Typical Movie Quotes

I'm really not looking to date anyone." I know people often say that when secretly looking for a romantic partner, but I mean it. I definitely felt attracted to some people, and I liked the idea of being with someone, but the actual mechanics of it didn't much suit my talents. Like, parts of typical romantic relationships that made me anxious included 1. Kissing; 2. Having to say the right things to avoid hurt feelings; 3. Saying more wrong things while trying to apologize; 4. Being at a movie theater together and feeling obligated to hold hands even after your hands become sweaty and the sweat starts mixing together; 5. The part where they say, "What are you thinking about?" And they want you to be, like, "I'm thinking about you, darling," but you're actually thinking about how cows literally could not survive if it weren't for the bacteria in their guts, and how that means that cows do not exist as independent life-forms, but that's not really something you can say out loud, so you're ultimately forced to choose between lying and seeming weird.

A typical race morning usually starts out looking like a scene from a zombie movie: individuals or pairs of people walking down a deserted street, all headed in the same direction.... Inevitably, regardless of the weather, U2's "Beautiful Day" streams out of loudspeakers.

Before we fully learn to love ourselves, all people of color in the United States learn that we are supporting characters and spectators in the collective story of white people's lives. The stories we watch and read ask us to put aside their whiteness and relate to their very "universal" human struggles around conflict with the world, the self, and others. The problem is that only the experiences of white people are treated as universal. Meanwhile, Black movies, shows, and books are typically seen as limited and particular.

You know, typically a nickname is shorter than the given name.” “Is it?” he asked in mock seriousness. “Oh. Well, tell you what, you can call me…” She waited several beats, thinking of more than a few unkind examples. “I can call you what?” she finally asked. “That’s it.” He shot her his bone-melting smile. “You can just call me. Anytime.” She rolled her eyes, refusing to give in to the smile that threatened. “That sounds like a line from one of your movies.” He shot her a triumphant look. “Ah, ha! I knew you were a fan.

A couple of days after the last time I saw him, I got a typically well-written postcard. He said that after he kissed me goodbye at LAX he was driving away and turned on the radio. Elvis was singing "It's Now or Never." In my personal religion, a faith cobbled together out of pop songs and books and movies, there is nothing closer to a sign from God than Elvis Presley telling you "tomorrow will be too late" at precisely the moment you drop off a girl you're not sure you want to drop off. Sitting on the stairs to my apartment, I read that card and wept. It said he heard the song and thought about running after me. But he didn't. And just as well--those mixed-faith marriages hardly ever work. An Elvis song coming out of the radio wasn't a sign from God to him, it was just another one of those corny pop tunes he could live without.

I really want us to grow old together, you know? Go through all the typical life stuff together, even if that means we can only e-mail each other once a week because you moved to the middle of nowhere in Nebraska with your ten kids, and I'm still California because it's amazing. Just like in that one movie - we'll never lose touch with each other, ever. Is that weird?! No, Feenie said. It's perfectly fucking normal.

Describe your typical Friday night: Stay in, watch a movie, have debates with myself. · Describe your perfect weekend morning: Wake up, time stops, resolve debates with myself.

Uh-oh," Will muttered. "This is going to be ... interesting." It turned out the creative genius behind the movie was Will's dad - the god Apollo, which meant this was not going to be a typical orientation flick. No, as we soon found out, Apollo had written, directed, produced, hosted and starred in ... a variety show. For those of you who don't know what a variety show is, imagine a talent show on steroids, complete with canned laughter, pre-recorded applause, and an extra-large helping of hokeyness. For the next hour, we cringe-watched as Apollo and our demigod predecessors performed in song-and-dance numbers, recited poetry, acted in comedy sketches and harmonized in a musical group called the Lyre Choir. Naturally, Apollo featured prominently in most of the acts. The one of him hula-hooping shirtless while satyrs capered around with long rainbow ribbons on sticks ... you can't unsee that kind of thing.

The basic principle of structural analysis, I was explaining, is that the terms of a symbolic system do not stand in isolation—they are not to be thought of in terms of what they 'stand for,' but are defined by their relations to each other. One has to first define the field, and then look for elements in that field that are systematic inversions of each other. Take vampires. First you place them: vampires are stock figures in American horror movies. American horror movies constitute a kind of cosmology, a universe unto themselves. Then you ask: what, within this cosmos, is the opposite of a vampire? The answer is obvious. The opposite of a vampire is a werewolf. On one level they are the same: they are both monsters that can bite you and, biting you, turn you, too, into one of their own kind. In most other ways each is an exact inversion of the other. Vampires are rich. They are typically aristocrats. Werewolves are always poor. Vampires are fixed in space: they have castles or crypts that they have to retreat to during the daytime; werewolves are usually homeless derelicts, travelers, or otherwise on the run. Vampires control other creatures (bats, wolves, humans that they hypnotize or render thralls). Werewolves can't control themselves. Yet—and this is really the clincher in this case—each can be destroyed only by its own negation: vampires, by a stake, a simple sharpened stick that peasants use to construct fences; werewolves, by a silver bullet, something literally made from money.

Time and again I've been in a group of people in their forties, fifties, and up who, when talk turns to aging, make the typical lamentations, but sometimes, later, softly, confess that they prefer their lives now, prefer themselves now. This secret is kept from those who need to hear it - the despairing young. Movies certainly don't spoil the secret - how rarely they present a middle-aged woman falling in love, for example, or living by herself in any kind of creative and productive way. What I want you to know: so far, it just gets better.

If my life were a movie ... the title sequence would start out like a typical high school story, but then reveal that something's amiss. There'd be a tight shot, or piece of dialogue, or something that would make the viewer uncomfortable. Something to give them that prickly feeling. -Dez

This is what cinema is all about. Images, sound, whatever, are what we use to construct a way which is cinema, which is supposed to produce effects, not only in our eyes and ears, but in our "mental" movie theater in which image and sound already are there. There is a kind of on-going movie all the time, in which the movie that we see comes in and mixes, and the perception of all these images and sound proposed to us in a typical film narration piles up in our memory with other images, other associations of images, other films, but other mental images we have, they pre-exist. So a new image in a film titillates or excites another mental image already there or emotions that we have so when you propose something to watch and hear, it goes, it works. It's like we have sleeping emotions in us all the time, half-sleeping, so one specific image or the combination of one image and sound, or the way of putting things together, like two images one after another, what we call montage, editing - these things ring a bell. These half-asleep feelings just wake up because of that - that is what it is about. This is not to make a film and say: "Okay, let's get a deal, let's tell the story, let's have a good actress, good-bye, not bad," and we go home and we eat. What I am dealing with is the effects, the perception, and the subsidiary effects of my work as proposals, as an open field, so that you can get there things you always wanted to feel and maybe didn't know how to express, imagine, watch, observe, whatever. This is so far away from the strong screenplay, the beautiful movie, etc., that sometimes I don't know what I should discuss. You understand, this is really fighting for that "Seventh Art" which is making films.

