Transporter Film Quotes

As the actor who played Draco Malfoy, I see myself as a placeholder in people's memories. Seeing me transports them to a different time and place, in the same way that listening to a particular song can be evocative of something else. I've met with fans who have explained that the books and films have helped them through hard times. It's a humbling truth to hear.

(Golden Globe acceptance speech in the style of Jane Austen's letters): "Four A.M. Having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding, was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. Miss Lindsay Doran, of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly apppeared to understand me better than I undersand myself. Mr. James Schamus, a copiously erudite gentleman, and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behavior one has lernt to expect from that race. Mr. Mark Canton, an energetic person with a ready smile who, as I understand it, owes me a vast deal of money. Miss Lisa Henson -- a lovely girl, and Mr. Gareth Wigan -- a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing that it proved impossible to get within ten feet of him. The room was full of interesting activitiy until eleven P.M. when it emptied rather suddenly. The lateness of the hour is due therefore not to the dance, but to the waiting, in a long line for horseless vehicles of unconscionable size. The modern world has clearly done nothing for transport. P.S. Managed to avoid the hoyden Emily Tomkins who has purloined my creation and added things of her own. Nefarious creature." "With gratitude and apologies to Miss Austen, thank you.

The next time you see something—a moment in a film, or an embrace, or a vista that transfixes you—or you hear something—a poem, or a melody, or a bit of a story—or you detect a faint fragrance that sends you, in the same moment, both back to a forgotten time and forward to a new, unknown one—and you find that deep down inside of you something moves and you are transported, and you want to weep, though you’re not sure why—I want you to think, in that moment, that God is giving you a foretaste of Glory. And

I do think that our perception of reality is fragmentary, and in 20th-century literature, it’s totally normal to not describe reality as something whole and completely transportable and explicable. That’s been accepted in novels. But genre films always pretend that reality is transportable, which means that it is explicable.

Les vieux camions charrient bien plus qu’une charge utile, ils transportent avec eux des contextes, des bruits, des climats et des atmosphères, ce sont des tableaux et des films, des journaux intimes.

Films and television let us experience other lives vicariously, or perhaps voyeuristically, as we watch those lives play out. But in a novel, we can become those characters, we can identify from the inside with someone whose life is radically different from our own. Best of all, when it’s over … we get to be ourselves again, changed slightly or profoundly by the experience, possessed of new insights perhaps, but recognizably us once more.

Ironically, the era of the free market has led to the most successful secessionist struggle ever waged in India – the secession of the middle and upper classes to a country of their own, somewhere up in the stratosphere where they merge with the rest of the world’s elite. This Kingdom in the Sky is a complete universe in itself, hermetically sealed from the rest of India. It has its own newspapers, films, television programmes, morality plays, transport systems, malls, and intellectuals.

I dislike the manipulation that's necessary to press all the images of a film into one story; it's very harmful for the images because it tends to drain them of their 'life'. In the relationship between story and image, I see the story as a kind of vampire, trying to suck all the blood from an image. Images are acutely sensitive; like snails they shrink back when you touch their horns. They don't have it in them to be carthorses: carrying and transporting messages or significance or intention or a moral. But that's precisely what a story wants from them.

As much as I love to see the sun setting behind a city skyline, and to feel the pure majesty of a wild river or soaring mountain, and to fade, then disappear into a transcendent book, song or film, I am always most astounded, moved and transported by the warmth and kindness of a loving person. Always.

The profane passion is something absurd, a kind of drug, a 'sickness of the soul', as the Ancients supposed, everybody is ready to grant, and moralists have said so ad nauseum; but in this age of novels and films, when all of us are more or less drugged, nobody will believe it, and the distinction is capital. The moderns, men and women of passion, expect irresistible love to produce some revelation either regarding themselves or about life at large. This is a last vestige of the primitive mysticism. From poetry to the piquant anecdote, passion is everywhere treated as an experience, something that will alter my life and enrich it with the unexpected, with thrilling chances, and with enjoyment ever more violent and gratifying. The whole of possibility opens before me, a future that assents to desire! I am to enter into it, I shall rise to it, I shall reach it in 'transports'. The reader will say that this is but the everlasting illusion of mankind, the most guileless and—notwithstanding all that I have said—the most 'natural'; for it is the illusion of freedom and of living to the dull. But really a man becomes free only when he has attained self-mastery, whereas a man of passion seeks instead to be defeated, to lose all self-control, to be beside himself and in ecstasy. And indeed he is being urged on by his nostalgia, the origin and end of which are unknown to him. His illusion of freedom springs from this double ignorance.

