Unrelated Film Quotes

My characters push the limits of the envelope when it comes to passion, love, and lust. They can be as elegant and distinguished as Lizzie's Darcy, or as wild and unrelenting as Cathy's Heathcliff; sometimes all in one bold personality. I also believe there is a wider universal mosaic on our planet than mere black and white. My contemporary healer/surgeon in the novel 'Hobble' is half Native American (Mayan Mexican + Peruvian, plus Scottish) and his lover is African American (African + European + American Indian). My people see the world differently; they're often mixed race or of a race, color, or nationality not normally associated with nor depicted in romantic and erotic novels or films as central, positively sexual, and realistic.

Her disillusionment with the business had intensified as the need to simplify her stories increased. Her original treatments for Blondie of the Follies and The Prizefighter and the Lady had much more complexity and many more characters than ever made it to the screen, and adapting The Good Earth had served as a nagging reminder of the inherent restraints of film. Frances found herself inspired by memories of Jack London, sitting on the veranda with her father as they extolled the virtues of drinking their liquor “neat,” and remembered his telling her that he went traveling to experience adventure, but “then come back to an unrelated environment and write. I seek one of nature’s hideouts, like this isolated Valley, then I see more clearly the scenes that are the most vivid in my memory.” So she arrived in Napa with the idea of writing the novel she started in her hospital bed with the backdrop of “the chaos, confusion, excitement and daily tidal changes” of the studios, but as she sat on the veranda at Aetna Springs, she knew she was still too close to her mixed feelings about the film business.48 As she walked the trails and passed the schoolhouse that had served the community for sixty years, she talked to the people who had lived there in seclusion for several generations and found their stories “similar to case histories recorded by Freud or Jung.” She concentrated on the women she saw carrying the burden in this community and all others and gave them a depth of emotion and detail. Her series of short stories was published under the title Valley People and critics praised it as a “heartbreak book” that would “never do for screen material.” It won the public plaudits of Dorothy Parker, Rupert Hughes, Joseph Hergesheimer, and other popular writers and Frances proudly viewed Valley People as “an honest book with no punches pulled” and “a tribute to my suffering sex.

place; it’s a mind-set. A strange coincidence: for my project on roots, I was reading a staggering book from 1980 called Le Corps noir (The Black Body) by a Haitian writer named Jean-Claude Charles. He coined the term enracinerrance, a French neologism that fuses the idea of rootedness and wandering. He spent his life between Haiti, New York, and Paris, very comfortably rooted in his nomadism. The first line of one of his experimental chapters is this: “il était une fois john howard griffin mansfield texas” (“once upon a time there was john howard griffin in mansfield texas”). I was stunned to find the small town that shares a border with my hometown in the pages of this Haitian author’s book published in France. What in the world was Mansfield, Texas, doing in this book I’d found by chance while researching roots for a totally unrelated academic project? The white man named John Howard Griffin referred to by Charles had conducted an experiment back in the late 1950s in which he disguised himself as a black man in order to understand what it must feel like to be black in the South. He darkened his skin with an ultraviolet lamp and skin-darkening medication and then took to the road, confirming the daily abuses in the South toward people with more melanin in their skin. His experiences were compiled in the classic Black Like Me (1962), which was later made into a film. When the book came out, Griffin and his family in Mansfield received death threats. It is astounding that I found out about this experiment, which began one town over from mine, through a gleefully nomadic Haitian who slipped it into his pain-filled essay about the black body. If you don’t return to your roots, they come and find you.

Set aside time on a regular basis to immerse yourself in books, films, magazines, and other resources that stoke the fire of your curiosity. Keep a list of resources that strike you as interesting, and set aside time to experience them each day. I keep a “Stimulus Queue,” which is a list of all of the interesting books, films, or articles that I come across throughout my day and I want to revisit later, during my study time. I also use a variety of Web-based tools to stockpile articles I come across for later viewing. I then work through them systemically, take notes, and consider how they may apply to my work. Always leave time at the end of any reading/study session to reflect on what you’ve read and to consider how it is relevant to your work. The next great idea for your work will probably not come from watching your competitors, but from taking an insight from an unrelated industry and applying it to your own. Read and experience broadly, and with focus on your deeper questions.

Throughout his argument, Stewart was adamant that because it was a corporate-funded, prolonged attack of Clinton’s capacity for office, and that it was intended to air on television, Hillary: The Movie was subject to the ban on electioneering communications. Since candidates had previously elected to air extended “infomercial” ads in the past (most notably, Ross Perot in 1992 and 1996), the government’s position was that a communication expressly advocating the defeat of a candidate was certainly electioneering, regardless of how long it lasted. Stewart said, It may be rare to find a 90-minute film that is so unrelenting in its praise or criticism of a particular candidate that it will be subject to no reasonable interpretation other than to vote for or against that person, but when you have that, as I think we do here, there’s no constitutional distinction between the 90-minute film and the 60-second advertisement. The government’s rationale was that the film clearly met the definition of “express advocacy” that the Court had outlined in WRTL, since the only reasonable interpretation of the film was that it was encouraging viewers not to support Senator Clinton. This assertion was part of a crucial exchange in the argument. To Stewart’s claim that an ad and the film were functionally equivalent, Justice Kennedy was quick to respond that “If we think that … this film is protected, and you say there’s no difference between the film and the ad, then the whole statute must be declared” unconstitutional.