The principle of analogy is so simple, so natural, that everyone uses it in daily life. Imagine someone sitting down in front of the television after a long day at work. The first image he sees is that of a giant reptile squashing tall buildings. Is one's first hunch, "Oh! The news channel!"? Probably not. More likely one surmises the TV set had been left on the science fiction channel. Why? Because one's world of contemporary experience does not include newscasts of giant dinosaurs wreaking havoc in modern cities, but one has seen monster movies in which such disasters are quite typical. Which analogy does the TV screen image fit?

Psychologists have devised some ingenious ways to help unpack the human "now." Consider how we run those jerky movie frames together into a smooth and continuous stream. This is known as the "phi phenomenon." The essence of phi shows up in experiments in a darkened room where two small spots are briefly lit in quick succession, at slightly separated locations. What the subjects report seeing is not a succession of spots, but a single spot moving continuously back and forth. Typically, the spots are illuminated for 150 milliseconds separated by an interval of fifty milliseconds. Evidently the brain somehow "fills in" the fifty-millisecond gap. Presumably this "hallucination" or embellishment occurs after the event, because until the second light flashes the subject cannot know the light is "supposed" to move. This hints that the human now is not simultaneous with the visual stimulus, but a bit delayed, allowing time for the brain to reconstruct a plausible fiction of what has happened a few milliseconds before. In a fascinating refinement of the experiment, the first spot is colored red, the second green. This clearly presents the brain with a problem. How will it join together the two discontinuous experiences—red spot, green spot—smoothly? By blending the colors seamlessly into one another? Or something else? In fact, subjects report seeing the spot change color abruptly in the middle of the imagined trajectory, and are even able to indicate exactly where using a pointer. This result leaves us wondering how the subject can apparently experience the "correct" color sensation before the green spot lights up. Is it a type of precognition? Commenting on this eerie phenomenon, the philosopher Nelson Goodman wrote suggestively: "The intervening motion is produced retrospectively, built only after the second flash occurs and projected backwards in time." In his book Consciousness Explained , philosopher Daniel Dennett points out that the illusion of color switch cannot actually be created by the brain until after the green spot appears. "But if the second spot is already 'in conscious experience,' wouldn't it be too late to interpose the illusory content between the conscious experience of the red spot and the conscious experience of the green spot?

Typically, everyone in the family went to work wherever they could. Young Lloyd sold newspapers, sacked groceries in the local market, and ran the projector at the movie theater. When he wanted to join the Boy Scouts, a county official lent him the fifty cents for the admission fee. He didn’t wear shoes in the summer so that he could have a decent pair in the winter.

SOCIAL/GENERAL ICEBREAKERS 1. What do you think of the movie/restaurant/party? 2. Tell me about the best vacation you’ve ever taken. 3. What’s your favorite thing to do on a rainy day? 4. If you could replay any moment in your life, what would it be? 5. What one thing would you really like to own? Why? 6. Tell me about one of your favorite relatives. 7. What was it like in the town where you grew up? 8. What would you like to come back as in your next life? 9. Tell me about your kids. 10. What do you think is the perfect age? Why? 11. What is a typical day like for you? 12. Of all the places you’ve lived, tell me about the one you like the best. 13. What’s your favorite holiday? What do you enjoy about it? 14. What are some of your family traditions that you particularly enjoy? 15. Tell me about the first car you ever bought. 16. How has the Internet affected your life? 17. Who were your idols as a kid? Have they changed? 18. Describe a memorable teacher you had. 19. Tell me about a movie/book you’ve seen or read more than once. 20. What’s your favorite restaurant? Why? 21. Tell me why you were named ______. What is the origin of your last name? 22. Tell me about a place you’ve visited that you hope never to return to. get over your mom’s good intentions. 23. What’s the best surprise you’ve ever received? 24. What’s the neatest surprise you’ve ever planned and pulled off for someone else? 25. Skiing here is always challenging. What are some of your favorite places to ski? 26. Who would star as you in a movie about your life? Why that person? 27. Who is the most famous person you’ve met? 28. Tell me about some of your New Year’s resolutions. 29. What’s the most antiestablishment thing you’ve ever done? 30. Describe a costume that you wore to a party. 31. Tell me about a political position you’d like to hold. 32. What song reminds you of an incident in your life? 33. What’s the most memorable meal you’ve eaten? 34. What’s the most unforgettable coincidence you’ve experienced or heard about? 35. How are you able to tell if that melon is ripe? 36. What motion picture star would you like to interview? Why? 37. Tell me about your family. 38. What aroma brings forth a special memory? 39. Describe the scariest person you ever met. 40. What’s your favorite thing to do alone? 41. Tell me about a childhood friend who used to get you in trouble. 42. Tell me about a time when you had too much to eat or drink. 43. Describe your first away-from-home living quarters or experience. 44. Tell me about a time that you lost a job. 45. Share a memory of one of your grandparents. 46. Describe an embarrassing moment you’ve had. 47. Tell me something most people would never guess about you. 48. What would you do if you won a million dollars? 49. Describe your ideal weather and why. 50. How did you learn to ski/hang drywall/play piano?

I’ve done enough movies in the last twenty-five years to know that this is always a difficult moment for an actor. Actors nearly always want to appear courageous and committed, willing to do anything for the team. So while it is perfectly acceptable to opt out of a stunt and let the professionals handle it, there is some pressure, mostly internal, to push yourself beyond your normal comfort zone. Typically, the director will follow up after the consultation with the stunt coordinator and special effects experts and the actors, just to make sure everyone is at ease with their respective roles when it comes to the stunt. Certainly that was the case on this occasion, as Rob consulted with both Robin and me about our willingness to do the stunt. But more so with her, seeing as she was the one who was actually going to be set on fire.

2.4 Design a plan. a. Go back before you go forward. b. Think about your problem as a set of outcomes produced by a machine. c. Remember that there are typically many paths to achieving your goals. d. Think of your plan as being like a movie script in that you visualize who will do what through time. e. Write down your plan for everyone to see and to measure your progress against. f. Recognize that it doesn’t take a lot of time to design a good plan.

