#Man and Superman quotes

[ryemiffie]

This SPECIFIC quote from my day cause I laughed so hard, as batman incorrect quotes:

Batman, incredibly nervous: Soo, dinner later? Yes, no, maybe?

Superman: A hard possibly.

Batman: HA, hard possibly or possibly hard!

Superman:

Batman: Don't quote me on that.

[batfammeetsspidergang]

*interrogation*

Noir: Listen up, fink. I hate two things: secrets and liars. So you're gonna tell us everything ya know, or I let my friend here cut loose.

Nightwing: That's not happening.

Noir: Then *I’ll* cut loose.

Nightwing: No! We don't interrogate *shoplifters!*

Noir: Fine. Tell us what you know or my pal here will worry excessively about your welfare.

[gummybearstastelikesadness]

Head cannon that Danny Phantom ghosts are just the animate or “living” equivalent of vintage glassware (like uranium glass, Fiestaware, etc.)

They come in bright colors, set off “Geiger” counters, and sometimes glow.

[motion-of-love]

“Superman is what I can do. Clark is who I am.”

Quote by Clark Kent in Lois & Clark S02E18 Tempus Fugitive

[xeavy]

[selkienight60]

Chapters: 9/? Fandom: Superboy (Comics), Superman - All Media Types Rating: Teen And Up Audiences Warnings: Creator Chose Not To Use Archive Warnings Relationships: Clark Kent & Kon-El | Conner Kent Characters: Clark Kent, Kon-El | Conner Kent, Lois Lane, Jon Kent, James "Jimmy" Olsen, Tim Drake Additional Tags: Clark Kent is Kon-El | Conner Kent's Parent, Clark Kent is Superman, Conner Kent is Superboy, Clark Kent is a Good Dad, Jimmy Olsen is narratively here to cause problems, Clark Kent: The Daddening Continues, Post-Traumatic Stress Disorder - PTSD, Muddling through the DSM5 - A Journey with Conner Kent, Jon Lane Kent & Kon-El | Conner Kent are Siblings, Nightmares, Se.N Series: Part 4 of Tectonics Summary:

The Kent-Lane's move into a new place.

— 🦸 —

OR: What goes up must come down; Clark's learning Conner isn't as okay as he pretends.

[silveragelovechild]

Young Clark: “What was I suppose to do? Let them die?

Pa Kent: “Maybe…”

Maybe?!?

[nitewrighter]

We all hate when Superman gets taken out by things that Really shouldn’t be Abel to beat him, or as tv tropes says “getting worfed”, especially to prop up Batman, but that’s just how a shared universe works, sometimes you have to take powerful heroes out of the equation for less powerful ones to ever get a chance to shine. Let’s imagine a story without those “worf moments” or “Superman stays out of Gotham”

Batman has to face an alliance of his deadliest foes-

The joker, scarecrow, poison ivy, Mr freeze, bane, clay face and deathstroke, all united under ra’s al ghul in a plot to kill Batman and destroy Gotham city once and for all! The dark knight will have to use all of his strength, wits and skill to save as many people as he can!………

Aaaaaaand Superman swoops in, beating all of them in ten seconds, and since the bad guys thought this would be a purely Batman story, none of them thought to bring kryptonite. And Bruce is left standing there feeling useless.

Awesome for Superman, but bat fans are going to feel cheated, plus it kills all tension

I actually don't really mind when Superman gets his ass kicked in a story where, in other stories he would have been fine. I don't view Superman's power level as static, I see it as something that is really dependent on what story is being told, because power itself and how we use it in the right way can frequently be a very situational thing.

Nor do I have any interest in Superman soloing Batman's Rogue's Gallery. Batman's battles with his rogues are a generally different conflict than the adventures and struggles Superman goes through, and Batman's Rogues are written specifically for Batman. Of course it wouldn't be satisfying for the Reader or Batman (*gasp* Not Batman's feelings!) if Superman soloed the Gotham Rogues. It wouldn't be satisfying for Superman fans or Superman, either, because Superman's conflicts, are, likewise, written for Superman.

