A – Z Indie Movie Quotes
12 Years a Slave (2013)
Solomon Northup: I don’t want to survive, I want to live.
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American History X (1998)
Danny Vinyard: It’s hard to look back and see the truth about people you love.
Murray: What are you doing, Derek? This is your family.
Derek Vinyard: Right, my family. My family, so you know what? I don’t give two shits about you or anybody else or what you think. You’re not a part of it and you never will be.
Murray: That has nothing to do with it!
Derek Vinyard: Oh, it doesn’t? You don’t think I see what you’re trying to do here? You think I’m gonna sit here and smile while some fucking kike tries to fuck my mother? It’s never gonna happen, Murray. Fucking forget it, not on my watch, not while I’m in this family. I will fucking cut your Shylock nose off and stick it up your ass before I let that happen. Coming in here and poisoning my family’s dinner with your Jewish, nigger-loving, hippie bullshit.
[Murray looks at Derek with sadness and starts to walk out]
Derek Vinyard: Fuck you! Fuck you! Yeah, walk out, asshole. Fucking Kabbalah reading, motherfucker. Get the fuck out of my house.
[as Murray reaches the door he looks at Derek, Derek pulls down his shirt and shows him his Swastika tattoo]
Derek Vinyard: You see this? That means “not welcome.”
Bob Sweeney: You are too damn smart to be floating around here pretending you don’t see all the holes in this bullshit.
Derek Vinyard: Hey, listen. I said I was confused. I didn’t say I didn’t believe in it.
Bob Sweeney: Alright. That’s why you have to stay open. Right now, your anger is consuming you. Your anger is shutting down the brain God gave you.
Derek Vinyard: God. You know, man? You’ve been talking about what’s going on with me since I was in high school. How the fuck do you know what’s going on inside me?
Bob Sweeney: No, I know about me. I know about this place. I know about the place you are in.
Derek Vinyard: What do you know about the place I’m in?
Bob Sweeney: There was a moment when I used to blame everything and everyone for all the pain and suffering and vile things that happened to me, that I saw happen to my people. Used to blame everybody. Blamed white people, blamed society, blamed God. I didn’t get no answers ’cause I asked the wrong questions. You have to ask the right question.
Derek Vinyard: Like what?
Bob Sweeney: Has anything you’ve done made your life better?
Danny Vinyard: So I guess this is where I tell you what I learned. My conclusion, right? Well, my conclusion is: Hate is baggage. Life’s too short to be pissed off all the time. It’s just not worth it. Derek says it’s always good to end a paper with a quote. He says someone else has already said it best. So if you can’t top it, steal from them and go out strong. So I picked a guy I thought you’d like. We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break our bonds of affection. The mystic chords of memory will swell when again touched, as surely they will be, by the better angels of our nature.”
American Psycho (2000)
Patrick Bateman: There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me, only an entity, something illusory. And though I can hide my cold gaze and you can shake my hand and feel flesh gripping yours, and maybe you can even sense our lifestyles are probably comparable, I simply am not there.
Patrick Bateman: I have all the characteristics of a human being: flesh, blood, skin, hair; but not a single, clear, identifiable emotion, except for greed and disgust. Something horrible is happening inside of me and I don’t know why. My nightly bloodlust has overflown into my days. I feel lethal, on the verge of frenzy. I think my mask of sanity is about to slip.
Patrick Bateman: You’re a fucking ugly bitch. I want to stab you to death, and then play around with your blood.
Patrick Bateman: I’m into, uh…well, murders and executions, mostly.
Patrick Bateman: I think, um…Evelyn that, uh…we’ve lost touch.
Evelyn Williams: Why? What’s wrong?
Patrick Bateman: My need to engage in homicidal behavior on a massive scale cannot be corrected but, uh…I have no other way to fulfill my needs.
Patrick Bateman: I’m fucking serious. It’s fucking over, us, this is no joke. I don’t think we should see each other any more.
Evelyn Williams: But your friends are my friends and my friends are your friends. I really don’t think it would work. You have a little something…
Patrick Bateman: I know that your friends are my friends and, uh…I’ve thought about that. You can have them.
Evelyn Williams: You’re inhuman.
Patrick Bateman: No. I’m in touch with humanity.