I definitely felt attracted to some people, and I liked the idea of being with someone, but the actual mechanics of it didn't much suit my talents. Like, parts of typical romantic relationships that made me anxious included 1. Kissing; 2. Having to say the right things to avoid hurt feelings; 3. Saying more wrong things while trying to apologize; 4. Being at a movie theater and feeling obligated to hold hands even after your hands become sweaty and the sweat starts mixing together; and 5. The part where they say, "What are you thinking about?" And they want you to be, like, "I'm thinking about you, darling," but you're actually thinking about how cows literally could not survive if it weren't for the bacteria in their guts, and how that sort of means that cows do not exist as independent life-forms, but that's not really something you can say out loud, so you're ultimately forced to choose between lying and seeming weird.

Before we fully learn to love ourselves, all people of color in the United States learn that we are supporting characters and spectators in the collective story of white people’s lives. The stories we watch and read ask us to put aside their whiteness and relate to their very “universal” human struggles around conflict with the world, the self, and others. The problem is that only the experiences of white people are treated as universal. Meanwhile, Black movies, shows, and books are typically seen as limited and particular.

In mathematics, students are at the mercy of rigidly applied algorithms. They learn to use certain formalisms in certain ways, often effectively, if provided with a pre-arranged signal that a particular formalism is wanted. In social studies and the humanities, the enemies of understanding are scripts and stereotypes. Students readily believe that events occur in typical ways, and they evoke these scripts even inappropriately. For example, they regard struggles between two parties in a dispute as a "good guy versus bad guy" movie script.

Another time, I was at the bar getting a drink and this geezer is stood at the bar with a ciggie in his mouth, trying his best to look rock hard. He takes a drag and points his finger in my face and drawls, ‘Don't I know you?’ He was looking snake-eyed at me like a typical big screen gangster. I stood in front of him and drawled back, ‘I don’t know, but they call me Richy Horsley,’ and then bang, I batter him with a left hook that landed with a strange dull thud. Mr Movie Gangster was stood there leaning against the bar and staring out in to space, knocked out standing up.

the club had provided for music was a lone pianist who had no idea what kind of piece might accompany such an exotic dance. Bloom thought a moment, hummed a tune, then plinked it out on the keyboard one note at a time: Over the next century this tune and its variations would be deployed in a succession of mostly cheesy movies, typically as an accompaniment to the sinuous emergence of a cobra from a basket. It would also drive the schoolyard lyric, “And they wear no pants in the southern part of France.” Bloom regretted his failure to copyright the tune. The royalties would have run into the millions.

We observe that the life of Jesus differs substantially from typical alien accounts. Aliens usually arrive in a spaceship; Jesus was born on earth. Aliens usually appear for a very short time; Jesus was on earth for over thirty years. The usual report of an encounter with aliens describes them as abusive; Jesus was loving and compassionate. The supposition that life exists in the universe outside Earth is questionable. Contrary to the popular media's portrayal of aliens in movies like ET, Cocoon, and Contact, the scientific evidence from astrophysics within the past thirty-five years makes it seem increasingly improbable that life exists anywhere else in the cosmos.

The typical load was 25 rounds. But Ted Lavender, who was scared, carried 34 rounds when he was shot and killed outside Than Khe, and he went down under an exceptional burden, more than 20 pounds of ammunition, plus the flak jacket and helmet and rations and water and toilet paper and tranquilizers and all the rest, plus the unweighed fear. He was dead weight. There was no twitching or flopping. Kiowa, who saw it happen, said it was like watching a rock fall, or a big sandbag or something - just boom, then down - not like the movies where the dead guy rolls around and does fancy spins and goes ass over teakettle - not like that, Kiowa said, the poor bastard just flat-fuck fell. Boom. Down.

In the elaborate con that is American electoral politics, the Republican voter has long been the easiest mark in the game, the biggest dope in the room. Everyone inside the Beltway knows this. The Republican voters themselves are the only ones who never saw it. Elections are about a lot of things, but at the highest level, they’re about money. The people who sponsor election campaigns, who pay the hundreds of millions of dollars to fund the candidates’ charter jets and TV ads and 25-piece marching bands, those people have concrete needs. They want tax breaks, federal contracts, regulatory relief, cheap financing, free security for shipping lanes, antitrust waivers and dozens of other things. They mostly don’t care about abortion or gay marriage or school vouchers or any of the social issues the rest of us spend our time arguing about. It’s about money for them, and as far as that goes, the CEO class has had a brilliantly winning electoral strategy for a generation. They donate heavily to both parties, essentially hiring two different sets of politicians to market their needs to the population. The Republicans give them everything that they want, while the Democrats only give them mostly everything. They get everything from the Republicans because you don’t have to make a single concession to a Republican voter. All you have to do to secure a Republican vote is show lots of pictures of gay people kissing or black kids with their pants pulled down or Mexican babies at an emergency room. Then you push forward some dingbat like Michele Bachmann or Sarah Palin to reassure everyone that the Republican Party knows who the real Americans are. Call it the “Rove 1-2.” That’s literally all it’s taken to secure decades of Republican votes, a few patriotic words and a little over-the-pants rubbing. Policywise, a typical Republican voter never even asks a politician to go to second base. While we always got free trade agreements and wars and bailouts and mass deregulation of industry and lots of other stuff the donors definitely wanted, we didn’t get Roe v. Wade overturned or prayer in schools or balanced budgets or censorship of movies and video games or any of a dozen other things Republican voters said they wanted.

Brave (2012) C-94m. 1⁄2 D: Mark Andrews, Brenda Chapman. Voices of Kelly Macdonald, Emma Thompson, Billy Connolly, Robbie Coltrane, Kevin McKidd, Julie Walters, Craig Ferguson, John Ratzenberger. In ancient times, a Scottish princess named Merida resists her mother’s constant training to become a future queen, preferring a boisterous existence roaming the forest with her trusty bow and arrow. When it comes time for her to choose a suitor, she runs away and stumbles onto a witch who agrees to change her fate through a magical dark spell. Typically handsome Pixar animated feature has robust characters but a formulaic feel—until the story takes a very strange turn. A final burst of emotion almost redeems it. Oscar winner for Best Animated Feature. 3-D Digital Widescreen. [PG] Braveheart (1995) C-177m. 1⁄2 D: Mel Gibson. Mel

Compared with a typical mail-order ad, the “imagine cable television” appeal is a much more subtle appeal to self-interest. Note that the benefits offered were not fantastic in a Caples-esque way. The gist was that you could avoid the hassle of leaving home (!) by ordering cable. Indeed, just hearing about the benefits, in the abstract, wasn’t enough to lure additional subscribers. It was only when people put themselves in the starring role—I can see myself watching a good movie at home with my hubby, and I can get up and check on the kids in the next room whenever I like … and think of all that babysitting money I’d save!—that their interest grew. This finding suggests that it may be the tangibility, rather than the magnitude, of the benefits that makes people care. You don’t have to promise riches and sex appeal and magnetic personalities. It may be enough to promise reasonable benefits that people can easily imagine themselves enjoying.

