Unusual Movie Quotes

Barack intrigued me. He was not like anyone I’d dated before, mainly because he seemed so secure. He was openly affectionate. He told me I was beautiful. He made me feel good. To me, he was sort of like a unicorn—unusual to the point of seeming almost unreal. He never talked about material things, like buying a house or a car or even new shoes. His money went largely toward books, which to him were like sacred objects, providing ballast for his mind. He read late into the night, often long after I’d fallen asleep, plowing through history and biographies and Toni Morrison, too. He read several newspapers daily, cover to cover. He kept tabs on the latest book reviews, the American League standings, and what the South Side aldermen were up to. He could speak with equal passion about the Polish elections and which movies Roger Ebert had panned and why.

I know it’s highly unusual for people to get this excited over books. But if you’re a reader, you get me . I don’t need movies. I don’t need TV. But books I can’t live without books. To me, a book is better than any movie. All I need is a good book, my imagination, and I am set free. I’m in literature heaven. And thank God, this may be the only thing that keeps me sane while we’re here.

The other thing Aron found about sensitive people is that sometimes they’re highly empathic. It’s as if they have thinner boundaries separating them from other people’s emotions and from the tragedies and cruelties of the world. They tend to have unusually strong consciences. They avoid violent movies and TV shows; they’re acutely aware of the consequences of a lapse in their own behavior. In social settings they often focus on subjects like personal problems, which others consider “too heavy.

The sad thing is that when movies like this fail, executives think that proves there's no audience for unusual, original pictures - because they think they've made one.

ALBINOS DEMAND ACTION ON MOVIE SLUR The albino community demanded action yesterday to stop their unfair depiction as yet another movie featured an albino as a deranged hitman. “We’ve had enough,” said Mr. Silas yesterday at a small rally of albinos at London’s Pinewood Studios. “Just because of an unusual genetic abnormality, Hollywood thinks it can portray us as dysfunctional social pariahs. Ask yourself this: Have you ever been, or know anyone who has ever been, a victim of albino crime?” The protest follows hot on the heels of last week’s demonstrations when Colombians and men with ponytails complained of being unrelentingly portrayed as drug dealers. —Extract from The Mole, July 31, 2003

The conference is geared to people who enjoy meaningful discussions and sometimes "move a conversation to a deeper level, only to find out we are the only ones there." . . . When it's my turn, I talk about how I've never been in a group environment in which I didn't feel obliged to present an unnaturally rah-rah version of myself. . . . Scientists can easily report on the behavior of extroverts, who can often be found laughing, talking, or gesticulating. But "if a person is standing in the corner of a room, you can attribute about fifteen motivations to that person. But you don't really know what's going on inside." . . . So what is the inner behavior of people whose most visible feature is that when you take them to a party they aren't very pleased about it? . . . The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive . . . . They dream vividly, and can often recall their dreams the next day. They love music, nature, art, physical beauty. They feel exceptionally strong emotions--sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments--both physical and emotional--unusually deeply. They tend to notice subtleties that others miss--another person's shift in mood, say, or a lightbulb burning a touch too brightly. . . . [Inside fMRI machines], the sensitive people were processing the photos at a more elaborate level than their peers . . . . It may also help explain why they're so bored by small talk. "If you're thinking in more complicated ways," she told me, "then talking about the weather or where you went for the holidays is not quite as interesting as talking about values or morality." The other thing Aron found about sensitive people is that sometimes they're highly empathic. It's as if they have thinner boundaries separating them from other people's emotions and from the tragedies and cruelties of the world. They tend to have unusually strong consciences. They avoid violent movies and TV shows; they're acutely aware of the consequences of a lapse in their own behavior. In social settings they often focus on subjects like personal problems, which others consider "too heavy.

