Feature Quotes (displaying: 1 - 30 of 442 quotes )
Feature-length film comedy is harder to pull off than the episodic sitcom - it doesn't have the same factory machinery up and running, teams of writers putting familiar characters through permutations - but that doesn't explain the widening quality gap that makes movie humor look like a genetic defective.
A few hours later, Franoise was able for the last time, and without causing pain, to comb that beautiful hair, which was only slightly graying and had thus far seemed much younger than my grandmother herself. But this was now reversed: the hair was the only feature to set the crown of age on a face grown young again, free of the wrinkles, the shrinkage, the puffiness, the tensions, the sagging flesh which pain had brought to it for so long. As in the distant days when her parents had chosen a husband for her, her features were delicately traced by purity and submission, her cheeks glowed with a chaste expectation, a dream of happiness, an innocent gaiety even, which the years had gradually destroyed. As it ebbed from her, life had borne away its disillusions. A smile seemed to hover on my grandmother’s lips. On that funeral couch, death, like a sculptor of the Middle Ages, had laid her to rest with the face of a young girl.
In the first place, his startling likeness to Catherine, connected him fearfully with her. That, however, which you may suppose the most potent to arrest my imagination, is actually the least? for what is not connected with her to me? and what does not recall her? I cannot look down to this floor, but her features are shaped on the flags! In every cloud, in every tree? filling the air at night, and caught by glimpses in every object, by day I am surrounded with her image! The most ordinary faces of men, and women? my own features mock me with a resemblance. The entire world is a dreadful collection of memoranda that she did exist, and that I have lost her!
At first you maybe start to like some person on the basis of, you know, features of the person. The way they look, or the way they act, or if they're smart, or some combination or something. So in the beginning it's I guess what you call features of the person that make you feel certain ways about the person. ... But then if you get to where you, you know, love a person, everything sort of reverses. It's not that you love the person because of certain things about the person anymore; it's that you love the things about the person because you love the person. It kind of radiates out, instead of in. At least that's the way ... That's the way it seems to me.
[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.
The idea for Maximum Ride come from the earlier books of mine called When the Wind Blows and The Lake House, which also feature a character named Max who escapes from a quiet despicable school. Most of the similarities end there. Max and the other kids in Maximum Ride are not the same Max and kids featured in those two books. nor do Frannie and Kit play any part in Maximum Ride. I hope you enjoy the ride anyways.
He recognised that all the period of Odette's life which had elapsed before she first met him, a period of which he had never sought to form any picture in his mind, was not the featureless abstraction which he could vaguely see, but had consisted of so many definite, dated years, each crowded with concrete incidents. But were he to learn more of them, he feared lest her past, now colourless, fluid and supportable, might assume a tangible, an obscene form, with individual and diabolical features. And he continued to refrain from seeking a conception of it, not any longer now from laziness of mind, but from fear of suffering.
Many of the network television shows have done takeoffs on 'Family Circus,' including 'David Letterman,' 'Friends,' 'Roseanne,' and others, and, in my estimation the use of them is a compliment to the popularity of the feature, which just by mentioning it's name sets up the image of a warm, loving family-type feature.
Most true is it that 'beauty is in the eye of the gazer.' My master’s colourless, olive face, square, massive brow, broad and jetty eyebrows, deep eyes, strong features, firm, grim mouth, — all energy, decision, will, — were not beautiful, according to rule; but they were more than beautiful to me; they were full of an interest, an influence that quite mastered me, — that took my feelings from my own power and fettered them in his. I had not intended to love him; the reader knows I had wrought hard to extirpate from my soul the germs of love there detected; and now, at the first renewed view of him, they spontaneously arrived, green and strong! He made me love him without looking at me.
His nose was his most distinctive feature: curved like a scimitar at the top but bent flat at the tip, and with the bone of the bridge cut like a diamond--in short, a nose out of a folktale, the sort of sizable, convoluted, intricately turned nose that, for many centuries, confronted though they have been by every imaginable hardship, the Jews have never stopped making.