What do you typically like to do on a first date with a woman?" "That answer depends on the woman, since you're not all the same. Some women actually would enjoy beer and pool on a Friday night"---he stopped to give her a raised brow to emphasize his statement---"while others would want to have dinner at a nice restaurant. Some might want to hang out at home, order pizza and watch a movie just so we could talk and get to know each other. Another woman might be more interested in going to see a basketball game. Or maybe go to a museum." "And you'd be interested in doing any of those things." He shrugged. "I'm interested in doing a lot of different things. I'm not just a rancher. I like to get out of my element and learn something new." She stared at him. Dammit. She loved that answer. He really thought about what a woman might want to do. And he was open to new experiences. A lot of guys just did their own thing, expecting the woman to fall in line. "That's...very nice.

What are you doing?” “Coming to pick you up in a little bit,” he said. I loved it when he took charge. It made my heart skip a beat, made me feel flushed and excited and thrilled. After four years with J, I was sick and tired of the surfer mentality. Laid-back, I’d discovered, was no longer something I wanted in a man. And when it came to his affection for me, Marlboro Man was anything but that. “I’ll be there at five.” Yes, sir. Anything you say, sir. I’ll be ready. With bells on. I started getting ready at three. I showered, shaved, powdered, perfumed, brushed, curled, and primped for two whole hours--throwing on a light pink shirt and my favorite jeans--all in an effort to appear as if I’d simply thrown myself together at the last minute. It worked. “Man,” Marlboro Man said when I opened the door. “You look great.” I couldn’t focus very long on his compliment, though--I was way too distracted by the way he looked. God, he was gorgeous. At a time of year when most people are still milky white, his long days of working cattle had afforded him a beautiful, golden, late-spring tan. And his typical denim button-down shirts had been replaced by a more fitted dark gray polo, the kind of shirt that perfectly emphasizes biceps born not from working out in a gym, but from tough, gritty, hands-on labor. And his prematurely gray hair, very short, was just the icing on the cake. I could eat this man with a spoon. “You do, too,” I replied, trying to will away my spiking hormones. He opened the door to his white diesel pickup, and I climbed right in. I didn’t even ask him where we were going; I didn’t even care. But when we turned west on the highway and headed out of town, I knew exactly where he was taking me: to his ranch…to his turf…to his home on the range. Though I didn’t expect or require a ride from him, I secretly loved that he drove over an hour to fetch me. It was a throwback to a different time, a burst of chivalry and courtship in this very modern world. As we drove we talked and talked--about our friends, about our families, about movies and books and horses and cattle.

I’m really not looking to date anyone.” I know people often say that when secretly looking for ‎a romantic partner, but I meant it. I definitely felt attracted to some people, and I liked the ‎idea of being with someone, but the actual mechanics of it didn’t much suit my talents. Like, ‎parts of typical romantic relationships that made me anxious included 1. Kissing; 2. Having to ‎say the right things to avoid hurt feelings; 3. Saying more wrong things while trying to ‎apologize; 4. Being at a movie theater together and feeling obligated to hold hands even after ‎your hands become sweaty and the sweat starts mixing together; and 5. The part where they ‎say, “What are you thinking about?” And they want you to be, like, “I’m thinking about you, ‎darling,” but you’re actually thinking about how cows literally could not survive if it weren’t for ‎the bacteria in their guts, and how that sort of means that cows do not exist as independent ‎life-forms, but that’s not really something you can say out loud, so you’re ultimately forced to ‎choose between lying and seeming weird

We may think we know how the criminal justice system works. Television is overloaded with fictional dramas about police, crime, and prosecutors—shows such as Law & Order. These fictional dramas, like the evening news, tend to focus on individual stories of crime, victimization, and punishment, and the stories are typically told from the point of view of law enforcement. A charismatic police officer, investigator, or prosecutor struggles with his own demons while heroically trying to solve a horrible crime. He ultimately achieves a personal and moral victory by finding the bad guy and throwing him in jail. That is the made-for-TV version of the criminal justice system. It perpetuates the myth that the primary function of the system is to keep our streets safe and our homes secure by rooting out dangerous criminals and punishing them. These television shows, especially those that romanticize drug-law enforcement, are the modern-day equivalent of the old movies portraying happy slaves, the fictional gloss placed on a brutal system of racialized oppression and control. Those

Movies create the parameters against which we measure our lives.  They can either be a force for positive change or reinforce existing structures.  Mason asks, “How do we take control of the hallucination?”  The series itself is a response:  The Invisibles is a fictional work that’s programmed to redefine the way we view reality.  Download this series into your mind, and you’ll come out the other side changed. This also ties into the way that Mason has discussed movies over the course of the series.  By finding the evolutionary message in non-intellectual, popular works like Speed and Independence Day, Mason is trying to take control of the hallucination.  Any work of art does not exist in a vacuum.  We assess it through cultural and social lenses, biased by our own circumstances and background.  Mason seeks out Invisible messages in everything he sees, and because that’s what he’s looking for, he finds them.  His goal is to teach everyone to think like that, to not see the intended pro-America or pro-hetero-normative message of a typical studio film, to instead find something subversive lurking in the most mundane entertainments.  If people build their lives in response to the films they see, then controlling the way they perceive the films means controlling the future direction of their lives. Next,