[litandlifequotes]

There is no sincerer love than the love of food.

Man and Superman by George Bernard Shaw

[the-hearth-and-the-wild]

This is the true joy in life, the being used for a purpose recognized by yourself as a mighty one; the being thoroughly worn out before you are thrown on the scrap heap; the being a force of Nature instead of a feverish selfish little clod of ailments and grievances complaining that the world will not devote itself to making you happy.

George Bernard Shaw, Man and Superman

[shadow-coolness]

Cortex: Curse you, bandicoot! Am I never to be free? Will you hound me forever? Will there never be an end?

Crash: Huh?

[beautifulgiants]

Josh Hartnett: 'People genuinely thought I'd been thrust on them'

Ryan Gilbey

Twenty years ago he was one of the world’s hottest young actors, before he retreated – and ended up in Surrey. He explains why he had to leave Hollywood – and what he knew about Harvey Weinstein

Fri 23 Oct 2020 06.00 BST

Source :

Josh Hartnett is sitting at home in Surrey, thinking about the time he was asked to play Superman. “I had this idea that because he lives in this world where he can’t touch anything without it flying across the room, he has become almost afraid of himself and his own power. He doesn’t know how to be Superman any more. He’s so afraid, he has become almost neutered by the experience of living on Earth, where he can blow things up just by looking at them.”

The studio demurred – “They didn’t really want a fear-based character at the centre of their movie,” he says wryly – and Hartnett walked away. But his Superman concept now feels like a metaphor for what was happening at the time in his own life, as he became increasingly overwhelmed, even horrified, by his status and the hysteria that surrounded it. Twenty years ago, the hottest young male actors in Hollywood were Leonardo DiCaprio, Will Smith, Matt Damon, Ben Affleck – and Hartnett. Michael Bay, who directed him in Pearl Harbor, put it bluntly: “He’s going to be fucking huge.” The actor grimaces at the mention of that. “Huge was never something I aspired to,” he says.

Back then, he seemed like a pretty kid who had got in over his head. Now 42, he has acquired the squinting, quizzical handsomeness of Richard Gere. He and his wife, the British actor Tamsin Egerton, moved to Surrey with their two young children to be closer to her parents, he explains. “And then, of course, coronavirus ...” In other words, they’re not going anywhere. So he has time to talk and a new film to talk about: the factually based thriller Target Number One, which is better than any of its plucked-from-a-hat titles (it has also been known as Gut Instinct and Most Wanted) might suggest.

This is partly due to the dazzling Antoine Olivier Pilon, star of Xavier Dolan’s psychodrama Mommy. He plays a real-life petty drug dealer who was sentenced to life in a Thai jail after being set up by Canadian police. Hartnett is solid in the less showy, meat-and-potatoes role of the journalist Victor Malarek, who fought to expose the truth. In this capacity, he gets to perform the time-honoured All the President’s Men routine of storming into his editor’s office, tossing a newspaper on the desk and demanding to know where the hell his story is.

Hartnett does his homework. On The Virgin Suicides, it wasn’t enough to play what the director Sofia Coppola had written; he also raked over his character, a dreamy high-school stud, with Jeffrey Eugenides, who wrote the original novel. On Brian De Palma’s film noir The Black Dahlia, Hartnett trained as a boxer for several months, simply because his character, a cop, used to be one. Naturally he met with the real Malarek before playing him. Why? “I wanted to see if he was full of shit.”

Malarek, he explains, has been accused by his critics of putting himself at the forefront of his own stories. “Ultimately, Victor is a humble man, but he does think of himself as someone who stands up for people in vulnerable positions. He likes to insert himself into a situation, though in my opinion what he’s really doing is putting himself in the line of fire. In a way, he almost downplays his own contribution.” Malarek has said that he had no idea who Hartnett was. As someone who has spent the last 15 years or so running from fame, this must have pleased him. “I didn’t assume he’d know me,” he says. “My interest in going to meet him was not to have flowers laid at my feet.” So he didn’t take along a signed Pearl Harbor poster? “I should have done. That would have been a great introduction. ‘Hi, I used to be somebody …’”

Quite. At the end of the 90s, Hartnett was everywhere. He starred in back-to-back horror hits – the aliens-in-high-school romp The Faculty and the sequel-cum-reboot Halloween H20 – and resembled a walking shampoo commercial in The Virgin Suicides, where he sashayed in slow-motion to the sound of Magic Man by Heart.

