Titanic Film Quotes

That summer, Titanic fever gripped Kabul. People smuggled pirated copies of the film from Pakistan- sometimes in their underwear. After curfew, everyone locked their doors, turned out the lights, turned down the volume, and reaped tears for Jack and Rose and the passengers of the doomed ship. If there was electrical power, Mariam, Laila, and the children watched it too. A dozen times or more, they unearthed the TV from behind the tool-shed, late at night, with the lights out and quilts pinned over the windows. At the Kabul River, vendors moved into the parched riverbed. Soon, from the river's sunbaked hollows, it was possible to buy Titanic carpets, and Titanic cloth, from bolts arranged in wheelbarrows. There was Titanic deodorant, Titanic toothpaste, Titanic perfume, Titanic pakora, even Titanic burqas. A particularly persistent beggar began calling himself "Titanic Beggar." "Titanic City" was born. It's the song, they said. No, the sea. The luxury. The ship. It's the sex, they whispered. Leo, said Aziza sheepishly. It's all about Leo. "Everybody wants Jack," Laila said to Mariam. "That's what it is. Everybody wants Jack to rescue them from disaster. But there is no Jack. Jack is not coming back. Jack is dead.

Titanic I thought was the most dreadful piece of work I've ever seen in my entire life. Another film that I think is equally bad was American Beauty. So badly acted and directed. But people like that.

But when I was seven or eight years old, the film that changed my life was Titanic. It amazed me that it was a story that took place a hundred years ago. Those people living in 1912 had better technology than most North Koreans! But mostly I couldn’t believe how someone could make a movie out of such a shameful love story. In North Korea, the filmmakers would have been executed. No real human stories were allowed, nothing but propaganda about the Leader. But in Titanic, the characters talked about love and humanity. I was amazed that Leonardo DiCaprio and Kate Winslet were willing to die for love, not just for the regime, as we were. The idea that people could choose their own destinies fascinated me. This pirated Hollywood movie gave me my first small taste of freedom.

It’s amazing that a thin film of plastic wrap is enough to protect food against the aggression of hungry marauders. Or maybe the plastic cover doesn’t act as a shield, but rather the starving mob is staved off by one simple word: Leftovers.

What to keep of all these reels of film, what to throw away? If we could only take 1 memory on our journey, what would we choose? At the expense of what or whom? And most importantly, how to choose among all these shadows, all these spectres, all these titans? Who are we, when all is said and done? Are we the people we once were or the people we wish we had been? Are we the pain we caused others or the pain we suffered at the hands of others? The encounters we missed or those fortuitous meetings that changed the course of our destiny? Our time behind the scenes that saved us form our vanity or the moment in the limelight that warmed us? We are all of these things, we are the whole life that we have lived, its highs and lows, its fortunes and its hardships, we are the sum of the ghosts that haunt us... we are a host of characters in one, so convincing in every role we played that it is impossible for us to tell who we really were, who we have become, who we will be.

True Films On TrueFilms.com, Kevin has reviewed the best documentaries he’s seen over decades. The counterpart book series, True Films 3.0, contains the 200 documentaries he feels you should see before you die, and it is available as a PDF on kk.org. Three docs we both love are The King of Kong, Man on Wire, and A State of Mind.

How may a mortal, face and defeat the Kraken

You have your fear that might become reality, and you have Godzilla… which is reality.

I mean, the soundtrack to Remember the Titans? Stone-cold ridiculous. The curator had managed a masterpiece that left the songs forever changed for every person who’d seen the film.

Heart-Shaped Glasses (When the Heart Guides the Hand), the first single from Eat Me, Drink Me, features a video filmed by Titanic director James Cameron. In it, Manson croons to Wood, who – with bobbed hair, gloves and a demure frock – blankly masturbates in an audience of writhing lesbians, Manson’s image reflected in her heart-shaped glasses. I wanted to like the song, but found Manson’s threadbare voice and overdubbed music annoying, and the chorus - 'Don’t break my heart/and I won’t break your heart-shaped glasses' – suggested a pugilistic retribution ('Dump me, and I’ll punch your lights out!') more in keeping with Norman Mailer than Nabokov.