She was like me in lineaments-- her eyes. Her hair, her features, all, to the very tone. Even of her voice, they said were like to mine; But soften'd all, and temper'd into beauty; She had the same lone thoughts and wanderings, The quest of hidden knowledge, and a mind. To comprehend the universe: nor these. Alone, but with them gentler powers than mine, Pity, and smiles, and tears-- which I had not; And tenderness-- but that I had for her; Humility-- and that I never had. Her faults were mine-- her virtues were her own--I loved her, and destroy'd her!
Kneeling in the keeping room where she usually went to talk-think it was clear why Baby Suggs was so starved for color. There was’t any except for two orange squares in a quilt that made the absence shout. The walls of the room were slate-colored, the floor earth-brown, the wooden dresser the color of itself, curtains white, and the dominating feature, the quilt over an iron cot, was made up of scraps of blue serge, black, brown and gray wool–the full range of the dark and the muted that thrift and modesty allowed. In that sober field, two patches of orange looked wild–like life in the raw.
For the first time in history, children are growing up whose earliest sexual imprinting derives not from a living human being, or fantasies of their own; since the 1960s pornographic upsurge, the sexuality of children has begun to be shaped in response to cues that are no longer human. Nothing comparable has ever happened in the history of our species; it dislodges Freud. Today's children and young men and women have sexual identities that spiral around paper and celluloid phantoms: from Playboy to music videos to the blank females torsos in women's magazines, features obscured and eyes extinguished, they are being imprinted with a sexuality that is mass-produced, deliberately dehumanizing and inhuman.
That man, especially when he slept, when his features were motionless, showed me my own face, my mask, the flawlessly pure image of my corpse […] in a state of perfect repose, this resemblance was strikingly evident, and what is death, if not a face at peace – its artistic perfection? Life only marred my double; thus a breeze dims the bliss of Narcissus; thus, in the painter’s absence, there comes his pupil and by the superfluous flush of unbidden tints disfigures the portrait painted by the master.
She was about twenty-four, Rosemary guessed - her face could have been described in terms of conventional prettiness, but the effect was that it had been made first on the heroic scale with strong structure and marking, as if the features and vividness of brow and coloring, everything we associate with temperament and character had been molded with a Rodinesque intention, and then chiseled away in the direction of prettiness to a point where a single slip would have irreparably diminished its force and quality. With the mouth the sculptor had taken desperate chances - it was the cupid's bow of a magazine cover, yet it shared the distinction of the rest.
But -- my dear, my heart is BROKEN! I have seen the perfect Peter Wimsey. Height, voice, charm, smile, manner, outline of features, everything -- and he is -- THE CHAPLAIN OF BALLIOL!! What is the use of anything? ...I am absolutely shattered by this Balliol business. Such waste -- why couldn't he have been an actor?
Modern Orientalism embodies a systematic discipline of accumulation. Far from this being exclusively an intellectual or theoretical feature, it made Orientalism tend fatally towards the systematic accumulation of human beings and territories. To reconstruct a dead or lost Oriental language meant ultimately to reconstruct a dead or neglected Orient; it also meant that reconstructive precision, science, even imagination could prepare the way for what armies, administrators, and bureaucracies would later do on the ground.
Yet, love, mere love, is beautiful indeed. And worthy of acceptation. Fire is bright, Let temple burn, or flax; an equal light. Leaps in the flame from cedar-plank or weed: And love is fire. And when I say at need. I love thee ... mark! ... I love thee -- in thy sight. I stand transfigured, glorified aright, With conscience of the new rays that proceed. Out of my face toward thine. There's nothing low. In love, when love the lowest: meanest creatures. Who love God, God accepts while loving so. And what I feel, across the inferior features. Of what I am, doth flash itself, and show. How that great work of Love enhances Nature's.