“It’s a little bit heartbreaking to see all that time has passed,” he says. “I was a child. I was 19. The Virgin Suicides felt like a group of friends all pulling together. I think I’m still looking for that experience whenever I make a film.”

The Faculty and Halloween H20 were produced by Dimension, the horror arm of Miramax, making Hartnett part of the Weinstein brothers’ stable of talent. “I was a kid who they felt they should invest in, but I didn’t spend a ton of time with them,” he says. “We had a sort of antagonistic relationship because the contract I signed for those first two films guaranteed me to be a part of, like, five more or something. They’re called contract extensions. I was told at the time that nobody ever uses them, but then I guess I became popular and they decided to, um, exercise that right. What they did a few times was to jump on other projects I was working on already and become co-producers.” These included O a modern-day Othello with Hartnett impressively coiled as the Iago figure, and the comic thriller Lucky Number Slevin, in which he seemed to be poking fun at his own image by spending the first half-hour scampering around in nothing but a towel.

He shifts uneasily when I ask whether he was surprised by the revelations about Harvey Weinstein. “There are all sorts of rumours about guys like that which permeate the business and you think, ‘That’s awful.’ The casting couch was a thing people joked about when I was first in the industry, so it was an open secret that this business is a little bit fucked up.”

When he was offered Pearl Harbor, his instinct was to turn it down. “I didn’t necessarily want things to change that much,” he says. “I was happy with the amount of fame I had and the types of roles I was getting. At the same time, I asked myself: ‘Am I just afraid that by doing Pearl Harbor, I’m going to enter a new category of film-making that I might not be ready for?’ I ultimately chose to do it because turning it down would’ve been based on fear. Then it defined me, which means I was right to fear it.”

His co-stars didn’t have it easy either. Kate Beckinsale was told to work out (“I just didn’t understand why a 1940s nurse would do that,” she said) while Affleck was ordered to get new teeth. “Well, they are great teeth,” Hartnett says. “I was asked to work out, too. But you know, I could have used it. I was 165lb wet. I was a really skinny kid.”

As well as his own misgivings about the project, there was the heightened press attention, including a splashy Vanity Fair interview with him from the set of Ridley Scott’s Black Hawk Down. “Oh, that was an awful piece,” he shudders. “Was there even a quote from me in it, or was it just everyone talking about how hot I was? People got a chip on their shoulder about me after that. They genuinely thought I’d been thrust on them. It was a very weird time.”

It was around then that he plotted his calculated retreat. After Superman, there were reports that he had also turned down Batman; in fact, he didn’t get any closer to that part than a conversation with Christopher Nolan. But the perception of him in Hollywood began to change. “They looked at me as someone who had bitten the hand that fed me. It wasn’t that. I wasn’t doing it to be recalcitrant or a rebel. People wanted to create a brand around me that was going to be accessible and well-liked, but I didn’t respond to the idea of playing the same character over and over, so I branched out. I tried to find smaller films I could be part of and, in the process, I burned my bridges at the studios because I wasn’t participating. Our goals weren’t the same.”

He has put his movies where his mouth is, working with idiosyncratic directors such as Tran Anh Hung on the thriller I Come With the Rain and Atsuko Hirayanagi on the comedy Oh, Lucy. Nor is he averse to the mainstream: he will next be seen alongside Jason Statham in Guy Ritchie’s Wrath of Man. But it’s a measure of how unusual it is for a star to withdraw so early in his career that by the time Hartnett made The Black Dahlia in 2006, GQ magazine was already referring to it as his comeback.

“I’m happy to be done with that era and to be making films that are more personal to me,” he says. “Directors are coming to me to play characters as opposed to versions of a hero I played in a movie once.”

