Wan Movie Quotes

You've either bat-shit insane or you've watched too many movies. This isn't Star Wars, Mandel. I'm not Luke Skywalker. My dad's not Darth Vader. And you sure as hell aren't my Obi-Wan.

Help us, Juli-wan Kenobi, you're our only hope." For a moment, that almost, almost made Julius feel like a hero. And then he remembered. "Doesn't Obi-Wan die in that movie?

Now, here's what we do. You and I will find a back way out of this place. If we come across someone else, we make like a couple of lovesick teenagers. People generally hurry past heavy breathers. I get you to the parking lot, you vanish. Got it?" He nodded. "There's just one thing I've got to do before we go," he said. Before I could inquire, he grabbed me and planted a kiss square on my mouth. It was short but fiery, despite the grape flavoring, and when he let me go I wan panting. Holy crap!" He smiled, not at all apologetically, and said, "I've wanted to do that ever since I saw my first Bond movie.

But here’s my little trade secret that I put into every All Is Lost moment just for added spice, and it’s something that many hit movies have. I call it the whiff of death. I started to notice how many great movies use the All Is Lost point to kill someone. Obi Wan in Star Wars is the best example — what will Luke do now?? All Is Lost is the place where mentors go to die, presumably so their students can discover “they had it in them all along.” The mentor’s death clears the way to prove that. But what if you don’t have an Obi Wan character? What if death isn’t anywhere near your story? Doesn’t matter. At the All Is Lost moment, stick in something, anything that involves a death. It works every time. Whether it’s integral to the story or just something symbolic, hint at something dead here. It could be anything. A flower in a flower pot. A goldfish. News that a beloved aunt has passed away. It’s all the same.

Troy’s girlfriend, Sandra, brought them all pizza that night, and when she got there she joined the dramatic re-enactment. She said they had to rewind so she could elaborate for Elena on how dashing Obi-Wan was. “Ewan McGregor,” she groaned. “I made Troy grow a beard after the second movie.” “I also grew a Padawan braid,” Troy said.

Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.

She had this way of just disappearing. He saw in whenever he asked her to do something she didn't wan to answer or asked her to do something she didn't want to do, like meeting his mother or father. She'd close her mouth, that she'd stuff her hands in the front pockets of her jeans and she'd turn into a wall. Colin never understood what she was running from. But he ran after her. He'd never met a woman who knew more about film. After he was with her for a while, though, he didn't care about that so much. He loved her mind; she was always making connections that startle and pleased him. He loved to stand behind her in movie lines and breathe her in, the softly sweaty odor of her. HE loved to make her laugh. He always felt as though he'd won a prize when he succeeded. He loved he. But he didn't tell her for the longest time. He though she might run away for good after that.

Doesn't your Dad give you any money?' Jacob had asked one day, as they sat on the sofa in the upstairs living room watching a movie on HBO. 'Just enough for Nina and Kakak.' 'What about your grandmother? Doesn't she have any money?' 'You bet she does,' Lyssa had said. 'Well, think about what we could do with all that cash.' He kissed her softly on the neck, before moving his hand underneath her blouse. 'We could move to a studio apartment in Hong Kong. Isn't that what you've always wanted?' Lyssa had rolled her eyes, but sunk deeper into his arms, giggling as she kissed him.