He slowed to a walk. As he approached her he was surprised at just how pretty she was. She looked a little like Maureen O'Hara in those old pirate movies. His writer's mind kicked in and he thought, This woman could break my heart. I could crash and burn on this woman. I could lose this woman, drink heavily, write profound poems, and die in the gutter of turberculosis over this woman. This was not an unusual reaction for Tommy. He had it often, mostly with girls who worked the drive-through windows at fast-food places. He would drive off with the smell of fries in his car and the bitter taste of unrequited love on his tongue. It was usually good for at least one short story.

sometimes they’re highly empathic. It’s as if they have thinner boundaries separating them from other people’s emotions and from the tragedies and cruelties of the world. They tend to have unusually strong consciences. They avoid violent movies and TV shows; they’re acutely aware of the consequences of a lapse in their own behavior. In

And I think it will be a good thing if I write everything down, because I’m an unusual person. I don’t mean a diary — that’s ridiculous for a trendy girl like me. But I want to write like a movie, because my life is like that and it’s going to become even more so. And I look like Colleen Moore, if she had a perm and her nose were a little more fashionable, like pointing up. And when I read it later on, everything will be like at the movies — I’m looking at myself in pictures.

It’s as if they have thinner boundaries separating them from other people’s emotions and from the tragedies and cruelties of the world. They tend to have unusually strong consciences. They avoid violent movies and TV shows; they’re acutely aware of the consequences of a lapse in their own behavior.

Why are we so confused about what police really do? The obvious reason is that in the popular culture of the last fifty years or so, police have become almost obsessive objects of imaginative identification in popular culture. It has come to the point that it's not at all unusual for a citizen in a contemporary industrialized democracy to spend several hours a day reading books, watching movies, or viewing TV shows that invite them to look at the world from a police point of view, and to vicariously participate in their exploits. And these imaginary police do, indeed, spend almost all of their time fighting violent crime, or dealing with its consequences.

My father, Philip Van Doren Stern, was shaving on Saturday morning, February 12, 1938, while he explored the idea for the story The Greatest Gift—which became the basis for the movie, It’s a Wonderful Life. The idea had come from a dream he had during the night. As he wrote in his notes: “The idea came to me complete from start to finish—a most unusual occurrence, as any writer will tell you, for ordinarily a story has to be struggled with, changed around and mixed up.” In contrast to his other writings, mainly on history, he said that the idea for The Greatest Gift had emerged full blown, and he had never considered changing it. What he had to do, he said, was to learn to write it.

Here are some questions that not only will elicit stories but also might yield relatively interesting answers: • “How did you spend your morning today?” • “What’s the farthest you’ve ever been from another human?” • “What’s something weird or unusual you did early on in life?” • “What’s a story one of your references might tell me when I call them?” • “If I was the perfect Netflix, what type of movies would I recommend for you and why?” • “How do you feel you are different from the people at your current company?” • “What views do you hold religiously, almost irrationally?” • “How did you prepare for this interview?” • “What subreddits, blogs, or online communities do you enjoy?” • “What is something esoteric you do?

The diagnosis shouldn't have surprised me, as we had been talking about my symptoms for so long. But it's easier to think you just have a bunch of parts inside. Everyone says things like "A part of me wants to go to the movies, but another part of me wants to just stay home." Using the term "part" made me feel normal. I knew I was a little different in that my parts were quite separate aspects of me. I knew my consciousness wasn't whole and knew that it was unusual to have some thoughts come to me in Spanish. I knew most people didn't experience terror and struggle to catch their breath when they were in benign situations. But we hadn't been calling this DID, so I'd been able to avoid fully accepting the implications of having these special parts.

A young man dreamed of being an actor, but in the early 1980s, he wasn’t getting the big parts he wanted. Broke and discouraged, he drove his beat-up old car to the top of a hill overlooking the city of Los Angeles and did something unusual. He wrote himself a check for ten million dollars for “Acting services rendered.” This young man had grown up so poor his family lived in a Volkswagen van at one time. He put that check in his wallet and kept it there. When things got tough, he’d pull it out and look at it to remind himself of his dream. A dozen years later, that same young man, the comedian Jim Carrey, was making fifteen million to twenty-five million a movie. Studies tell us that we move toward what we consistently see. You should keep something in front of you, even if it’s symbolic, to remind you of what you are believing for.