a young Goldman Sachs banker named Joseph Park was sitting in his apartment, frustrated at the effort required to get access to entertainment. Why should he trek all the way to Blockbuster to rent a movie? He should just be able to open a website, pick out a movie, and have it delivered to his door. Despite raising around $250 million, Kozmo, the company Park founded, went bankrupt in 2001. His biggest mistake was making a brash promise for one-hour delivery of virtually anything, and investing in building national operations to support growth that never happened. One study of over three thousand startups indicates that roughly three out of every four fail because of premature scaling—making investments that the market isn’t yet ready to support. Had Park proceeded more slowly, he might have noticed that with the current technology available, one-hour delivery was an impractical and low-margin business. There was, however, a tremendous demand for online movie rentals. Netflix was just then getting off the ground, and Kozmo might have been able to compete in the area of mail-order rentals and then online movie streaming. Later, he might have been able to capitalize on technological changes that made it possible for Instacart to build a logistics operation that made one-hour grocery delivery scalable and profitable. Since the market is more defined when settlers enter, they can focus on providing superior quality instead of deliberating about what to offer in the first place. “Wouldn’t you rather be second or third and see how the guy in first did, and then . . . improve it?” Malcolm Gladwell asked in an interview. “When ideas get really complicated, and when the world gets complicated, it’s foolish to think the person who’s first can work it all out,” Gladwell remarked. “Most good things, it takes a long time to figure them out.”* Second, there’s reason to believe that the kinds of people who choose to be late movers may be better suited to succeed. Risk seekers are drawn to being first, and they’re prone to making impulsive decisions. Meanwhile, more risk-averse entrepreneurs watch from the sidelines, waiting for the right opportunity and balancing their risk portfolios before entering. In a study of software startups, strategy researchers Elizabeth Pontikes and William Barnett find that when entrepreneurs rush to follow the crowd into hyped markets, their startups are less likely to survive and grow. When entrepreneurs wait for the market to cool down, they have higher odds of success: “Nonconformists . . . that buck the trend are most likely to stay in the market, receive funding, and ultimately go public.” Third, along with being less recklessly ambitious, settlers can improve upon competitors’ technology to make products better. When you’re the first to market, you have to make all the mistakes yourself. Meanwhile, settlers can watch and learn from your errors. “Moving first is a tactic, not a goal,” Peter Thiel writes in Zero to One; “being the first mover doesn’t do you any good if someone else comes along and unseats you.” Fourth, whereas pioneers tend to get stuck in their early offerings, settlers can observe market changes and shifting consumer tastes and adjust accordingly. In a study of the U.S. automobile industry over nearly a century, pioneers had lower survival rates because they struggled to establish legitimacy, developed routines that didn’t fit the market, and became obsolete as consumer needs clarified. Settlers also have the luxury of waiting for the market to be ready. When Warby Parker launched, e-commerce companies had been thriving for more than a decade, though other companies had tried selling glasses online with little success. “There’s no way it would have worked before,” Neil Blumenthal tells me. “We had to wait for Amazon, Zappos, and Blue Nile to get people comfortable buying products they typically wouldn’t order online.

The Ten Ways to Evaluate a Market provide a back-of-the-napkin method you can use to identify the attractiveness of any potential market. Rate each of the ten factors below on a scale of 0 to 10, where 0 is terrible and 10 fantastic. When in doubt, be conservative in your estimate: Urgency. How badly do people want or need this right now? (Renting an old movie is low urgency; seeing the first showing of a new movie on opening night is high urgency, since it only happens once.) Market Size. How many people are purchasing things like this? (The market for underwater basket-weaving courses is very small; the market for cancer cures is massive.) Pricing Potential. What is the highest price a typical purchaser would be willing to spend for a solution? (Lollipops sell for $0.05; aircraft carriers sell for billions.) Cost of Customer Acquisition. How easy is it to acquire a new customer? On average, how much will it cost to generate a sale, in both money and effort? (Restaurants built on high-traffic interstate highways spend little to bring in new customers. Government contractors can spend millions landing major procurement deals.) Cost of Value Delivery. How much will it cost to create and deliver the value offered, in both money and effort? (Delivering files via the internet is almost free; inventing a product and building a factory costs millions.) Uniqueness of Offer. How unique is your offer versus competing offerings in the market, and how easy is it for potential competitors to copy you? (There are many hair salons but very few companies that offer private space travel.) Speed to Market. How soon can you create something to sell? (You can offer to mow a neighbor’s lawn in minutes; opening a bank can take years.) Up-front Investment. How much will you have to invest before you’re ready to sell? (To be a housekeeper, all you need is a set of inexpensive cleaning products. To mine for gold, you need millions to purchase land and excavating equipment.) Upsell Potential. Are there related secondary offers that you could also present to purchasing customers? (Customers who purchase razors need shaving cream and extra blades as well; buy a Frisbee and you won’t need another unless you lose it.) Evergreen Potential. Once the initial offer has been created, how much additional work will you have to put in in order to continue selling? (Business consulting requires ongoing work to get paid; a book can be produced once and then sold over and over as is.) When you’re done with your assessment, add up the score. If the score is 50 or below, move on to another idea—there are better places to invest your energy and resources. If the score is 75 or above, you have a very promising idea—full speed ahead. Anything between 50 and 75 has the potential to pay the bills but won’t be a home run without a huge investment of energy and resources.

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

Under Kim Jong-il’s direction, the Korean Feature Film Studio on the outskirts of Pyongyang was expanded to a 10-million-square-foot lot. It churned out forty movies per year. The films were mostly dramas with the same themes: The path to happiness was self-sacrifice and suppression of the individual for the good of the collective. Capitalism was pure degradation. When I toured the studio lot in 2005, I saw a mock-up of what was supposed to be a typical street in Seoul, lined with run-down storefronts and girly bars.

This was my first visit to Walt Disney’s Magical Money Maw, and I initially had a typically cynical Chicagoan’s reaction. This place was an amusement park posing as a Disney movie come to life, with college kids in big-headed cartoon-character costumes mingling like monsters among children whose reactions veered between disappointment and terror. Here, the creator (not God but the beaming mustached one on TV) served up turn-of-the-century childhood memories painted with a pastel brush, inviting visitors into a fanciful American past sprinkled with pixie dust to banish actual memories of an era awash in financial failures, railroad strikes, immigrant tenements, racist lynchings, and social protest, right and left.

This is what cinema is all about. Images, sound, whatever, are what we use to construct a way which is cinema, which is supposed to produce effects, not only in our eyes and ears, but in our ‘mental’ movie theatre in which image and sound already are there. There is a kind of on-going movie all the time, in which the movie that we see comes in and mixes, and the perception of all these images and sound proposed to us in a typical film narration piles up in our memory with other images, other associations of images, other films, but other mental images that we have, they pre-exist. So a new image in a film titillates or excites another mental image already there or emotions that we have, so when you propose something to watch and hear, it goes, it works. It's like we have sleeping emotions in us all the time, half-sleeping, so one specific image or the combination of one image and sound, or the way of putting things together, like two images one after another, what we call montage, editing - these things ring a bell. These half-asleep feelings just wake up because of that - that is what it is about.

Of course, you have probably heard about studies in which rats or even primates continually pressed levers to get cocaine, heroin, or methamphetamine until they died, choosing drugs rather than food and water. But what you probably didn’t know is that these animals were kept in isolated, unnatural environments for most of their lives, where they typically became stressed without social contact and had little else to do. By analogy, if you were in solitary confinement for years with only one movie as a source of entertainment, you’d probably watch it over and over. But that wouldn’t necessarily mean that that particular movie is “addictive” or compulsively watchable. You’d probably still watch it if it were the worst film ever made, just to have something to do. Similarly, saying that unlimited access to cocaine “makes” animals addicted to the point of killing themselves, based on research in isolated rodents or primates, doesn’t tell us much about drug use in the real world.

the Godzilla brand was soon losing its bite. One online discussion group even included a list of 63 fundamental flaws within the movie (typical example: ‘Godzilla can outrun helicopters but he can’t keep up with a taxicab’).