Patrick Bateman: There are no more barriers to cross. All I have in common with the uncontrollable and the insane, the vicious and the evil, all the mayhem I have caused and my utter indifference toward it I have now surpassed. My pain is constant and sharp, and I do not hope for a better world for anyone. In fact, I want my pain to be inflicted on others. I want no one to escape. But even after admitting this, there is no catharsis; my punishment continues to elude me, and I gain no deeper knowledge of myself. No new knowledge can be extracted from my telling. This confession has meant nothing.
American Sniper (2014)
Chris Kyle: I was just protecting my guys, they were trying to kill, our soldiers and I…I’m willing to meet my Creator and answer for every shot that I took.
Marc Lee: You got some kind of savior complex?
Chris Kyle: No. I just want to get the bad guys, but if I can’t see them I can’t shoot them.
Marc Lee: Look, all these guys, they know your name. They feel invincible with you up there.
Chris Kyle: They’re not.
Marc Lee: They are if they think they are.
Navy Doctor: Let me ask you a question, Chris. Would you be surprised if I told you that the navy has credited you with over a hundred and sixty kills? Do you ever think that you might have seen things or done some things over there that you wish you hadn’t?
Chris Kyle: No, that’s not me. No.
Navy Doctor: What’s not you?
Taya Renae Kyle: You’re my husband, you’re the father of my children. Even when you’re here, you’re not here. I see you, I feel you, but you’re not here.
Taya Renae Kyle: If you think that this war isn’t changing you you’re wrong. You can only circle the flames so long.
Taya Renae Kyle: I need you to be human again. I need you here. I need you here.
Wayne Kyle: There are three types of people in this world: sheep, wolves and sheepdogs. Some people prefer to believe that evil doesn’t exist in the world and if it ever darkened their doorstep, they wouldn’t know how to protect themselves. Those are the sheep. Then you’ve got predators, who use violence to prey on the weak. They’re the wolves. And then there are those blessed with the gift of aggression, an overpowering need to protect the flock. These men are the rare breed who live to confront the wolf. They are the sheepdog.
Michael Stone: What is it to be human? What is it to ache? What is it to be alive?
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Before Midnight (2013)
[Celine and Jesse are watching the sun set on the beach]
Celine: Still there. Still there. Still there. Still there.
[the sun finally sets and disappears]
Celine: That’s all you think about.
Celine: Women. I mean…
Jesse: I’m not complaining, I’m getting a lot of attention.
Celine: But you never stop ogling girls, like…
Jesse: I don’t ogle girls. I don’t ogle girls. I make love to them with my eyes.
Celine: I feel close to you?
Celine: But sometimes I feel like you’re breathing helium and I’m breathing oxygen
[Jesse answers her in high pitch voice]
Jesse: What makes you say that?
Jesse: We met about eighteen years ago. We kind of, sort of fell in love a little bit, and then we…
Celine: A bit. Then we lost track of each other.
Jesse: A decade later, we ran into each other.
Celine: We didn’t run into each other.
Jesse: We didn’t?
Celine: No. You wrote a book “inspired” by our meeting.
Celine: I read about it and went to look for him.
Anna: Pretty romantic.
Jesse: It was.
Celine: Not really. Not really. He neglects to mention he was married, had a kid.
Celine: That part was a disaster.
Jesse: It wasn’t. It was inevitable.
[reading the letter he’s written from his future self to Celine]
Jesse: “Dear Celine, I am writing to you from the other side of the woods. This letter is lighting a candle that will…”
Celine: Okay, stop it. I would never write this.
Jesse: “Other side of the woods.”
Celine: What woods?
Jesse: May I please continue?
Jesse: “I am sending you this young man. Yes, young. And he will be your escort. God knows he has many problems and has struggled his whole life connecting and being present even with those he loves the most. And for that he is deeply sorry. But you are his only hope. Celine, my advice to you is this. You’re entering the best years of your life. Looking back from where I sit now these middle years are only a little bit more difficult than when you were twelve and Mathieu and Vanessa danced all night to the Bee Gees ‘How Deep ls Your Love.'”
Celine: I don’t know about that. Anyway…
Jesse: “Celine, you will be fine. Your girls will grow up to become examples and icons of feminism.”
Celine: Nice one.
Jesse: Yeah. I just noticed there’s a postscript at the bottom. Looks important. Maybe I should skip over some of this.
Celine: Yeah, skip away. Please.
Jesse: Okay. You sure?
Celine: Yeah, okay.
