself both alone and whole. It was still raining--the sky's silly metaphor for sadness, untimely, startling, the way it makes the whole world more honest. Death is like this, too. Heartache, also. The sudden absence of what was there but now not. I touched Patrick's shoulder, attempting to pass my human to his. I sent Ryan a poem. I cannot do more than this art of bearing witness, to be both the bucket and the mirror, to say, yes, you are here but I am here also, to say you won't be here forever, or to say nothing and just walk beside each other in the rain.

I'm trying to stitch these scenes from a life together, I am trying to master the art of cinematic collage, but I find the material has become amorphous. I can no longer tell what is true apart from what I want to be tru anymore. It's like a movie I watched when I was high. The images shimmer somewhere in the mirky depths, I know I have watched this film before, but I can't pull up anything I would trust as real, true detail, because everything has been embellished by these years of grief, guilt and remorse. The celluloid has tarnished, it wasn't ever deemed to be worth much, it wasn't stored properly, so now the writer can't even decipher the director's name on the film can. I can no longer separate what happened on screen from the stoner wisecracks I made whilst watching it.

I Can't Make You Love Me.' Bonnie Raitt." "Oh,Fiorella." I glared at him a little as I climbed down. "Was that delightful list for your benefit or mine?" Frankie grabbed my hand and, when I didn't pull away fast enough, tugged me onto his lap,where he wrapped his arms so tightly around me that I couldn't escape. Sometimes his strength still surprises me.He tickled my cheek with his nose. "Don't hate me just because I'm hateful." "I never do." Here's the thing. Frankie's taken a lot of hits in his life. He never stays down for long. "Excuse me!" The mannequin's evil twin was glaring down at us fro her sky-high bootie-heeled heights. Her NM badge told us her name was Victoria. "You cannot do that here!" she snapped. "Do what?" Frankie returned, matching lockjaw snooty for lockjaw snooty. She opened and closed her mouth, then hissed, "Canoodle!" I felt Frankie's hiccup of amusement. "Were we canoodling, snookums?" he asked me. "I rather thought we were about to copulate like bunnies." I couldn't help it; I laughed out loud. Victoria's mouth thinned into a pale line. The whole thing might have ended with our being escorted out the store's hallowed doors by security. Sadie, as she so often did, momentarily saved us from ourselves. She stomped out of the dressing room and planted herself in front of us. Ignoring the angry salesgirl completely, she muttered, "I look like a carved pumpkin!" Frankie took in the skirt, layered shirts, and jacket. "You do not, but I might have been having an overly Michael Kors moment. This will not do for a date.Take it off." He nudged me, then added, "Right here.Every last stitch of it." As soon as Sadie was back in her own clothing and coat-which got an unwilling frown of respect from Victoria; apparently even Neiman Maruc doesn't carry that line-we moved on. Sadie did better in Frankie's second choice-a lip-printed sweater dress from Betsey Johnson,but wouldn't buy it. "We're just going to a movie!" she protested. "Besides,Jared's not...not..." She gestured down at her lippy hips. "He's practical and sensible and quiet." "Oh,my God!" Frankie slapped both palms to the side of his face,and turned to me. "Sadie has a date with a Prius!" He had to invoke the sanctity of Truth or Dare before he could even get her into Urban Outfitters. "Sometimes I love you less than other times," she grumbled as he filled her arms with his last choices. "No,you don't," he said cheerfully, and sent her off to change.

Weren’t movies his generation’s faith anyway—its true religion? Wasn’t the theater our temple, the one place we enter separately but emerge from two hours later together, with the same experience, same guided emotions, same moral? A million schools taught ten million curricula, a million churches featured ten thousand sects with a billion sermons—but the same movie showed in every mall in the country. And we all saw it! That summer, the one you’ll never forget, every movie house beamed the same set of thematic and narrative images—the same Avatar, same Harry Potter, same Fast and the Furious, flickering pictures stitched in our minds that replaced our own memories, archetypal stories that became our shared history, that taught us what to expect from life, that defined our values. What was that but a religion?

Actually, add TV, movies, and books to that. There are hardly any plus-sized leading ladies. Do you realize there's not even one Disney heroine who's fat? The closest you get is that little Lilo chick, who's like six, and her story isn't even a romance. Stitch is a blue alien who's a friendly pet. I mean, are they trying to say girls who have a little pudge aren't worthy of love? Because that's what it feels like.

In the way people like my father (businessmen, lawyers) dream of being gangsters, of meeting each setback, each humiliation, with a sneer and a shove, a threat of violence; gangsters like Reles dreamed of being businessmen, lawyers, whipping every enemy with words, and not caring a stitch about the getaway. It is a kind of transitive property, a formula that connects the lower and higher orders: George Raft dreaming he is a real gangster as Ben Siegel dreams he is a real movie star.

Ohana means family. Family means no one gets left behind or Forgotten.

The reason why we can’t see our eyes moving with our own eyes is because our brains edit out the bits between the saccades—a process called saccadic suppression. Without it, we’d look at an object and it would be a blurry mess. What we perceive as vision is the director’s cut of a film, with your brain as the director, seamlessly stitching together the raw footage to make a coherent reality. Perception is the brain’s best guess at what the world actually looks like. Immense though the computing power of that fleshy mass sitting in the darkness of our skulls is, if we were to take in all the information in front of our eyes, our brains would surely explode.** Instead, our eyes sample bits and pieces of the world, and we fill in the blanks in our heads. This fact is fundamental to the way that cinema works. A film is typically 24 static images run together every second, which our brain sees as continuous fluid movement—that’s why it’s called a movie. The illusion of movement actually happens at more like 16 frames per second. At that speed, a film projection is indistinguishable from the real world, at least to us. It was the introduction of sound that set the standard of 24 frames per second with The Jazz Singer in 1927, the first film to have synchronized dialogue. The company

That summer, the one you’ll never forget, every movie house beamed the same set of thematic and narrative images—the same Avatar, same Harry Potter, same Fast and the Furious, flickering pictures stitched in our minds that replaced our own memories, archetypal stories that became our shared history, that taught us what to expect from life, that defined our values. What was that but a religion? Also,

The movie resumed. The retro synth vibes were awesome; the hairstyles and clothing had us in stitches. With no nostalgia

The world was so big! Her life story so huge in it. The stuff of movies! And yet her part in it all felt so small. One tiny stitch.

Broadly put, religion in postwar America wasn’t so much about the divine. It was instead seen as a vital stitch in the fabric of society, a building block of the American Dream. Naturally, the baseball films of this era incorporated religious imagery and themes into their stories, both with the intent to please the religious masses and as a natural extension of their melding of baseball with patriotism. McCarthy, who despised the perceived immorality of Hollywood, surely appreciated baseball movies for their wholesome portrait of American exceptionalism. In cinema, baseball was America’s game, and America was good because it was godly.