In the movie Dumb and Dumber, Jim Carrey’s character, Lloyd, asks the love of his life what his chances are of making her love him, too. “Not good,” replies Mary Swanson. “Not good like one out of a hundred?” asks Lloyd haltingly. Mary answers, “I’d say more like one out of a million.” Exclaims Lloyd: “So you’re telling me there’s a chance? Yeah!” It’s no different when you buy a stock or a mutual fund: Your expectation of scoring a big gain will typically elbow aside your ability to evaluate how likely you are to earn it. That means your brain will tend to get you into trouble whenever you’re confronted with an opportunity to buy an investment with a hot—but probably unsustainable—return.

In the Bible, the word hypocrite shows up 33 times. Interestingly, hypocrite was a common Greek term for an actor who worked behind a mask. Stage players in antiquity wore masks to hide their true identity as they played the part of their characters. We live in a society today where people are paid millions of dollars to be hypocrites. A friend of mine, before he passed away, built movie sets for a living. Many movies are filmed on studio lots, but these designed sets are not the reality you might think they are when watching a movie. Actors and actresses play the part of someone they really are not. The better they are at pretending or lying, the more convincing they will be as an actor, and typically, the more money they make. I rarely darken the door of a movie theatre because I don’t want to give those liars my money, and I don’t want to support the totally ungodly world of Hollywood. This is also why I don’t own a television. I don’t want my cable or satellite fees funding that wicked industry. In the time of the Greeks, it was easy to figure out the real identity of the actors. You could walk up to them, take off their masks, and see their faces. Jesus is doing the same here. He is unmasking the Pharisees. He is showing us their real character. He is revealing their true colors. Don’t live a lie. Don’t be a hypocrite. It is not a healthy way to go through life, and you will have regrets when the time of unmasking comes.

When your social anxiety becomes so great that you have to avoid the specific situation that causes it, you are dealing with a social phobia. In movies and on television, in both serious and comical contexts, we have heard of many phobias: fear of heights, fear of trains, fear of bridges, fear of crowds. And this, according to the Journal of Psychiatry, is the decade of social phobia. What is social phobia? As we discussed earlier, social phobia is essentially performance anxiety. Here is how the DSMII-R defines it: “The essential feature is a persistent irrational fear and compelling desire to avoid situations in which the individual may be exposed to scrutiny by others.” In other words, the avoidance typical of social anxiety sufferers becomes so extreme that it overshadows any desire to participate in the situation. The fear of being scrutinized by others includes not only the evaluation of the performance but also a fear that anxiety symptoms will become obvious. Obsessive thought patterns (“They can tell I’m nervous,” “They can see I’m sweating”) are common, along with the actual physical symptoms. Both mental and physical symptoms become as stressful as the situation itself. “There is also fear that the individual will behave in a manner that will be humiliating or embarrassing.” Again, the individual is preoccupied with fear of failure or performance anxiety. “Marked anticipatory anxiety occurs if the individual is confronted with the necessity of entering into such a situation.” Even the thought of being evaluated causes the social phobic reaction, so ingrained is the anxiety response. Where social phobia exists, there is a pronounced inhibition of interaction on all levels. The individual is so preoccupied by fear of symptoms and by finding a way of avoiding the situation that he cannot successfully interact. Some specific social phobias are included here: -Fear of public speaking -Fear of participating in a group presentation -Fear of eating in a restaurant -Fear of raising a hand to talk in class -Fear of writing a check in front of someone -Fear of using a public bathroom -Fear of dating -Fear of participating in an activity with other people -Fear of attending public events Think of social phobia as extreme performance anxiety about a specific act, such as those listed above. Where there is any chance of being evaluated by others in the situation he fears, the social phobic will experience extreme anxiety and will do all he can to avoid the situation.

In the movies, they always make sure the hero kills only in self-defense, typically in the instant before the bad guy gets the drop on him. Even in that film Miyamoto had mentioned, Dirty Harry, Clint Eastwood blows away a guy who had kidnapped, tortured, and killed a teenage girl only when the guy goes for a gun. To me, that’s all bullshit. More than anything else, killing is about survival. About doing everything you can to deceive, and cheat, and stack the odds in your own favor. You don’t wait for the other guy to go for his gun; you shoot him before he has a chance. If he has his back to you, that’s even better. If you can call in an air strike, that’s better still. You don’t just do everything you possibly can to prevent a fight from being fair—preventing the fight from being fair is the entire point. Do you want the enemy to have as good a chance of killing you as you have of killing him? Or do you want to make sure he gets no chance at all? As far as I’m concerned, the people who think a fair fight is desirable can go ahead and die in one.

My typical day began at five o'clock in the morning when I would finish reading scripts by the side of Rebecca's bed until she woke up at seven. It was thrilling to find a script that I loved, something I desperately wanted to make. And when I found one, my day was made by seven A.M. If I didn't have a script to finish, I had notes to make on those I had read. And if I'd finished my notes, I went downstairs to exercise. After mornings with Rebecca, I'd arrive at the office at nine-thirty. The phone calls had started long before I got there. By ten o'clock I was in a staff meeting, and depending on the day of the week, it was either a production, marketing/distribution or business-affairs meeting. By eleven-thirty, I might be in a meeting with an executive about a particular movie or problem. By twelve, I was meeting with a director I was trying to seduce back to the studio. By twelve forty-five, I'd get in my car and drive across town to a lunch meeting with an agent, a producer, a writer or a movie star. While driving, I'd start to return the phone calls that had started before I ever arrived at my office. At two-thirty, I was back in the car, returning more phone calls, the calls from early morning, from mid-morning, plus East Coast and Europe calls that came in during lunch. At two forty-five, I was back in the office. Inevitably, there were people waiting to see me, executives with personal problems, political problems, and/or production problems. In between, I returned and made more phone calls. At three-thirty, there could be a meeting with someone I was trying to bring to the studio. At four-thirty, there was a script meeting with an executive, writer, producer and/or director. At five o'clock, there were selected dailies of the movies we were shooting. And if I hadn't finished watching them by six-thirty, the rest were put on tape for me to watch later at home. At six-thirty, I'd jump into my car and return more phone calls on my drive home. The call sheet numbered one hundred to one hundred and fifty calls a day. And I always felt it was very important to return every call. The lesson here is people remember when you don't call them back. I'd go home to be with Rebecca. If I didn't have a business dinner or a sneak preview of one of our movies, I had to go to a black-tie event. There was at least one of them a week, honoring someone from our industry. I went out of respect for the talent involved and my counterparts at the other studios. So Rebecca would keep me company while I washed off my makeup, put on new makeup, dressed in black tie, kissed her good-bye and shot out the door. That's where men really have it good: they just put on a tux and go. After I got home at ten-thirty, I would sit on the chair next to Rebecca's bed. Watching her sleep dissolved all the stress in my body. Then I would get up, either finish watching the dailies, or read a script, wash my face and fall into bed at eleven-thirty. But the part of my workday that made me the happiest was when I was closest to the actual making of a movie.