Where do the biggest movie star of his generation and a revered director (and great actor in his own right) stay when they are visiting someone? Would you believe the local Holiday Inn? Hoping to forge a better connection to Chris, Clint Eastwood and Bradley Cooper came to see me and the rest of the family in early spring of 2014, before they started filming American Sniper. The unpretentiousness of their visit and their genuine goodwill floored me. It was a great omen for the movie. Bubba and I picked them up at the local airport and brought them home; within minutes Bubba had Bradley out in the back playing soccer. Meanwhile, Clint and I talked inside. He reminded me of my grandfather with his courtly manners and gracious ways. He was very funny, with a quiet, quick wit and dry sense of humor. After dinner--it was an oryx Chris had killed shortly before he died--Bradley took Bubba to the Dairy Queen for dessert. Even in small-town Texas, he couldn’t quite get away without being recognized, and when someone asked for his photo, he stepped aside to pose. Bubba folded his arms across his chest and scanned the area much as his dad would have: on overwatch. I guess I didn’t really understand how unusual the situation was until later, when I dropped them off at the Holiday Inn. I watched them walk into the lobby and disappear. That’s Clint Eastwood and Bradley Cooper! Awesome!

And, so, what was it that elevated Rubi from dictator's son-in-law to movie star's husband to the sort of man who might capture the hand of the world's wealthiest heiress? Well, there was his native charm. People who knew him, even if only casually, even if they were predisposed to be suspicious or resentful of him, came away liking him. He picked up checks; he had courtly manners; he kept the party gay and lively; he was attentive to women but made men feel at ease; he was smoothly quick to rise from his chair when introduced, to open doors, to light a lady's cigarette ("I have the fastest cigarette lighter in the house," he once boasted): the quintessential chivalrous gent of manners. The encomia, if bland, were universal. "He's a very nice guy," swore gossip columnist Earl Wilson, who stayed with Rubi in Paris. ""I'm fond of him," said John Perona, owner of New York's El Morocco. "Rubi's got a nice personality and is completely masculine," attested a New York clubgoer. "He has a lot of men friends, which, I suppose, is unusual. Aly Khan, for instance, has few male friends. But everyone I know thinks Rubi is a good guy." "He is one of the nicest guys I know," declared that famed chum of famed playboys Peter Lawford. "A really charming man- witty, fun to be with, and a he-man." There were a few tricks to his trade. A society photographer judged him with a professional eye thus: "He can meet you for a minute and a month later remember you very well." An author who played polo with him put it this way: "He had a trick that never failed. When he spoke with someone, whether man or woman, it seemed as if the rest of the world had lost all interest for him. He could hang on the words of a woman or man who spoke only banalities as if the very future of the world- and his future, especially- depended on those words." But there was something deeper to his charm, something irresistible in particular when he turned it on women. It didn't reveal itself in photos, and not every woman was susceptible to it, but it was palpable and, when it worked, unforgettable. Hollywood dirt doyenne Hedda Hoppe declared, "A friend says he has the most perfect manners she has ever encountered. He wraps his charm around your shoulders like a Russian sable coat." Gossip columnist Shelia Graham was chary when invited to bring her eleven-year-old daughter to a lunch with Rubi in London, and her wariness was transmitted to the girl, who wiped her hand off on her dress after Rubi kissed it in a formal greeting; by the end of lunch, he had won the child over with his enthusiastic, spontaneous manner, full of compliments but never cloying. "All done effortlessly," Graham marveled. "He was probably a charming baby, I am sure that women rushed to coo over him in the cradle." Elsa Maxwell, yet another gossip, but also a society gadabout and hostess who claimed a key role in at least one of Rubi's famous liaisons, put it thus: "You expect Rubi to be a very dangerous young man who personifies the wolf. Instead, you meet someone who is so unbelievably charming and thoughtful that you are put off-guard before you know it." But charm would only take a man so far. Rubi was becoming and international legend not because he could fascinate a young girl but because he could intoxicate sophisticated women. p124

While some of the earliest copies of non-biblical writings date to thousands of years later than their originals (Homer’s Odyssey is unusually good; only five hundred years separate the copies from the original), we have fragments of the New Testament that date to within decades of the events they record. This does not allow enough time for distortion or myth making.