She did not answer. Or, rather, she answered by sliding long fingers across Kassad’s chest, ripping away the leather thongs which bound the rough vest. Her hands found his shirt. It was soaked with blood and ripped halfway down the front. The woman ripped it open the rest of the way. She moved against him now, her fingers and lips on his chest, hips already beginning to move. Her right hand found the cords to his trouser front, ripped them free. Kassad helped her pull off the rest of his clothes, removed hers with three fluid movements. She wore nothing under her shirt and coarse-cloth trousers. Kassad’s hand slid between her thighs, behind her, cupped her moving buttocks, pulled her closer, and slid to the moist roughness in front. She opened to him, her mouth closing on his. Somehow, with all of their motion and disrobing, their skin never lost contact. Kassad felt his own excitement rubbing against the cusp of her belly. She rolled above him then, her thighs astride his hips, her gaze still locked with his. Kassad had never been so excited. He gasped as her right hand went behind her, found him, guided him into her. When he opened his eyes again she was moving slowly, her head back, eyes closed. Kassad’s hands moved up her sides to cup her perfect breasts. Nipples hardened against his palms. They made love then. Kassad, at twenty-three standard years, had been in love once and had enjoyed sex many times. He thought he knew the way and the why of it. There was nothing in his experience to that moment which he could not have described with a phrase and a laugh to his squadmates in the hold of a troop transport With the calm, sure cynicism of a twenty-three-year-old veteran he was sure that he would never experience anything that could not be so described, so dismissed. He was wrong. He could never adequately share the sense of the next few minutes with anyone else. He would never try. They made love in a sudden shaft of late October light with a carpet of leaves and clothes beneath them and a film of blood and sweat oiling the sweet friction between them. Her green eyes stared down at Kassad, widening slightly when he began moving quickly, closing at the same second he closed his. They moved together then in the sudden tide of sensation as old and inevitable as the movement of worlds: pulses racing, flesh quickening with its own moist purposes, a further, final rising together, the world receding to nothing at all—and then, still joined by touch and heartbeat and the fading thrill of passion, allowing consciousness to slide back to separate flesh while the world flowed in through forgotten senses. They lay next to each other.

WE ENTER THE stacks. This library does not use the Dewey decimal system, instead relying on the librarians’ intuitive, psycho-geographical layout. Starting on the left-hand side with subjects local to San Francisco, things proceed outward and along the aisles into the American West, World Geography and Natural History, Extraction, Transportation, Infrastructure, Housing, Art, Film, Networked Media, Material Culture, Language and Gender, Race and Ethnicity, U.S. Political History, Geopolitics and Un-American Activities, and finally, a section called Abstract and Off-Earth.

A book can be a great friend, an advisor, a means to an end. A book reveals so much more than a movie would ever do. For example, when I watched the movie “The Hours” I was fascinated by the story. Just a year later I decided to read the book. And what was my surprise that I was even more dazzled by its writings than I was by the images… The images in my head were more vivid than the film could ever transport me to that feminine universe that the author was trying (and so successfully granted me) to conceive…

All that was left of the Navane was a dark orange film, hardened against the plastic walls of the dropper bottle, segmented and flaking like dried earth. I remembered this stuff. It was the worst of the worst. It came with all kinds of warnings about going out into the sun and what to use on your skin to protect yourself from the extra sensitivity, which seemed like jokes to me, like they had to be meant as jokes. I think it was years before I stood outside in the sun at all for longer than the few minutes it took me to get from a transport van into the cool shade of the indoors. I sniffed at the bottle. There wasn’t a whole lot of scent left; just enough for me to grab hold of the memory of what it had been like getting this stuff from the dropper to my tongue. Like forcing a cadaver to drool something sweet into my mouth. Whole sweeping narratives had formed inside me around this medication, I remembered: stories I’d told myself to make taking it less numbing, to give not just meaning but intrigue to my dull condition. Explorers on distant South American mountainsides retrieving flowers from rock cliffs whose petals alone could yield the essence that would make the nauseating syrup in the tinted bottle: but you couldn’t get the essence directly from the petals; it was far too potent for human beings, it’d kill you; first you had to feed it to sparrows, whose livers filtered out the toxins, then cut out the livers and boil all the remaining organs in water. Then you strained the resulting decoction through cheesecloth and diluted it in a ten-to-one solution, and capped the bottles you’d drained it into and kept them away from light, because what you were left with was thiothixene HCl, known commercially as Navane, which I took in oral suspension because the doctor thought without it I might see or hear bad things.

The Exodus scenes were filmed in the sand dunes of Guadalupe, California, and DeMille transported hundreds of Orthodox Jews from New York, because he believed that “in appearance and in their deep feeling of the significance of the Exodus, they would give the best possible performance as the Children of Israel.” But on their first day on set, the extras were forced to fast because the commissary served ham for dinner.