Director: Saravana Rajan Producer: Dayanidhi Azhagiri Written : Saravana Rajan Starring: Jai,Swati Reddy Music: Yuvan Shankar Raja Cinematography: Venkatesh S. Release Date: Jan 24, 2014 Editing: Praveen K. L, N. B. Srikanth Director Saravana Rajan’s debut comedy thriller ‘Vadacurry’ features actors Swati Reddy and Jai in lead role. ‘Vadacurry’ is produced by Dhayanidhi Alagiri with Yuvan Shankar Raja’s music. Bollywood actress Sunny Leone has shaken her legs for ‘Vadacurry’ Tamil film’s dream song with actor Jai in Bangkok. The shooting of the song was held in December 2013. It’s a dream sequence of Jai’s character in the ‘Vadacurry’ where, Sunny will be grooving with him. Sunny was given half-sari, bangles and anklets to portray a typical south Indian look in this song. However, the hot diva loved trying these accessories to shake her legs for her debut film in Kollywood ‘Vadacurry’. ‘Vadacurry’ Tamil movie’s cinematography is handled by Venkatesh. ‘Vadacurry’ team started rolling on floors from August 19, 2013. Interestingly, ‘Vadacurry’ Tamil movie’s music composer Yuvan Shankar Raja is cousin of director Saravana Rajan. Director Saravana Rajan has followed the steps of his tutor Venkat Prabhu in coining food names as title for his movie ‘Vadacurry’ that matched with Venkat Prabhu’s recent release ‘Biriyani’. The charming beauty Anusha Dhayanidhi has made a debut as costume designer in ‘Vadacurry’. Anusha Dhayanidhi has transformed the looks of female lead Swathi in ‘Vadacurry’ Tamil film. It should be noted that ‘Subramaniyapuram’ pairs, who had portrayed good chemistry have joined this comedy entertainer ‘Vadacurry’. However, ‘Vadacurry’ Tamil film is ready to be served on 24January, 2014 to give a punch of full-on comedy with its taste and essence.

An incandescent lamp is made with a wire filament enclosed in a bulb without oxygen and glows as the filament is heated. Less than 10 percent of the electrical power into an incandescent light bulb is converted into light, and the rest is converted into heat. Lamps of this type are still used, but they are being replaced with fluorescent lights or light emitting diodes. The incandescent lamp therefore is a resistor that just happens to give out light. But what type of light? White light is measured by its color temperature in degrees Kelvin (K). Typically, when we look outside on a sunny clear day, the Sun along with the blue sky provides a color temperature of about 4,500 to 5,500 degrees Kelvin. As the sun starts to go down in the afternoon, the color temperature drops to about 3,000 to 4,000 degrees Kelvin. Finally as the sun sets, we can clearly perceive the sunlight with a yellow to red tint, which means the sun’s color temperature has dropped below 3,000 degrees Kelvin. Human eyes adapt to the color temperature for the most part from about 3,000 to 5,000 degrees Kelvin and perceive light in this range as “white,” albeit at 3,000 degrees Kelvin, it has a warm tone. A standard incandescent bulb for room lighting such as a 100 watt bulb provides light at about 2,700 degrees Kelvin, which provides warm white light. For studio or movie lighting, generally the color temperature is a bit whiter (between 3,200 and 3,500 degrees Kelvin, and sometimes up to 4,000 degrees Kelvin). Halogen lamps or white photoflood lamps provide light in this color temperature range. Incandescent lamps exceeding 4,000 degrees usually are specially made and they are often coated in blue. For standard low-power lamps such as flashlight bulbs or indicator lights, the color temperature is somewhere between 2,000 and 3,000 degrees Kelvin.

My first and lasting impression of the Connecticut River Valley is its serene beauty, especially in the autumn months. Deep River was a near picture-perfect New England village. When I arrived there, the town was a typical working-class place, nothing like the trendy upper-income enclave it became. The town center had a cluster of shops, a movie theater open only on weekends, several white-steepled churches (none of them Catholic), the town hall, and a Victorian library. It was small, even by Ansonia standards.

The outer critic typically arises most powerfully during emotional flashbacks. At such times, it transmutes unconscious abandonment pain into an overwhelmingly negative perception of people and of life in general. It obsessively fantasizes, consciously and unconsciously, about how people have or could hurt us. Over the years these fantasies typically expand from scary snapshots into film clips and even movies. Without realizing it, we can amass a video collection of real and imagined betrayals that destroy our capacity to be nurtured by human contact.

Fredric Jameson and others have detailed the operation of a cultural prohibition, at the structural level, on even the imaging of alternatives to the desolate insularity of individual experience within the competitive workings of capitalist society. possibilities of non-monadic or communal life are rendered unthinkable. In 1965, a typical negative image of collective living was, for example, that of the Bolsheviks moving sullen working-class families into Doctor Zhivago's spacious and pristine home in the David Lean movie. For the past quarter-century, the communal has been presented as a farm more nightmarish option. For example, in recent neoconservative portrayals of the Chinese Cultural Revolution, measures taken against private property and class privilege on behalf of collective social formations are equated to the most monstrous crimes in world history. On a smaller scale, there are the countless narratives of cult-like communes of obedient converts ruled by homicidal madmen and cynical manipulators. Echoing bourgeois fears in the late nineteenth century following 1871, the idea of a commune derived from any form of socialism remains systemically intolerable. The cooperative, as a lived set of relations, cannot actually be made visible -- it can only be represented as a parodic replication of existing relations of domination. In many different ways, the attack on values of collective and cooperation is articulated through the notion that freedom is to be free of any dependency on others, while in fact we are experience a more comprehensive subjection to the 'free' workings of markets. As Harold Bloom has shown, the real American religion is 'to be free of other selves.' In academic circles, the right-wing attach on the cooperative is abetted by the current intellectual fashion of denouncing the idea or possibility of community for its alleged exclusions and latent fascisms. One of the main forms of control over the last thirty years has been to ensure there are no visible alternatives to privatized patterns of living.