Many experiments show that when people are put into a good mood (e.g., by giving them candy or showing them a funny movie), they are more creative. For example, they are better at inventing diverse and unusual ways for getting a candle to burn without dripping, or at finding more obscure and remote associations between words and ideas.22 People in good moods are “more cognitively flexible —more able to make associations, to see dimensions, and to see potential relationships among stimuli—than are persons in a neutral state.”23 In other words, they generate more varied ideas and combinations of those ideas, which are crucial aspects of creative work.

The day before we headed out was an unusually warm day. Shasta had a hard time of it. Bindi wrapped her in wet towels to help her cool off. Every few minutes she would raise her head and bark a bit. The last couple of years, Shasta’s back had been out so bad that I would wheelbarrow her around. She always liked sleeping in the car. I think it made her excited to be going on a trip. That night she seemed so restless that I put her in the car and kissed her good night. I knew she’d be happiest there. In the morning, we were off to our first official day of filming the movie. Steve put the last few things together in the zoo. I went out to get Shasta organized for staying with a friend. She was still asleep. “Good morning, lazybones,” I said. I bent down to give her a kiss on the forehead. Then I realized she wasn’t there. Sometime during the night, Shasta had died. She was seventeen and a half years old, the only dog I ever had. She went through nine months of quarantine to join me in Australia. She had been a loyal friend and an excellent guard dog. Bindi and I said good-bye to Shasta together. We discussed the circle of life and collected a few of Shasta’s favorite things. She would be buried with her favorite blanket. I knew I’d never have another dog. Now Sui was the only dog in the family.

Most interesting of all, unlike the vast majority of firms that fail when the industry shifts, Netflix had responded successfully to four massive transitions in the entertainment and business environment in just fifteen years: From DVD by mail to streaming old TV series and movies over the internet. From streaming old content to launching new original content (such as House of Cards) produced by external studios. From licensing content provided by external studios to building their own in-house studio that creates award-winning TV shows and movies (such as Stranger Things, La Casa De Papel, and The Ballad of Buster Scruggs). From a USA-only company to a global company entertaining people in 190 countries. Netflix’s success is beyond unusual. It’s incredible. Clearly, something singular is happening, which wasn’t happening at Blockbuster when they declared bankruptcy in 2010.

Excuse me?" Annie's voice rises, which is unusual for her. She's the queen of avoiding conflict, and I'm not a fan of it either, which means that the one and only serious argument we've ever been in happened in the fourth grade when she insisted that Howie was the cutest Backstreet Boy (a statement that was categorically false).

Hexblade A rare and unusual class of knight that can equip cursed items without any negative effects. Can even utilize the curses such items contain to cast spells or turn the curses onto enemies. Weird, but cool. I might want to look into this one.

Ted, my husband, asked me to introduce his story because I am the one who heard it first. We had been married for two years when his “gift” was given to us. It was about 4:00 a.m. on a Sunday morning. We were both asleep in our home in Tonkawa, Oklahoma, when he sat up in bed and said, “I know how I died!” I awoke to those words, astonished as he began to tell the end of his life in a different-sounding voice and using words and a dialect I had not heard before. After a few moments of an intense outpouring of emotional facts, places, names, and events, I knew I had to write “his story” down on paper. I climbed out of bed in the dark, found a legal-size yellow pad and pencil and began writing as fast as I could. He did not slow down to help me catch up; the tale just kept flowing from his mouth. The hairs on my arms stood on end and chills continued as he told in detail events that happened over one hundred years ago. My fingers began to cramp as I kept trying to keep up with him. The descriptions were so vivid that I could visualize what he was saying like a movie playing before my eyes. Eventually we hurried to the living room after I found a small tape recorder in our dresser drawer. Ted continued to talk in this unusual voice, causing me to laugh and cry as this true-to-life saga of the 1870s began to unravel. He told me how he died at about the age of sixty. Then he went to the beginning, when Tom Summers, who was sixteen years old, left home to join the Union Army. He lied about his age and was able to join the army and fight in the Civil War. The journey takes you into the war, on into Indian Territory and westward. Every day for Tom was an adventure, and Ted will share it with you. Anyone who meets Ted is drawn to him instantly. His manner is one of confidence: of a very genuine, honest, loveable guy. He will win you over with his “Just one more story” or a big bear hug if you are not careful. We met at a teen hop in the 1950s, when I was fifteen and he was seventeen. We dated in rural America for about a year. He was then leaving the farm to go to Oklahoma State University, and he asked me to marry him. We both married other people and raised our children. Forty-one years later, we discovered each other again. This time, I said, “Yes.” Join us on our fascinating journey into the Old West as seen through Tom Summers’s “beautiful blue eyes.