I loved Cinderella, Snow White, and James Bond movies. But when I was seven or eight years old, the film that changed my life was Titanic. It amazed me that it was a story that took place a hundred years ago. Those people living in 1912 had better technology than most North Koreans! But mostly I couldn’t believe how someone could make a movie out of such a shameful love story. In North Korea, the filmmakers would have been executed. No real human stories were allowed, nothing but propaganda about the Leader. But in Titanic, the characters talked about love and humanity. I was amazed that Leonardo DiCaprio and Kate Winslet were willing to die for love, not just for the regime, as we were. The idea that people could choose their own destinies fascinated me. This pirated Hollywood movie gave me my first small taste of freedom.

Which philosophers would Alain suggest for practical living? Alain’s list overlaps nearly 100% with my own: Epicurus, Seneca, Marcus Aurelius, Plato, Michel de Montaigne, Arthur Schopenhauer, Friedrich Nietzsche, and Bertrand Russell. * Most-gifted or recommended books? The Unbearable Lightness of Being by Milan Kundera, Essays of Michel de Montaigne. * Favorite documentary The Up series: This ongoing series is filmed in the UK, and revisits the same group of people every 7 years. It started with their 7th birthdays (Seven Up!) and continues up to present day, when they are in their 50s. Subjects were picked from a wide variety of social backgrounds. Alain calls these very undramatic and quietly powerful films “probably the best documentary that exists.” TF: This is also the favorite of Stephen Dubner on page 574. Stephen says, “If you are at all interested in any kind of science or sociology, or human decision-making, or nurture versus nature, it is the best thing ever.” * Advice to your 30-year-old self? “I would have said, ‘Appreciate what’s good about this moment. Don’t always think that you’re on a permanent journey. Stop and enjoy the view.’ . . . I always had this assumption that if you appreciate the moment, you’re weakening your resolve to improve your circumstances. That’s not true, but I think when you’re young, it’s sort of associated with that. . . . I had people around me who’d say things like, ‘Oh, a flower, nice.’ A little part of me was thinking, ‘You absolute loser. You’ve taken time to appreciate a flower? Do you not have bigger plans? I mean, this the limit of your ambition?’ and when life’s knocked you around a bit and when you’ve seen a few things, and time has happened and you’ve got some years under your belt, you start to think more highly of modest things like flowers and a pretty sky, or just a morning where nothing’s wrong and everyone’s been pretty nice to everyone else. . . . Fortune can do anything with us. We are very fragile creatures. You only need to tap us or hit us in slightly the wrong place. . . . You only have to push us a little bit, and we crack very easily, whether that’s the pressure of disgrace or physical illness, financial pressure, etc. It doesn’t take very much. So, we do have to appreciate every day that goes by without a major disaster.

As I write this, I’m sitting in a café in Paris overlooking the Luxembourg Garden, just off of Rue Saint-Jacques. Rue Saint-Jacques is likely the oldest road in Paris, and it has a rich literary history. Victor Hugo lived a few blocks from where I’m sitting. Gertrude Stein drank coffee and F. Scott Fitzgerald socialized within a stone’s throw. Hemingway wandered up and down the sidewalks, his books percolating in his mind, wine no doubt percolating in his blood. I came to France to take a break from everything. No social media, no email, no social commitments, no set plans . . . except one project. The month had been set aside to review all of the lessons I’d learned from nearly 200 world-class performers I’d interviewed on The Tim Ferriss Show, which recently passed 100,000,000 downloads. The guests included chess prodigies, movie stars, four-star generals, pro athletes, and hedge fund managers. It was a motley crew. More than a handful of them had since become collaborators in business and creative projects, spanning from investments to indie film. As a result, I’d absorbed a lot of their wisdom outside of our recordings, whether over workouts, wine-infused jam sessions, text message exchanges, dinners, or late-night phone calls. In every case, I’d gotten to know them well beyond the superficial headlines in the media. My life had already improved in every area as a result of the lessons I could remember. But that was the tip of the iceberg. The majority of the gems were still lodged in thousands of pages of transcripts and hand-scribbled notes. More than anything, I longed for the chance to distill everything into a playbook. So, I’d set aside an entire month for review (and, if I’m being honest, pain au chocolat), to put together the ultimate CliffsNotes for myself. It would be the notebook to end all notebooks. Something that could help me in minutes but be read for a lifetime.