We had entered the museum together, but soon I was separated from the group. I lingered near the start of the display, fascinated as well as repelled, transported to the days of my youth in Rhodesia, as I listened to an interview. It was a filmed interview, on a loop, and so the images and the words recurred at regular intervals. A white woman, in her mid-thirties, speaking with those clipped southern African vowels, was setting out her concerns about majority rule. I cannot remember any more detail. But in familiar code-word language, in a reasonable tone, quite matter of fact, as if spelling out the obvious, she justified an evil system. Over, and over, and over again. It became the voice I had heard throughout my youth, and beyond. I watched and listened, mesmerised by this voice from the fifties. Then it hit me. I was overwhelmed by a great wash of sadness for generations lost during the scourge of apartheid. Not just for the millions who died, directly or indirectly, victims of war or preventable disease; but for the might-have-beens, the should-have-beens, the could-have-beens: the unread writers, the unheard musicians, the uncelebrated athletes, the talented and the ordinary – lost to Africa, lost to the world, sacrificed to prejudice. Suddenly and unexpectedly, I was weeping. Or to put it bluntly, I sobbed. There was none of the dignity that can be associated with the word ‘weep’. These were not discreet tears, not dignified drops, rolling down my cheeks. My shoulders shook and my nose ran copiously.

Films take you captive, they feed you everything on a plate, the legerdemain they create transports you into a state where you may as well be dreaming, but theatre takes you into a world where your imagination is stimulated, your judgement is unimpaired, and thus your enjoyment heightened.

Extraordinary films transport you into their worlds, but with Ridley Scott’s Blade Runner it was the opposite: the world of the film transported into me.

Anyone who has ever watched a film with time-travel, or read a book with time-travel, or dissociated on a delayed public transport vehicle by considering the concept of time-travel, will know that the moment you start to think about the physics of it, you are in a crock of shit. How does it work? How can it work? I exist at the beginning and end of this account simultaneously, which is a kind of time-travel, and I’m here to tell you: don’t worry about it. All you need to know is that in your near future, the British government developed the means to travel through time but had not yet experimented with doing it.

The Flexible Industrial Packaging Market encompasses a wide array of packaging solutions made from flexible materials such as films, foils, and laminates. These packaging solutions are designed to transport, store, and protect industrial goods, ranging from bulk chemicals and construction materials to food ingredients and pharmaceuticals. Key product types include flexible intermediate bulk containers (FIBCs), form-fill-seal bags, sacks, and liners. Several factors drive the demand for flexible industrial packaging. Its lightweight nature compared to rigid packaging options like drums or IBCs can lead to reduced transportation costs and lower fuel consumption. The ability to customize the size and shape of flexible packaging to specific product requirements also offers advantages in terms of space utilization and handling efficiency. Furthermore, advancements in material science have led to the development of high-performance flexible packaging that offers excellent barrier properties, protecting goods from moisture, oxygen, and contamination. The growth of various industrial sectors, including chemicals, agriculture, food processing, and construction, directly influences the demand for flexible industrial packaging. The increasing globalization of trade and the need for efficient and cost-effective logistics further contribute to market expansion. Sustainability considerations are also playing an increasingly important role, with a growing focus on developing recyclable and biodegradable flexible packaging solutions to minimize environmental impact and meet evolving regulatory requirements.

In a simple description, Hyperloop is conceptualized to be the 5th mode of transportation that has the speed of a bullet train, powered by solar energy, and the overall design that seemed to have been taken from a SyFy film.  This hyper-speedy transportation also targets to transport people in just a matter of minutes.

From the moment that humans find themselves subjected, by their work, their pleasures, their interests, their thoughts, perpetually joined together, in their thoughts, from the moment that their houses, their clothes, their food become progressively identical, from the moment that they read the same things at the same time in the same newspapers, see everywhere in the world the same films … from the moment that the same means of transport lead men and women to the same offices and workshops, the same restaurants and canteens, the same sports fields and the same theaters… the result is a sort of general mechanization of existence in which the individual is sure to be crushed.

From the moment that humans find themselves subjected, by their work, their pleasures, their interests, their thoughts, perpetually joined together, in their thoughts, from the moment that their houses, their clothes, their food become progressively identical, from the moment that they read the same things at the same time in the same newspapers, see everywhere in the world the same films… from the moment that the same means of transport lead men and women to the same offices and workshops, the same restaurants and canteens, the same sports fields and the same theaters… the result is a sort of general mechanization of existence in which the individual is sure to be crushed.

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...imagine a time-traveler from 1910 being transported to 2010 and finding a world where people flew through the sky in giant metal birds and rode in cars capable of going ninety miles an hour. A world where everyone went bopping around with powerful computers in their pockets. Or imagine a guy who's only seen a few black-and-white films plunked down in the front row of an IMAX theater and watching Avatar in 3-D. You get used the amazing, that's all.

Le spectateur crée une nouvelle réalité en puisant dans sa collection de sensations, d’émotions, de pensées. Durant la projection, il rêve, hallucine parfois dans un état second entre illusion et réel, entre veille et éveil. Le spectateur se transporte dans un monde nouveau qu’il s’applique à retracer dès les lumières allumées. La vision d’un film le mue en narrateur de lui-même. Le ciné-narrateur condense sa personnalité dans un récit du film vivant. Il découvre de nouvelles facettes de lui-même. (p. 57)

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