He is nothing if not conscientious. A few days after our Zoom conversation, he phones me because something has been bothering him: he doesn’t feel he made his feelings about Weinstein clear. This time, he puts it as plainly as he can. “I wasn’t surprised he was a creep,” he says. “But I guess I was surprised at the extent of his creepiness.” He’s concerned, too, about what comes next. “The shameless seem to be finding it easy to make a comeback. Louis CK has been pretty shameless. Harvey Weinstein, if he had the tiniest bit of daylight in there, would find a way to get back in. Those are situations that freak me out.” But there are, he says, visible changes taking place. “Different things are expected of the way people act on set. There’s an open line of communication now for anyone who feels they’re being harassed. And there’s less of the so-called locker-room humour that people used to hide behind.”

Was he ever harassed as a young actor? “The last thing I want to do is come across like … You know, I’ve been in situations where I’ve been uncomfortable with my boss’s behaviour but I’m not gonna say …” He changes tack. “That’s not my experience and it’s not my place to claim that. It makes me feel icky to try to do so.”

He also tells me that he went back to that Vanity Fair article and realised it wasn’t so bad after all. “It’s just that it happened at a time when I wasn’t that famous, and it seemed to already be asking whether I should be or not. I felt like: ‘Oh my God! I’m not the tallest poppy yet – don’t cut me down!’ I was being compared to Tom Cruise and Julia Roberts and that’s insane. It was a set-up-to-fail moment.” He gives a sigh. “It was actually an interesting look at the nature of fame. If only it wasn’t about me.”

[thesewordsaremymusings]

“You swoop in so quickly,

And fly off just as fast

You never tell me if you are going to come back

But I’m the girl who always waits for you

I gaze out the window for you,

Superman

In your suit and tie,

In the knick of time

You funny boy,

You grandiose man

Wait, I’m just a kid

I must admit,

I may not even know who you really are

You could be a long-lost twin from my dreams,

At last, my final hero, it seems

But your blue suit has become your skin,

Like the oceans, you keep between us

Your cape so scarlet,

you maroon our lives with it

I am still gazing out the portal,

You left me at the heath to rust,

I wish you would let the golden light on your amber chest

Lead you back to me,

For the last time”

-m.n. | Superman

[catofadifferentcolor]

“There are two tragedies in life. One is to lose your heart's desire. The other is to gain it.” 

― George Bernard Shaw, Man and Superman

[motion-of-love]

This Superman quote comes from his first argument with Manchester Black. “Dreams save us. Dreams lift us up and transform us. And on my soul I swear until my dream of a world where dignity, honor, and justice becomes the reality we all share, I’ll never stop fighting. Ever!” This quote showcased the power of dreams and hope, and the battle to maintain that hope no matter what.

[xeavy]

Grief never ends. But it changes. It is a passage, not a place to stay. Grief is not a sign of weakness, nor a lack of faith. It’s the price of love. - Lupita Nyong'o

(Lupita said this Regarding the 4th Anniversary of the passing of Chadwick Boseman)

Grief being the Price of Love is such a profound statement, if you have ever experienced heartbreak due to the untimely passing of a Loved one, or even heartbreak due to someone's reckless treatment of your love and passionate emotions then you can understand this statement at a very deep & heartfelt level. What science has shown us is that both types of Heartbreaks are indistinguishable under CT scans of the Brain. Heartbreak 💔 is loss, & grief is the only way our human psyche can process that information & that's why grief is something you will carry with you for the rest of your life. Learning how to live with that Grief is what helps you move forward, because love is not a moment you can simply leave behind but rather an indelible & formidable experience. Love is an invisible thread 🧵 of calmness that connects people even when everything around you is chaos. Love is the language our human souls speak and how we communicate, regardless if our connections are romantic, platonic, friendly, or by blood (Family.) Grief doesn't happen in a vacuum but rather is a complex and nuanced process that is connected by the same thread we know as love, and grief is not fatal but sometimes it definitely feels like it could be, especially; if you feel like you have lost your person. Grief is the Price we pay for Love.

These are the lessons I gather from these 2 videos on Grief and Heartbreak.

⚫ Grief

⚫ Heartbreak 💔