A Quote by Noah Centineo

'To All The Boys' is one film amongst a couple other romantic comedies through the decades that promotes... I don't know what they're calling it. A modern man? A man that's more emotionally accessible and available and willing to communicate and actually care and nurture.
'The Best Man' was my first feature film, and I didn't want to be known as a director who only does romantic comedies.
These words "accessible" and "emotionally available" get thrown at us from agents and editors and publishers - or the reverse - if it's not all goo-ey and sentimental we're told it's "cold" or "uncaring" or "emotionally vacant." In other words, responses to women's writing in particular continue to be "gendered."
The great irony is that women are accused of making romantic comedies, as if it’s a bad thing, but Marc Webb makes a romantic comedy and he gets ‘Spider-Man.’ Are you kidding me? You cannot win.
Usually comedy is only available to us ladies in the romantic comedy. That's why I hate romantic comedies.
I was actually looking at comedies and wondered, 'Why is every comedy for a women a romantic one? I was so done! Then I said, 'Could I look at every script Jim Carrey rejected?' It didn't center around me getting a man.
Language exists to communicate whatever it can communicate. Some things it communicates so badly that we never attempt to communicate them by words if any other medium is available.
I hate love stories, personally. I'm not a fan of them. I absolutely loathe romantic comedies, with a passion, and I really worry when people use the word 'romantic' when they describe the film.
And even Moonstruck - for some reason the audience were just in the mood for a very romantic film, because it's one of the few romantic comedies to be nominated for a Best Picture Oscar.
For Jews, the Messiah has never come; for Christians, He has come but once; for modern man, He appears and disappears with increasing rapidity. The saviors of modern man, the "scientists" who promise salvation through the "discoveries" of ethology and sociology, psychology and psychiatry, and all the other bogus religions, issue forth periodically, as if selected by some Messiah-of-the-Month Club.
A man is not merely a man but a man among men, in a world of men. Being good at being a man has more to do with a man’s ability to succeed with men and within groups of men than it does with a man’s relationship to any woman or any group of women. When someone tells a man to be a man, they are telling him to be more like other men, more like the majority of men, and ideally more like the men who other men hold in high regard.
Whip us 'till we're on the floor, we'll turn around and ask for more, we're Phèdre's Boys! We like to hurt, we like to bleed, daily floggings do we need, we're Phèdre's Boys! Man or woman, we don't care, give us twins we'll take the pair! We're Phèdre's Boys! ...But just because we let you beat us, doesn't mean you can defeat us, we're Phèdre's Boys!
I think that's very important for romantic comedies, that they do deal with [modern]issues.
Modern capitalism needs men who cooperate smoothly and in large numbers; who want to consume more and more; and whose tastes are standardized and can be easily influenced and anticipated ... what is the outcome? Modern man is alienated from himself, from his fellow man and from nature.
My favorite movies are all romantic comedies. I love the romantic comedies. I'd still have to say Pretty Woman. I still think that it's one of the best ever.
as all women know, there are really no men at all. There are grown-up boys, and middle-aged boys, and elderly boys, and even sometimes very old boys. But the essential difference is simply exterior. Your man is always a boy.
People know where romantic comedies are going. It's not brain surgery to figure out the end of a romantic comedy.
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