Jesse: Yeah. Alright. Boring stuff. Yeah. Okay. Yeah, it’s like, blah, blah, blah, financial tips, horoscope stuff. Okay, here it is. “P.S. By the way, the best sex of my life happened one night in the southern Peloponnese. Don’t miss it. My whole sexual being went to a new, groundbreaking level.”
Begin Again (2013)
Dan: You can tell a lot about a person by what’s on their playlist.
Saul: Dan, we need to talk. It’s not working, you gotta go.
Dan: I’m taking my client list.
Saul: This is not Jerry Maguire!
Dan: I’m taking my art. I bought it, I picked it.
Dan: Let me tell you about how I lost my job today.
[pointing to the drinks]
Dan: You got money to pay for these?
Violet: I’m a kid, I don’t have any money on me!
Dan: What happened to your pocket money?
Violet: Well I spent that on condoms.
Dan: No, no, no, no!
Dan: I was having a nervous breakdown and then I heard your song.
Dan: That’s some song you got there. I want to make records with you. Come on, let’s get out of here. You’re gonna have to get these beers though.
Greta: Are you really an A&R man? You just look more like a homeless man.
Dan: Let’s record an album, and the city is our studio. We don’t even need to rent a studio.
Greta: You mean record outside?
Dan: Every song we do in a different location, all over New York City. It’s gonna be beautiful!
[referring to Dan]
Trouble Gum: A guy like that falls on his luck for a couple of years and people lose sight of who he is.
Greta: Where you drunk when you heard my song?
Dan: Absolutely. That’s when the magic happens.
Dan: Musicians for the most part are monosyllabic teenagers who really don’t have a whole lot to say.
Greta: I just think you have let your troubles get in the way of your entire life.
[referring to their daughter, Violet]
Miriam Hart: No girls like her, she is distant, and basically the only people that want to hang out with her are older boys who want to fuck her.
Dan: Oh, really? And you find that a big surprise? You let her walk out of the house looking like, fuck, Jodie Foster from Taxi Driver.
Miriam Hart: She dresses the way she wants to. And besides, any daughter who dresses like that only wants one thing.
Dan: A pimp?
Being John Malkovich (1999)
Craig Schwartz: ls Malkovich Malkovich? I had a piece of wood in my hand, Maxine. I don’t have it anymore. Where is it? Did it disappear? How could that be? Is it still in Malkovich’s head? I don’t know! Do you see what a metaphysical can of worms this portal is? I don’t see how I could go on living my life the way I’ve lived it before.
John Malkovich: I have been to the dark side. I have seen a world that no man should see!
Craig Schwartz: Really? For most people, it’s a rather pleasant experience.
John Malkovich: That portal is mine, and it must be sealed forever, for the love of God.
Craig Schwartz: But, Mr. Malkovich, sir, with all due respect, I discovered that portal. I mean, it’s my livelihood. Do you understand?
John Malkovich: It’s my head, Schwartz! It’s my head! I will see you in court!
[Malkovich goes off along the shoulder of the turnpike and Craig call out to him]
Craig Schwartz: What makes you think I won’t be seeing what you’re seeing in court?
Craig Schwartz: You don’t know how lucky you are being a monkey. Because consciousness is a terrible curse. I think, I feel, I suffer. And all I ask in return is the opportunity to do my work. And they won’t allow it…because I raise issues.
Maxine: The thing is, the way that I see it and, you know, is…I think the world is divided into those who go after what they want and then those who don’t, right?
Craig Schwartz: Right.
Maxine: The passionate ones, the ones who go after what they want, well, they may not get what they want. But…but at least they remain vital, you know? Yeah.
Craig Schwartz: Yeah.
Maxine: So when they lie on their death beds they have, um, few regrets.
Maxine: You’re not somebody I could get interested in, Craig. You play with dolls.
Craig Schwartz: Puppets, Maxine. You see, it’s the idea of being inside someone else’s skin, and…and seeing what they see and feeling what they feel.
Lotte Schwartz: We love her, Craig.
Craig Schwartz: We?
Lotte Schwartz: John and me.
Craig Schwartz: Don’t forget about me!
Lotte Schwartz: Well, you have a Maxine action figure to play with!
Craig Schwartz: I’ve fallen in love, and this is what people who’ve fallen in love look like.
Maxine: Well, you picked the unrequited variety. It’s very bad for the skin.
Craig Schwartz: You’re evil, Maxine.
Maxine: Do you have any idea what it’s like to have two people look at you, with total lust and devotion through the same pair of eyes?