When Hollywood studios greenlight movies, they typically make a box-office projection that will create an acceptably big profit, after considering all the revenue expected to follow from DVD, digital, and television sales. Such projections are based on comparisons to similar movies with similar budgets released at similar times of the year, and they always include some level of subjectivity. (Is the remake of Ghostbusters most similar to other Melissa McCarthy comedies? To buddy comedies? To generic summer action films? To the first two Ghostbusters films in the 1980s?) But because executives are judged on whether their movies hit the projections made at greenlight, not whether the movies are simply profitable or not, the projections are supposed to be made as objectively as possible. That was always challenging at Sony, because when Pascal really wanted to make a movie, she sometimes rejected projections she deemed too low. She certainly wasn’t the only studio chief who bent others to his or her will, but it was telling that some executives referred to greenlight meetings at Sony as “enablement sessions” for Pascal. That’s how 2004’s dour James L. Brooks dramedy Spanglish, for instance, was greenlit, with a projection that it would make more than $100 million domestically (it ended up with $43 million).

Why no guilt? These people were given the opportunity to act on the basis of their feelings of concern and compassion. The amount of money required from them.each month was selected because it did not exceed what they, given their incomes and style of life, would typically spend on entertainment. Ii was a very safe bet that they each spent at least the equivalent of a hundred dollars a month on dinners out, movies, martinis or wine with dinner, summer vacation:Certainly there would be no threat at all to their economic security or that of their children were they to divert that portion of their income to rescue the miserable family from the most primitive form of deprivation and suffering. Is itpossible for these decent, concerned people to choose their own liquor and entertainment over the chance to eliminate the terrible suffering of an innocentchild? And then, after having made that choice, not be consumed with guilt?

Part Two: When St. Kari of the Blade Met Darth Vader, Star Wars Dark Lord of the Sith  (Earlier, the Emperor commanded Lord Vader to make contact . . . “I have felt a non-tremor in the Nether-Force” “I have not, my master.” “Yes, well, that is why I’m ‘the Emp’ and you are not . . . Um, we have a new enemy, the non-entity known as Blade Kári. She’s running around all over the place gunning for that brat kid of yours.” “Hmm. Interesting,” tight-lipped Darth. “Anyway, I–hey, how can all this mish-mash be?” “Search your feelings, Lord Vader” the Emperor solemnized. “If you feel nothing as usual, you know it to be true or false. By now your guess is as good as mine with this Force stuff.” “Damn!–If you say so,” Vader said smacking his hand. “If she could be turned she would make a powerful ally.” “Yesss . . . can it be done? Bring the Valkyrie creature to me. See to it personally, Lord Vader. The more she is loose the more of a train wreck waiting to happen she becomes to us. Besides, it will break up the monotony until Bingo Wednesday night.” “Okay. She will join us or die–again and again and again–until we all get it right. “Now, what about my son?” grumbed Vader deeply. “Why fish for guppies when you can land a Megalodon? Go on. Get out of here. You Annoy me.” “Yes, my Mahhster . . . ”). back to the action . . . “—Oh yeah? Who is he, this Vader person? Someone I should meet?” Kari percolated. Luke mulled. “No. He is evil and very powerful. A ȿith lord.” “A Scythian, eh? Humm.—for a minute there, you had me worried. “Look—there he is!” Luke shouted scrunching down and pulling the girl besides him. Vader stwalked down the landing craft’s platform decked in his usual evil attire looking at the pile of messy clones. “He doesn’t look so tough’st to me. Pretty trippy wardrobe though. Maybe that is why he is evil. Clothes do that, costuming up n’ all. I think I’ll go down and see him.” Kari launched off to meet him. Luke trying to pull her back, she running up to the battle line strewn with dead clones. “Hey Darth’st.” “Did you do all this? Hmmph. The Force is with you, young Blade Kári, but you are not a Valkyrie yet.” “Sez ‘st who? You’st? Do not be so blamed melodramatic. This ’tain’t no movie ʎ’know’st, well leastways, not yet. I shall have you know I am a charter member of your friendly neighborhood Valkyrie club and my dues are so in.” Vader ignited his red lightsaber (he was not one for small talk). “Where can I get one of those, she asked Vader, pointing to his glowing blade of laser evil. Do they come in assorted colors? I want one!” she yelled back at Luke. Vader struck savagely at the girl, she mildly pirouetting on her heels to evade the cut then giggling, diminutively popped him squarely in his breather-chest contraption bugging him. Again, he struck, the blade harmlessly passing through her. “Impressive, most impressive. And you say you can’t get a date?” “Best take it easy Sith-meister. You’re riling me.” Luke’s eyes bulged. He could not believe it, remembering his own stupid head words to Yoda, his spry little green master. Vader paused, breathing heavily as was typical of him like he was a 20-pack a day smoker. “Your destiny lies with me, young Kári. Look here, if you really want one of these red glow in the Nether dark cutters, come with me.” “Honestly?” Luke nodded his head back and forth as if agreeing with himself. Where had he heard that before . . . ? The kid was going to be nothing but trouble from here on out he foresaw. end stay tuned for part iii  

So much for Western origin stories, which depict our forebears as ferocious, fearless, and free. Unbound by social commitments and merciless toward their enemies, they seem to have stepped straight out of your typical action movie. Present-day political thought keeps clinging to these macho myths, such as the belief that we can treat the planet any way we want, that humanity will be waging war forever, and that individual freedom takes precedence over community.

Question why we have certain attitudes towards professions/moods: 1) Corrupt politician 2) Vain movie star 3) Disgruntled employee 4) Mean classmate 5) Greedy banker 6) Deep writer 7) Sad poet Why do we apply these moods to people from these occupations? Where does this desire to criticize stem from? Why are we more critical of some occupations more than others? Since when have stereotypes existed? Why do we typically utilize them in a negative manner?

What made a movie buff different from others was the amount of freakish details they chose to fill their heads with. The typical movie-goer remembered the big lines, the ones that you could find on the film’s shirts and posters. Just a bunch of tag-lines used for promotion. A true movie buff memorized the odd ones that said more about the story’s theme or characters. A true buff read up on the movie’s history.

I talked about my marriage and the war and the Great Depression, and about how much older Kitchen and I both were, compared with the typical returning veteran. “I should have started a family and settled down years ago,” I said. “But how could I have done that when I was the right age to do it? What women did I know anyway?” “All the returning veterans in the movies are our age or older,” he said. That was true. In the movies you seldom saw the babies who had done most of the heavy fighting on the ground in the war.

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