Quotes of All Topics . Occasions . Authors
I love submarine movies.
The biggest yacht that I have accommodates a submarine.
Everyone's got to make one submarine drama in their life.
I always like to grow, and I recognise that the Yellow Submarine have helped me.
I live on an old tugboat but feel that having a submarine would be the next level.
The submarine genre is a category with all its own rules. But shooting on water is famously tough.
I've been to the Titanic in a yellow submarine and the North Pole in a Russian nuclear ice breaker.
My own grandfathers were a submarine commander and a 'desert rats' tank operator in the Second World War.
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.
I actually spoke at the christening of the USS Minnesota - it was a really, very cool submarine in Norfolk.
The question of whether a computer can think is no more interesting than the question of whether a submarine can swim.
Back when we started, people didn't even know what a submarine sandwich was. The product was only sold in a few markets.
In the long course of history, having people who understand your thought is much greater security than another submarine.
There was a submarine that I desperately wanted to buy in the toy shop. My father said, 'No, you go and build it yourself.'
The great thing about making a film on a submarine is that it's kind of like making a play. You've got this limited environment.
I'm not a film-school guy. I was a high-school dropout. I was on a nuclear submarine. I was an electrician. I was a house painter.
When you look at almost every submarine movie, to some degree or another, there's this 'Moby Dick' element, this Ahab element to them.
I must confess that my imagination refuses to see any sort of submarine doing anything but suffocating its crew and floundering at sea.
I'd done kids' TV in the U.K., but not great kids' TV. So yes, 'Submarine' was the first film and the first good thing that I have done.
'Phantom' follows some of the best submarine cold-war films made. There's just so much tension, I can't even describe it - you have to see it.
Never tell anyone outside my staff that the Submarine Force and the First Air Fleet were responsible for the failure at Midway. The failure at Midway was mine.
My father was in the navy. I always found it a bit strange that he would choose to spend an extraordinary amount of time underneath the water in a submarine with 60 men.
People laugh at my analogy in most cases - I go, 'Yeah, everything looks awesome on paper until you stick six guys in a submarine and go, 'Okay, go out and conquer America.''
This is no job for a UN committee. It needs the same kind of unwavering dedication and the kinds of people that got us the first nuclear submarine and the first man on the moon.
Part of life has to be about enjoying life and having different experiences, especially if you're with friends and you're on an adventure on a boat or a submarine - it's a lot of fun.
When you're on a submarine you're usually underwater for months at a time, and you don't get to Skype or make phone calls. When you get messages, they're maybe two sentences. They're very short.
If you're trying to get someone who's sick with a fever off of a submarine and it's cold and raining outside, the only way in and out of a submarine, generally, is through a fairly narrow hatch.
Some parts of our oceans, like the rich and mysterious recesses of our Atlantic submarine canyons and seamounts, are so stunning and sensitive they deserve to be protected from destructive activities.
It's a film called 'Kursk', which is a true story about a submarine disaster. There was an accident on board a Russian submarine in the year 2000, and it stranded a large number of sailors. That's next.
The United States lost the nuclear-powered submarine Thresher 100 miles east of Cape Cod in 1963, and the submarine Scorpion sank in 1968 in more than 10,000 feet of water 400 miles southwest of the Azores.
I've been writing since I was very young, even before I was a teenager. As far as I'm concerned, I am a writer - whether my writing's spoken or written in a blog, paper, book or printed on the side of a submarine.
The scariest stunt I've ever done was on 'Captain America.' We were doing some underwater sequence. I was in a submarine, and Chris Evans had to break the glass, and the water had to fill up quickly in the submarine.
After the situation with Kursk submarine, I started looking at Mr. Berezovsky in a completely different way. For me, it was a turning point in our relationship. I think that he took a completely dishonorable position.
I think a submarine is a very worthwhile weapon. I believe we can defend ourselves with submarines and all our troops back at home. This whole idea that we have to be in 130 countries and 900 bases... is an old-fashioned idea.
It was a civilian ship, and the Lusitania could outrun any submarine. So this population of people was very confident that Cunard and the Royal Navy would be looking after them. Why weren't they under convoy? That's the real question.
On shipbuilding, on submarine building, warship building, coastal surveillance or small vessel building, we have both public and private sector. The capacities have really been scaled up, and the skill sets, hi-tech skill sets, have been acquired.
Captain William Thomas Turner, hero; villain, Schwieger. As I started doing research into him and into the submarine and so forth, I found that I was growing increasingly sympathetic to him. He's a young guy, 30, handsome, well-liked by his crew, humane.
But I knew - in the old days, if a song was a good song, I don't care if it was 'Yellow Submarine' or, you know, or 'The Times They Are a-Changin' or 'Don't Be Cruel', you knew it, you know? You heard that song, and you were talking about it, and you knew it.
I was interested in science or, at least, nature from an early age, learning the names of planets, cutting cartoons with facts about animals out of the newspaper and gluing them into a scrapbook, and, with a friend when I was five or six, trying to design a submarine.
For me, a good thriller must teach me something about the real world. Thrillers like 'Coma,' 'The Hunt for Red October' and 'The Firm' all captivated me by providing glimpses into realms about which I knew very little - medical science, submarine technology and the law.
I think that one of the nice things about the Yellow Submarine movie is that it seems to be perennial. People enjoy watching from each generation. And it was like the Beatles themselves. You know the Beatles seem to find new audience each time another generation comes along.
In high school, I stole a six-foot submarine sandwich from a banquet room in front of several hundred people. I did it because I was in marching band, and we were promised food if we played, and they broke their promise. It was my first and only heist, motivated by justice and hunger.
I've done four other films since 'Submarine,' so that's quite cool. It's just good to have people respect your work; I've never had that before. Yeah, my life has changed crazy. I'm a kid from a small town in south Wales, I play my Xbox usually and all that sort of stuff, and it's a whole new world.
I wrote 'Yellow Submarine' for the Beatles. I wrote the screenplay for 'The Games,' about the Olympic Games. I wrote 'Love Story,' both the novel and the screenplay. I wrote 'RPM' for Stanley Kramer. Plus, I wrote two scholarly books and a 400-page translation from the Latin, and I dated June Wilkinson!
I do think hubris played a role here as well, the belief that the Lusitania was too big and too fast to ever be caught by any submarine, and that, in any case, no U-boat commander would think to attack the ship because to do so would violate the long-held rules governing naval warfare against merchant shipping.
Room 40 knew a U-boat was heading south to Liverpool - knew the boat's history; knew that it was now somewhere in the North Atlantic under orders to sink troop transports and any other British vessel it encountered; and knew as well that the submarine was armed with enough shells and torpedoes to sink a dozen ships.
If you think about computing, there isn't just one way to compute, just like there's not just one way to move around. You can have shoes, you can have a car, you can have a bicycle, submarine, rocket, plane, train, glider, whatever. Because you have one doesn't mean you get rid of another one... But PCs continue to be important.
I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968. It was run by Richard Arnell and George Dunning, who animated and directed 'Yellow Submarine,' and they'd got their hands on the last scene, the triptychs. They just showed that part, without music and with the projectors misaligned.
The Lusitania is important, of course, because this is where Germany began its maritime campaign using this brand-new weapon. We have to appreciate how the submarine, as a weapon against civilian shipping, was a particularly novel thing - so novel that many people at the time dismissed its potential power, its potential relevance.
I've been writing poems since I was in the Navy - to Rosalynn. I found I could say things in poems that I never could in prose. Deeper, more personal things. I could write a poem about my mother that I could never tell my mother. Or feelings about being on a submarine that I would have been too embarrassed to share with fellow submariners.