* Who do you think of when you hear the word “successful”? “The first people who come to mind are the real heroes of Task Unit Bruiser: Marc Lee, first SEAL killed in Iraq. Mike Monsoor, second SEAL killed in Iraq, posthumously awarded the Medal of Honor after he jumped on a grenade to save three of our other teammates. And finally, Ryan Job, one of my guys [who was] gravely wounded in Iraq, blinded in both eyes, but who made it back to America, was medically retired from the Navy, but who died from complications after the 22nd surgery to repair his wounds. Those guys, those men, those heroes, they lived, and fought, and died like warriors.” * Most-gifted or recommended books? “I think there’s only one book that I’ve ever given and I’ve only given it to a couple people. That’s a book called About Face, by Colonel David H. Hackworth. The other book that I’ve read multiple times is Blood Meridian [by Cormac McCarthy].” * Favorite documentaries? “Restrepo, which I’m sure you’ve seen. [TF: This was co-produced and co-filmed by Sebastian Junger, the next profile.] There is also an hour-long program called ‘A Chance in Hell: The Battle for Ramadi.’” Quick Takes * You walk into a bar. What do you order from the bartender? “Water.” * What does your diet generally look like? “It generally looks like steak.” * What kind of music does Jocko listen to? Two samples: For workouts—Black Flag, My War, side B In general—White Buffalo

The Power of Myth For screenwriting, Jon recommends The Writer’s Journey by Christopher Vogler, which he used to determine if Swingers was structurally correct. He is also a big fan of The Power of Myth, a video interview of Joseph Campbell by Bill Moyers. “With The Jungle Book, I really am going back and doubling down on the old myths.” TF: We recorded our podcast during the shooting of The Jungle Book, in his production office next to set. Months later, The Jungle Book was the #1 movie in the world and currently has a staggering 95% review average on Rotten Tomatoes. Long-Term Impact Trumps Short-Term Gross “Thanks to video, and later DVD and laser disc, everybody had seen this film [Swingers], and it had become part of our culture. That’s when I learned that it’s not always the movie that does the best [financially] that has the most impact, or is the most rewarding, or does the most for your career, for that matter.” Another Reason to Meditate “In the middle of [a meditation session], the idea for Chef hit me, and I let myself stop, which I don’t usually do, and I took out a pad. I scribbled down like eight pages of ideas and thoughts, [and then I] left it alone. If I look back on it, and read those pages, it really had 80% of the heavy lifting done, as far as what [Chef] was about, who was in it, who the characters were, what other movies to look at, what the tone was, what music I would have in it, what type of food he was making, the idea of the food truck, the Cuban sandwiches, Cuban music . . . so it all sort of grew out from that.

The Director’s Chair is with Francis Ford Coppola (The Godfather, Apocalypse Now, etc.), and Robert refers later to this quote from Francis: “Failure is not necessarily durable. Remember that the things that they fire you for when you are young are the same things that they give lifetime achievement awards for when you’re old.” ROBERT: “Even if I didn’t sell Mariachi, I would have learned so much by doing that project. That was the idea—I’m there to learn. I’m not there to win; I’m there to learn, because then I’ll win, eventually. . . . “You’ve got to be able to look at your failures and know that there’s a key to success in every failure. If you look through the ashes long enough, you’ll find something. I’ll give you one. Quentin [Tarantino] asked me, ‘Do you want to do one of these short films called Four Rooms [where each director can create the film of their choosing, but it has to be limited to a single hotel room, and include New Year’s Eve and a bellhop]?’ and my hand went up right away, instinctively. . . . “The movie bombed. In the ashes of that failure, I can find at least two keys of success. On the set when I was doing it, I had cast Antonio Banderas as the dad and had this cool little Mexican as his son. They looked really close together. Then I found the best actress I could find, this little half-Asian girl. She was amazing. I needed an Asian mom. I really wanted them to look like a family. It’s New Year’s Eve, because [it] was dictated by the script, so they’re all dressed in tuxedos. I was looking at Antonio and his Asian wife and thinking, ‘Wow, they look like this really cool, international spy couple. What if they were spies, and these two little kids, who can barely tie their shoes, didn’t know they were spies?’ I thought of that on the set of Four Rooms. There are four of those [Spy Kids movies] now and a TV series coming. “So that’s one. The other one was, after [Four Rooms] failed, I thought, ‘I still love short films.’ Anthologies never work. We shouldn’t have had four stories; it should have been three stories because that’s probably three acts, and it should just be the same director instead of different directors because we didn’t know what each person was doing. I’m going to try it again. Why on earth would I try it again, if I knew they didn’t work? Because you figured something out when you’re doing it the first time, and [the second attempt] was Sin City.” TIM: “Amazing.