The largest apartment in the Dakota belongs to restaurateur Warner LeRoy, the son of movie director Mervyn LeRoy and the nephew of all the Warner brothers. Originally, the LeRoys’ apartment consisted of only ten large rooms on the sixth floor, but when another apartment of the same size became available on the floor immediately above, the LeRoys bought that one too. They persuaded the building to let them construct a staircase between the two apartments, giving them the Dakota’s only duplex, unless one counts Ward Bennett’s split-level pyramid on the roof, the Novaks’ basement studio, and the various sleeping-lofts and balconies that have been inserted between floors here and there. The LeRoy apartment, as might be expected, has been decorated in

LeRoy got into a bit of trouble early in 1978 when it was learned that she was preparing certain dishes in her kitchen for the Tavern on the Green, another of her husband’s restaurants just down the street. This, it seemed, violated some city health code. In addition to kitchens that a luxury hotel might envy, the LeRoy apartment also contains a screening room for movies.

Forensic psychiatrists have often pointed to this period in Dahmer’s development—a time when adolescent boys start to sort out their sexuality and what is attractive to them—as when Dahmer began to confuse and combine his feelings of attraction with his interest in the insides of animals. While experimenting with deceased animals, this became intermingled with his sexual development. He may have known at a young age that he was gay, but for fear of upsetting his family, he did his best to repress those feelings. Dahmer may have also realized from an early age that his sexual interests involving viscera were deviant, and that what stimulated him was unusual and likely not what others around him found arousing. At an age when young men are stimulated by sexually graphic photographs or films, dating, and developing an early-stage sex life, Dahmer was dismembering road kill, watching horror movies, and fantasizing about sex with incapacitated men.

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

What was your favourite line in the movie?' Well I liked 'We've gone on holiday by mistake.' But my favourite line is 'I feel unusual.' Which made me laugh out loud when I wrote the line. I had this old Olivetti which I used to work on in the kitchen in Camden Town... and, uh... It was such fun writing this because... 'cause I didn't give a fuck. It wasn't like I... you know, later on someone's actually paying you to write something. Its much harder in a way, you know, because they've put the dough up... so you care more and you're more anxious about it. With Withnail and I I was just writing my life at the time, uh, and having a good laugh.

I spent a long, anxious night with a horror movie I’d seen a dozen times playing on TV in the background. That probably wouldn’t be a comfort for anyone other than me, but then again, I’d always had unusual taste.

Poet Ayoade, the first African immigrant to serve as a nuclear missile operator in the United States Air Force, debuts with an inspirational memoir chronicling his childhood in Nigeria and journey to become a doctor and American citizen. Ayoade, who at the age of seven promised his mother “One day, I will take you far away from here,” details his upbringing with an abusive father and the many family tragedies he endured—along with his dedication to creating a different life: “Underground is my unusual journey from childhood poverty to where I am today. How the impossible became a reality.” Readers will be swept into Ayoade’s vivid recollections of his early years, including his strict education, brushes with death, and a strained relationship with his father. He recounts the family’s passion for American movies that made “America seem like the perfect place,” sparking his desire for a better future, and details his decision to become a veterinarian and eventually pursue a career in the U.S. military to ensure the best life for his family (and future generations). Ayoade’s story is moving, particularly his reconciliation with his father and hard-earned American citizenship, and his message that it’s never too late to chase your dreams resonates. That message will evoke strong emotions for readers as Ayoade highlights the importance of hard work and the benefit of a committed support system, alongside his constant “wishing, praying, and fighting to be free from all the sadness and injustice around me”—a theme that echoes through much of the book, including in his acknowledgement that the fear he experienced as a nuclear missile operator was a “cost of this freedom.” Ayoade’s poetry and personal photographs are sprinkled throughout, illuminating his deep love for family and his ultimate belief in liberty as “The reason for it all./ A foundation for a new generation,/ The best gift to any child.” Takeaway: This stirring memoir documents an immigrant’s fight for the American dream. Great for fans of: Ashley C. Ford’s Somebody's Daughter, Maria Hinojosa’s Once I Was You. Production grades Cover: A- Design and typography: A Illustrations: A Editing: A Marketing copy: A

Believe it or not, selling cookies right next to the bird seed and a display of gardening gloves isn’t all that unusual.