Riggan: [voice over] How did we end up here? This place is horrible. Smells like balls.
Riggan’s Note: A thing is a thing, not what is said of that thing.
Riggan: [voice over] We had it all. You were a movie star, remember?
Riggan: [out loud] Shut up.
Riggan: [voice over] Now you’re about to destroy what’s left of your career. We should have done that reality show they offered us.
Riggan: Just find me an actor. A good actor. Give me Woody Harrelson.
Jake: He’s doing the next Hunger Games.
Riggan: Um…Michael Fassbender?
Jake: He’s doing the prequel to the X-Men prequel.
Riggan: How about, uh…Jeremy Renner?
Riggan: Jeremy Renner! He was nominated. He was the Hurt Locker guy.
Jake: He’s an Avenger.
Riggan: Fuck! They put him in a cape too?
Reporter #1: Are you at all afraid that people will say you’re doing this pla to battle the impression you’re a washed-up superhero?
Riggan: No, absolutely not. That’s why twenty years ago, I said no to Birdman 4.
Reporter #2: Birdman 4? You do Birdman 4?
Riggan: Listen to me. I’m trying to do something important.
Sam: This is not important.
Riggan: It’s important to me! Alright? Maybe not to you, or your cynical friends whose only ambition is to go viral. But to me…to me…God, this is my career! This is my chance to do some work that actually means something.
Sam: That means something to who? You had a career, Dad, before the third comic book movie. Before people started to forget who was inside that bird costume. You are doing a play based on a book written sixty years ago for a thousand rich old white people whose only concern is where to have cake and coffee afterwards! Nobody gives a shit but you! And, let’s face it, Dad, you are not doing this for the sake of art, you’re doing it to feel relevant again. Well, guess what? There’s an entire world of people who fight to be relevant every single day! And you act like it doesn’t exist. Things that are happening in a place you ignore that has already forgotten about you! I mean, who the fuck are you?! You hate bloggers, you mock Twitter. You don’t even have a Facebook page! It’s you who doesn’t exist! You’re doing this because you’re terrified, like the rest of us, that you don’t matter. And you know what? You’re right! You don’t! It’s not important, okay? You’re not important…get used to it!
[realizing she’s overstepped her mark]
[to Riggan as he stands on the edge of a rooftop]
Woman on Rooftop: Hey! Is this for real or are you shooting a film?
Riggan: A film!
Woman on Rooftop: You people are full of shit!
Tabitha: He’s a Hollywood clown in a Lycra bird suit.
Mike Shiner: Yes, he is. But he’s going out on that stage and risking everything.
Mike Shiner: Popularity is the slutty little cousin of prestige, my friend.
[to the audience]
Mike Shiner: Stop viewing the world through your cell phone screen! Have a real experience! Does anybody give a shit about the truth other than me? This set is fake, the bananas are fake. There’s nothing in this milk carton! Your performance is fake. The only thing that’s real on this stage is this chicken. So I’m going to work with the chicken.
Sam: Why do you act like a dick all the time? Do you just do it to antagonize people?
Mike Shiner: Maybe.
Sam: You really don’t give a shit if people like you or not?
Mike Shiner: Not really.
Sam: That’s cool.
Mike Shiner: Is it? I don’t know.
Sam: Truth or dare?
Mike Shiner: Truth.
Sam: That’s boring.
Mike Shiner: Truth is always more interesting.
Blue Velvet (1986)
Jeffrey Beaumont: I’m seeing something that was always hidden. I’m involved in a mystery. I’m in the middle of a mystery. And it’s all secret.
Sandy Williams: You like mysteries that much?
Jeffrey Beaumont: Yeah. You’re a mystery. I like you very much.
Jeffrey Beaumont: I, uh…found an ear.
Detective Williams: You did? A human ear?
Jeffrey Beaumont: Yeah. I thought I should bring it to you. Yeah, that’s right.
Detective Williams: Let’s take a look at it.
[peers into the bag that Jeffrey brought]
Detective Williams: Yes, that’s a human ear, all right.
Sandy Williams: I can’t figure out if you’re a detective or a pervert.
Jeffrey Beaumont: Well, that’s for me to know and you to find out.
Frank Booth: Don’t be a good neighbor to her. I’ll send you a love letter. Straight from my heart, fucker! Do you know what a love letter is? It’s a bullet from a fucking gun, fucker. You receive a love letter from me, you are fucked forever! You understand, fuck? I’ll send you straight to hell, fucker!
