Thirteen Days Movie Quotes

He saw Hercules in the movie theater time after time, hour after hour, examining Park, judging him, admiring him, and, ultimately, promising himself that one day he, Arnold Schwarzenegger, then thirteen years old and poor as he was, would be like him, would even surpass Reg Park.

He never looks at comics these days, even though they’ve become fashionable to the point where adults are allowed to read them without fear of ridicule. Ironically, in David’s view, this makes them a lot more ridiculous than when they were intended as a perfectly legitimate and often beautifully crafted means of entertaining kids. At age thirteen, David’s idea of heaven was somewhere that comics were acclaimed and readily available, perhaps with dozens of big budget movies featuring his favourite obscure costumed characters. Now that he’s in his fifties and his paradise is all around him he finds it depressing. Concepts and ideas meant for the children of some forty years ago: is that the best that the twenty-first century has got to offer? When all this extraordinary stuff is happening everywhere, are Stan Lee’s post-war fantasies of white neurotic middle-class American empowerment really the most adequate response?

We head for 680, which will take us seventeen miles south to the next attack, the third that month. October 1978. Carter was president. Grease had been the huge summer movie, and John Travolta and Olivia Newton-John’s “Summer Nights” was still a radio mainstay, though the Who’s “Who Are You” was climbing the charts. The fresh-scrubbed face of thirteen-year-old Brooke Shields stared blankly from the cover of Seventeen. The Yankees beat the Dodgers in the World Series. Sid Vicious’s girlfriend Nancy Spungen bled to death from a stab wound on a bathroom floor at the Chelsea Hotel. John Paul II was the new pope. Three days before the San Ramon attack, the movie Halloween was released.

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.

To this day, Huston seems less amazed that she found Polanski with a thirteen-year-old girl than that he was arrested for being so. "Those were the days where everybody thought that was just great," she remembered. "Everybody was operating with immunity. . . . Somebody takes the fall, and I think Roman probably took the fall for a lot of immunities. A lot of people I know at the time were going out with extremely young women, maybe not on a regular basis, but he certainly wasn't the only person around town who was sleeping with very young women.'97 It was a measure of how thoroughly the cloud of decadence had settled onto the Los Angeles scene by the mid-1970s that it didn't strike Huston as particularly unusual to find Polanski with a girl that young. Among the stars glittering in LA, the vices varied, but the costs were consistent.

In Greek mythology, the titan Prometheus stole fire and gave it to humans, creating civilization. As punishment, Zeus bound him to a rock and each day sent an eagle to eat his liver, the organ where the Greeks thought human emotions resided. The moral of the story is knowledge brings eternal emotional torment. In the Garden of Eden, the serpent tempts Eve and Adam to eat forbidden fruit from the Tree of Knowledge. God punishes them by banishing them. The moral of the story is knowledge destroys innocence and produces suffering. The list goes on and on. It’s an archetypal idea. Every overreaching mad scientist in every sci-fi movie is another retelling of this ancient story. Me, I say grab the fire. I say eat the fruit. I say bring on the suffering. The history of science is one of pain, broken dreams, and occasional triumph. This is the march of progress. This is the wheel of civilization.

My little twenty-year-old thirteen-inch black-and-white TV had quit working a couple of months ago. I wouldn’t be able to watch Jimmy Stewart discover it was a wonderful life for the millionth time on Christmas Day, not this year. I tried to concentrate on crime in Isola, but kept thinking about those tips; planning how I’d spend the dough. I’d stock up on food first, can goods and package stuff I could heat up on my hotplate. And cases of Top Ramen for those lean times. Maybe I’d splurge on some cookies and a few snacks. A man needed something to look forward to in this dreary world. Heck, if I really made out like a bandit, maybe I could hold back a twenty so I could take a girl out to lunch. Maybe I’d even take her to the movies. Of course I’d have to find the girl, first.

The original flagship for the company was the MS City of New York, commanded by Captain George T. Sullivan, On March 29, 1942, she was attacked off the coast of Cape Hatteras, North Carolina, by the German submarine U-160. The torpedo struck the MS City of New York at the waterline under the ship’s bridge, instantly disabling her. After allowing the survivors to get into lifeboats the submarine sunk the ship. Almost two days after the attack, a destroyer, the USS Roper, rescued 70 survivors, of which 69 survived. An additional 29 others were picked up by USS Acushnet, formerly a seagoing tugboat and revenue cutter, operated by the U.S. Coast Guard. All these survivors were taken to the Naval Base in Norfolk, Virginia. Almost two weeks later, on April 11, 1942, a U.S. Army bomber on its way to Europe spotted a lifeboat drifting in the Gulf Stream. The boat contained six passengers: four women, one man and a young girl plus thirteen crew members. Tragically two of the women died of exposure. The eleven survivors picked up by the U.S. Coast Guard Cutter CG-455 and were brought to Lewes, Delaware. The final count showed that seven passengers died as well as one armed guard and sixteen crewmen. Photo Caption: the MS City of New York Hot books by Captain Hank Bracker available at Amazon.com “Salty & Saucy Maine,” is a coming of age book that recounts Captain Hank Bracker’s formative years. “Salty & Saucy Maine – Sea Stories from Castine” tells many sea stories of Captain Hank’s years at Maine Maritime Academy and certainly demonstrates that life should be lived to the fullest! In 2020 it became the most talked about book Down East! “The Exciting Story of Cuba -Understanding Cuba’s Present by Knowing Its Past” ISBN-13: 978 1484809457. This multi-award winning history of Cuba is written in an easy-to-read style. Follow in the footsteps of the heroes, beautiful movie stars and sinister villains, who influenced the course of a country that is much bigger than its size! This book is on the shelf as a reference book at the American Embassy in Havana and most American Military and Maritime Academies.