Their findings were incredibly granular. They found that fashion and beauty content produced negative feelings in ways that adjacent content like fitness did not. They found that “people feel worse when they see more celebrities in feed,” and that Kylie Jenner seemed to be unusually triggering, while Dwayne “The Rock” Johnson was no trouble at all. They found that people judged themselves far more harshly against friends than celebrities. A movie star’s post needed 10,000 likes before it caused social comparison, whereas, for a peer, the number was ten.

This too has been made into a movie very effectively. [One in 1971 and one in 1992.] In Chapter 17, you will read about how there was unusual interest in this story by our biological warfare folks.

The traditional American war movie treats war as episodic and unusual, but here the voice-overs by Train elevate such violence and destruction to permanent metaphysical status. This is another reason why the narrative framework of the genre is invoked only to be refused.

I know it’s highly unusual for people to get this excited over books. But if you’re a reader, you get me . I don’t need movies. I don’t need TV. But books…I can’t live without books.

With filmmaking and photography in mind, the oceanauts wore unusual silver-hued wet suits, instead of standard black, with matching air hoses and gloves. The silver suits made them look like a cross between oversized sardines and spacemen from a Buck Rogers–era movie.

Gentile’s office in downtown Las Vegas, I got on the elevator and turned around and there was a TV camera. It was just the two of us in the little box, me and the man with the big machine on his shoulder. He was filming me as I stood there silent. “Turn the camera off,” I said. He didn’t. I tried to move away from him in the elevator, and somehow in the maneuvering he bumped my chin with the black plastic end of his machine and I snapped. I slugged him, or actually I slugged the camera. He turned it off. The maids case was like a county fair compared with the Silverman disappearance, which had happened in the media capital of the world. It had happened within blocks of the studios of the three major networks and the New York Times. The tabloids reveled in the rich narrative of the case, and Mom and Kenny became notorious throughout the Western Hemisphere. Most crimes are pedestrian and tawdry. Though each perpetrator has his own rap sheet and motivation and banged-up psyche, the crime blotter is very repetitive. A wife beater kills his wife. A crack addict uses a gun to get money for his habit. Liquor-store holdups, domestic abuse, drug dealer shoot-outs, DWIs, and so on. This one had a story line you could reduce to a movie pitch. Mother/Son Grifters Held in Millionaire’s Disappearance! My mother’s over-the-top persona, Kenny’s shady polish, and the ridiculous rumors of mother-son incest gave the media a narrative it couldn’t resist. Mom and Kenny were the smart, interesting, evil criminals with the elaborate, diabolical plan who exist in fiction and rarely in real life. The media landed on my life with elephant feet. I was under siege as soon as I returned to my office after my family’s excursion to Newport Beach. The deluge started at 10 A.M. on July 8, 1998. I kept a list in a drawer of the media outlets that called or dropped by our little one-story L-shaped office building on Decatur. It was a tabloid clusterfuck. Every network, newspaper, local news station, and wire service sent troops. Dateline and 20/20 competed to see who could get a Kimes segment on-air first. Dateline did two shows about Mom and Kenny. I developed a strategy for dealing with reporters. My unusual training in the media arts as the son of Sante, and as a de facto paralegal in the maids case, meant that I had a better idea of how to deal with reporters than my staff did. They might find it exciting that someone wanted to talk to them, and forget to stop at “No comment.” I knew better. So I hid from the camera crews in a back room, so there’d be no pictures, and I handled the calls myself. I told my secretary not to bother asking who was on the line and to transfer all comers back to me. I would get the name and affiliation of the reporter, write down the info on my roster, and