Why Superbad Worked Superbad worked because Seth and Evan wrote about exactly what they were experiencing at the time. Evan explains, “At the time, all we knew was that we really wanted to get laid, we weren’t getting laid, and we weren’t supercool.” It pays to write what you know. Seth started doing standup when he was 13 years old. He adds: “That’s something that came from standup comedy. There’s a comic named Darryl Lenox who still performs, who is great. I remember he saw me perform. . . . I would try to mimic other comedians like Steven Wright or Seinfeld, like, ‘What’s the deal with Krazy Glue?’ and he said: ‘Dude, you’re the only person here who could talk about trying to get a hand job for the first time. . . . Talk about that!’” Lessons from Judd Apatow EVAN: “I would say the biggest thing we learned from [Judd] is ‘Don’t keep stuff to yourself.’ You’re surrounded by smart people. Bring them in. Get other people’s opinions. Share it with them. And most importantly, emotion is what matters. It’s an emotional journey. . . .” SETH: “. . . I remember one time we were filming a scene in Knocked Up and improvising, or maybe it was even 40-Year-Old Virgin, and the direction he screamed at us—because he screams direction from another room a lot, which is hilarious—was, ‘Less semen, more emotion!’ I think that is actually a good note to apply across the board.” TIM: “You also mentioned that every character has to have a wound of some kind.” EVAN: “That’s a big Judd-ism.” TF: Judd recommended they read The Art of Dramatic Writing by Lajos Egri (Evan: “If you’re a writer, 60% of it is useless and 40% of it is gold.”), which Judd said was Woody Allen’s favorite writing book.

The RMS Titanic struck an iceberg on the night of April fourteenth 1912, and sank in the North Atlantic waters in the wee hours of the following morning. She took more than 1,500 souls with her. While this death toll is devastating, it is by no means the greatest at-sea catastrophe in western history. Even besides wartime disasters, the explosion of the Mont-Blanc in Nova Scotia killed almost two thousand in 1917, the 1707 Sicily Naval Disaster killed almost the same number of people, and several other shipwrecks with smaller death tolls were arguably more dramatic. Yet fascination with the Titanic has persisted since she rested on the ocean floor, long before James Cameron’s 1997 blockbuster film. Why?

The list of Hollywood blockbusters that conform to the hero’s journey paradigm is almost innumerable. Just off the top of my head? The Wizard of Oz; The Matrix; Jaws; the Star Wars films; Titanic; Braveheart; the Harry Potter series; Rocky; The Lord of the Rings; The Lion King; Finding Nemo; Forrest Gump; The Incredibles; Silence of the Lambs; Mulan; Gladiator; Aladdin; Indiana Jones; Beauty and the Beast; and Dances with Wolves/Avatar (watch them back-to-back).

But when I was seven or eight years old, the film that changed my life was Titanic.

The 4-Hour Workweek Films: The Bourne Identity, Shaun of the Dead “Flow” album: Gran Hotel Buenos Aires by Federico Aubele “Wake-up” album: One-X by Three Days Grace The 4-Hour Body Films: Casino Royale, Snatch “Flow” album: Luciano Essential Mix (2009, Ibiza) featuring DeadMau5 “Wake-up” album: Cold Day Memory by Sevendust The 4-Hour Chef Films: Babe (Yes, the pig movie. It was the first thing that popped up for free under Amazon Prime. I watched it once as a joke and it stuck. “That’ll do, pig. That’ll do.” Gets me every time.) “Flow” album: “Just Jammin’” extended single track by Gramatik “Wake-up” album: Dear Agony by Breaking Benjamin Tools of Titans Films: None! I was traveling and used people-watching at late-night cafés in Paris and elsewhere as my “movie.” “Flow” album: I Choose Noise by Hybrid “Wake-up” album: Over the Under by Down

The film Titanic is the perfect Afghan tale, where impossible love ends with death

WOMEN AND CHILDREN.” STILL? You’re on the Titanic II. It has just hit an iceberg and is sinking. And, as last time, there are not enough lifeboats. The captain shouts, “Women and children first!” But this time, another voice is heard: “Why women?” Why, indeed? Part of the charm of the cosmically successful movie Titanic is the period costume, period extravagance, period class prejudice. An audience can enjoy these at a distance. Oddly, however, of all the period mores in the film, the old maritime tradition of “women and children first” enjoys total acceptance by modern audiences. Listen to the booing and hissing at the on-screen heavies who try to sneak on with—or ahead of—the ladies. But is not grouping women with children a raging anachronism? Should not any self-respecting modern person, let alone feminist, object to it as patronizing and demeaning to women? Yet its usage is as common today as it was in 1912. Consider these examples taken almost at random from recent newspapers: Dateline Mexico:

For a time, the press lord William Randolph Hearst did everything in his vast powers to keep the film “Citizen Kane” from finding an audience. He intimidated theater owners, refused to let ads run in his newspapers, and even pressured studio sycophants to destroy the negative. At first, the titan of San Simeon had his way: the film faded from view after a splashy initial release. But over the years, “Citizen Kane” came to be recognized for the masterpiece it is, and now regularly tops lists as the greatest film ever made.