It was, however, a 2008 film about then–New York Senator Hillary Clinton that garnered Citizens United national attention and set the stage for significant changes to American campaign finance regulations. Clinton was running in the 2008 Democratic presidential primary, and in Hillary: The Movie, Citizens United advanced a sustained case against her nomination. Over its 90 minutes, Hillary: The Movie employed archival video intermingled with both critical narration and interviews conducted with Clinton detractors. The film unrelentingly assaulted Clinton’s character, accusing her of untruths and obfuscation throughout her career not only as an Arkansas attorney, but also in public life as both first lady (of both Arkansas and the United States) and as a United States Senator.

The foundries were vast, dark castles built for efficiency, not comfort. Even in the mild New England summers, when the warm air combined with the stagnant heat from the machines or open flames in the huge melting rooms where the iron was cast, the effects were overwhelming. The heat came in unrelenting waves and sucked the soul from your body. In the winter, the enormous factories were impossible to heat and frigid New England air reigned supreme in the long halls. The work was difficult, noisy, mind-numbing, sometimes dangerous and highly regulated. Bathroom and lunch breaks were scheduled down to the second. There was no place to make a private phone call. Company guards, dressed in drab uniforms straight out of a James Cagney prison film [those films were in black and white, notoriously tough, weren’t there to guard company property. They were there to keep an eye on us. No one entered or the left the building without punching in or out on a clock, because the doors were locked and opened electronically from the main office.

He heard Judge spit against his ass one more time and then he was pressing inside him, those stout hips unrelenting. He drove forward slowly, still mindful of his size, but pushed in non-stop. “Holy fuck,” Michaels gasped. He couldn’t even yell. He was too full. Was it like this earlier? Damn. Maybe he’d been so wired and worried about proving himself that he’d not been completely conscious of Judge’s size… but he was now. Judge came down over him, pressing that hard, hairy chest against his smooth back. His mouth was pressed against Michaels’ ear, that thick tongue flicking out and driving him crazy. Judge’s gravelly voice was straight out of a porno film. “Mmm. Take it, Michaels. I know you can. Take all of it.” Judge stilled and gripped Michaels’ hips in those huge hands and pulled him back onto the last few inches of his dick. Michaels arched, moaning in pleasure and anguish. “Ahhh, yes. Tight fuckin’ hole.” Judge didn’t give Michaels time to adjust, he pulled out to the tip and pounded back in, swift and solid. “Fuck!” Michaels

Anthony Fauci made for a perfect villain: he was an erudite government scientist who was named on various patents (unrelated to coronavirus), and he had previously tussled with Judy Mikovits—the hero of the film.

Performance art" works, as it's the nature of human perception to order random images in favor of an overriding preconception. Another example of this is neurosis. Neurosis is the ordering of unrelated events or ideas or images in favor of an overriding preconception. "I am," for example, "an unsightly person": that's the overriding preconception. then given any two unrelated events I can order them to make them mean that. "Oh, yes, I understand. This woman came out of the hall and did not seem to notice me and rushed into the elevator and quickly pushed the button and the elevator closed because I am an unattractive person.

and with a more than adequate cast, with the ubiquitous Lloyd Nolan, Carole Landis, Cornel Wilde (not yet of star status), James Gleason, Ralph Byrd, Martin Kosleck (not a Nazi villain for a welcome change), Elisha Cook Jr. and Harold Huber. It faced the situation squarely, as did most of the Pacific-localed films of that bleak time, and did not sugar-coat its patriotic message. It told of a band of guerrillas waging a hit-and-run offensive against the enemy, gradually decimated until only three are left by the unrelenting conclusion. Herbert I. Leeds kept the heroics believable with his direction. Chetniks—the Fighting Guerrillas (1943) paid tribute

harder time suppressing their appetite. Having depleted their willpower, they ate considerably more ice cream—more than half again as much—as the women who’d been free to cry during the film. This is, of course, just one more demonstration of ego depletion. Still, it bears repeating that eating and dieting can be affected by things that seemingly have no connection to them. Trying to hide your feelings while watching a movie drains your willpower, rendering you more likely to overeat later on in a separate, ostensibly unrelated context.

Here’s another example, unrelated to cannibalism. The reef-inhabiting bluehead wrasse (Thalassoma bifasciatum) is famous for its habit of removing parasites from much larger fish, even entering into their mouths. In this case, however, it’s the removal of a male wrasse from its harem of 30 to 50 females that alters their local environment. Rather than waiting for a new male to arrive, something extraordinary takes place in the harem. Within minutes, one of the females begins exhibiting male-typical behaviors. Relatively quickly, the former female transforms into a male, a form of phenotypic plasticity known in the trade as protogyny. The opposite occurs in protandry, in which individuals begin life as males and transform into females. Examples include the clownfish (Amphiprion), whose behavior could have offered an intriguing alternative resolution to the animated film Finding Nemo.