Astronaut Colonel George Taylor: And that completes my final report until we reach touchdown. We’re now on full automatic in the hands of the computers. I’ve tucked my crew in for the long sleep, and I’ll be joining them…soon. In less than an hour we’ll finish our six months out of Cape Kennedy. Six months in deep space…by our time, that is. According to Dr. Hasslein’s theory of time in a vehicle traveling nearly the speed of light, the Earth has aged nearly 700 years since we left it…while we’ve aged hardly at all. Maybe so. This much is probably true. The men who sent us on this journey are long since dead and gone. You, who are reading me now, are a different breed…I hope a better one. I leave the 20th century with no regrets, but…one more thing, if anybody’s listening, that is. Nothing scientific. It’s…purely personal. But seen from out here, everything seems different. Time bends. Space is…boundless. It squashes a man’s ego. I feel lonely. That’s about it. Tell me, though, does man, that marvel of the universe, that glorious paradox who sent me to the stars, still make war against his brother…keep his neighbor’s children starving?
Planet of The Apes, 1968
You can tell when long-time James Bond fans get together. They’re likely to say phrases that make no sense to the average person.
“Cai…Cai…CAIRO!” In the pre-titles sequence of Diamonds Are Forever, James Bond is hunting down Ernst Stavro Blofeld. Apparently in Japan (no doubt a sound stage at Pinewood Studios), 007 throws a would-be informant through a couple of paper walls.
Finally, Bond asks, “Where is Blofeld?” The informant says, “Cai…Cai…Cairo!” What makes the sequence is the informant’s mouth movements don’t remotely match the words he’s supposedly saying. For Bond fans, that’s part of the fun.
“Hit me.” In the next scene of Diamonds, we see a casino in Cairo. You can tell by the guys wearing a fez that This Must Be in The Middle East.
One is playing blackjack and says, “Hit me.” Cue Bond punching the guy out.
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“Even historians have a certain amount of feminine vanity.”
It’s another cloudy day at Collinwood, and occasional governess Victoria Winters is daydreaming at the drawing room window, staring outside at nothing in particular while she listens to Josette’s music box. David walks into the room, and the music fades.
Then we realize that she’s not holding the music box. We were just hearing the music that plays inside Vicki’s head. Apparently we can do that now.
This raises the possibility that all of the incidental music that we hear on the show is actually just happening in the characters’ minds. So when something surprising happens, they turn around and say to themselves, Dunn! Dunn! DUNNNNNN!
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“The witch will look at your body, and think that you have escaped by death — when, in reality, you will have escaped — by living!”
It’s another stormy night on the Hellmouth, where vampires and witches battle over the fate of mad scientists and their secret experiments.
Tonight, Barnabas has invited a guest over — it’s Professor Stokes, who first appeared two weeks ago, looking to buy the haunted portrait of Angelique. He’s an academic — apparently an expert in a diverse and uncertain discipline — and I’m not entirely sure that he realizes he’s on television. He’s loud, and disruptive, and he plays to the balcony. Not this balcony, naturally; I mean the balcony in the theater next door.
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This year marks the 15th anniversary of Die Another Day, the James Bond film where Eon Productions decided to go all in on computer-generated imagery.
Eon had dabbled with CGI before, including the title designs of Daniel Kleinman who had taken over for the late Maurice Binder.
But Die Another was another matter entirely. First up was a CGI bullet fired at the audience by Pierce Brosnan’s Bond in the opening gunbarrel sequence. Evidently, Bond was a better shot than anyone knew. He was able to fire a bullet into the barrel of another person’s gun.
Later, U.S. operative Jinx (Halle Berry) supposedly dives backward into the ocean from a cliff — supposedly being the operative word.
There was also an Aston Martin that could turn invisible. For Bond, it helped that the thugs of villain Gustav Graves didn’t notice the tracks…
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