Art Is Socialism, but Life Is Capitalism “My wife made the observation that everyone’s equal on stage, but off stage, they’re completely unequal.” Mike wrote down, “Art is socialism but life is capitalism,” and that became a guiding principle for his film Don’t Think Twice.

On the same day that Marcelle Navratil arrived in New York, a brand-new movie entitled Saved from the Titanic was announced on the marquees of the city’s nickelodeons. The ten-minute silent film had been made in three weeks at Éclair’s studios in New Jersey and starred a real-life survivor of the shipwreck, Miss Dorothy Gibson, wearing the same white silk dress and black pumps in which she had escaped from the sinking liner. Dorothy had at first been unwilling to relive her ordeal so soon after the disaster and according to one newspaper there were times during the filming when she had “practically lost her reason by virtue of the terrible strain she had been under.” The one-reeler, which was produced by Jules Brulatour, would be Dorothy’s last film since she then embarked on a career in opera. This would prove to be short-lived, as would her marriage to Brulatour in 1917. Following a generous divorce settlement in 1919, the prettiest girl retreated from public attention and was never seen on stage or screen again.

Although Angus could snap thousands of color photos, we had to lift it back aboard the mother ship at the end of the day and process the film to see what it had found. Then the ship had to circle back and send scientists down on Alvin the next day to take a look. Argo, by contrast, would have two sonar systems and three video cameras that could work well in low light, and it would stream the video up to us as it was recording. That meant that if Argo spotted something—a hydrothermal vent, a piece of Thresher, or the first sign of Titanic perhaps—we’d see it instantly on our video screens. We could hover the ship over the spot and explore what we’d found from every angle, saving huge amounts of time. It could make the difference between success and failure on most expeditions.

But what if the sketches based on Jack Thayer’s account were right? What if Titanic had split open, the two halves plummeting, broken ends first? Then some of what was inside would have tumbled into the ocean like salt and pepper pouring out of shakers. I visualized the ship not just breaking in two but falling to the bottom, with the heaviest pieces heading straight down and lighter ones drifting in the current, just as I had seen with Scorpion and Thresher. It played out like a film in my head and, all of a sudden, it was as clear as a bell. I shouldn’t be searching for the ship. I should be searching for the debris trail. A mile-long trail would be easier for me to find than an 883-foot ship that was maybe in one piece, maybe not.

It was a fun trip, ending with a visit by a film crew for the television show In Search Of, hosted by Star Trek’s Leonard Nimoy. I’m sure that also went over well with my scientific colleagues.

Listen, you don’t knock my reading habits and I won’t knock your old black and white flat films.

from their peak in 2006, and the decline is explained entirely by the evaporation of interesting, intelligent mid-budget films. Studios realized their assumption that they had to make every type of movie for everyone was no longer true. So they focused on the types of movies that delivered the biggest and most consistent profits to their publicly traded parent corporations. Increasingly, that meant movies that appealed to audiences in Russia, Brazil, and China. These consumers weren’t likely to understand the cultural subtleties of an American drama or to consider people talking or even running for their lives to be adequate bang for their buck on an expensive night out. They expected spectacle, particularly if they were paying premiums for an IMAX or 3D screen, and they wanted stories that made sense to a villager in China, a resident of Rio de Janeiro, or a teenager in Kansas City. Transformers, in other words. And The Avengers. And Jurassic World and Fast and Furious and Star Wars. With the exception of 1997’s Titanic, which made a spectacle out of the sinking of a cruise ship and Leonardo DiCaprio’s eyes, the forty-eight highest-grossing Hollywood films overseas are all visual-effects-heavy action-adventure films or family animation.

The Titanic film was more expensive to make than than the actual ship was to build even when adjusted for inflation. The films budget was $200 million and the ship was $125 million in 1997 dollars

In movies, SF dominates utterly: by my count, 57 of the top 100 movies of all time, and nine of the top ten. The only top ten film that isn’t SF is Titanic, made by a director who cut his teeth making SF films.