Jeffrey Beaumont: See that clock on the wall?
Sandy Williams: Yeah.
Jeffrey Beaumont: Five minutes from now, you’re not gonna believe what I’ve told you.
Number one. Today I staked out Frank’s place with a camera. There’s another man involved in all this. I call him the Yellow Man. You saw his back the other day at Dorothy’s apartment. Today I saw the Yellow Man go into Frank’s building, laughing with Frank. Now, the only trouble is, what does that prove?
Sandy Williams: Nothing, really. But it’s interesting.
Jeffrey Beaumont: Number two. I saw the Yellow Man come out and meet a well-dressed man carrying an alligator briefcase. They went to a factory, stood on a staircase and looked into the distance. Now get this. In the distance, there was a murder. A drug dealer was shot to death and a woman had her legs broken.
Sandy Williams: Jeffrey…
Jeffrey Beaumont: Then two guys told me the police would find drugs in the dead dealer’s place.
Dorothy Vallens: I love you! Love me! He put his disease in me.
[to Detective Williams]
Jeffrey Beaumont: It’s Frank Booth. He is a very sick and dangerous man.
[after Mason misses hitting the bowling pins]
Dad: Alright, don’t worry about it.
Mason: Wish we could use the bumpers.
Dad: Bumpers are for kids! What are you, two years old? You don’t want the bumpers. Life doesn’t give you bumpers.
Mr. Turlington: Who do you wanna be, Mason? What do you wanna do?
Mason: I wanna take pictures. Make art.
Mr. Turlington: Any dipshit can take pictures, Mason. Art, that’s special. What can you bring to it that nobody else can?
Mason: That’s what I’m trying to find out.
Mr. Turlington: Try harder. Hey, maybe in twenty years you can call old Mr. Turlington, and you can say: “Thank you, sir, for that terrific darkroom chat we had that day.”
[after they’ve left Bill’s family for good]
Samantha: Why couldn’t we take Randy and Mindy with us?
Mom: Because sweetie, I’m not their legal guardian, that would be kidnapping; it’s against the law.
Samantha: Couldn’t you talk to their mom?
Mom: I tried their mom, but I can’t reach her.
Samantha: Well, what’s going to happen to them?
[Olivia starts crying]
Mom: I don’t know…
Samantha: Why are you crying?
Mom: Because I don’t have all the answers.
[as Mason is leaving for college]
Mom: This is the worst day of my life.
Mason: What are you talking about?
[Olivia starts crying]
Mom: I knew this day was coming. I didn’t know you were going to be so fucking happy to be leaving.
Mason: I mean, it’s not that I’m that happy. What do you expect?
Mom: You know what I’m realizing? My life is just gonna go, like that. This series of milestones. Getting married. Having kids. Getting divorced. The time that we thought you were dyslexic. When I taught you how to ride a bike. Getting divorced again. Getting my master’s degree. Finally getting the job I wanted. Sending Samantha off to college. Sending you off to college. You know what’s next? Huh? It’s my fuckin’ funeral! Just go, and leave my picture!
Mason: Aren’t you jumping ahead by, like, forty years or something?
Mom: I just thought there would be more.
[as they leave their house for the last time]
Samantha: Goodbye, yard! Goodbye, crepe myrtle! Goodbye, mailbox! Goodbye, box of stuff Mommy won’t let us take with us but we don’t want to throw away. Goodbye, house, I’ll never like Mommy as much for making us move!
Mason: I care what I think of me, which isn’t much right now.
Nicole: You know how everyone’s always saying seize the moment? I don’t know, I’m kinda thinking it’s the other way around. You know, like the moment seizes us.
Father Flood: We need Irish girls in Brooklyn.
Eilis Lacey: I wish that I could stop feeling that I want to be an Irish girl in Ireland.
Father Flood: Homesickness is like most sicknesses, it will pass.
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Café Society (2016)
Bobby: Life is a comedy written by a sadistic comedy writer.
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Captain Fantastic (2016)
Bodevan: [to Ben] Unless it comes out of a book I don’t know anything!
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Therese Belivet: I don’t know what I want. How could I know what I want if I say yes to everything?
Randal Graves: This job would be great if it wasn’t for the fucking customers.
Randal Graves: Embolism in a pool.
Dante Hicks: What an embarrassing way to die.
Randal Graves: That’s nothing compared to how my cousin Walter died.
Dante Hicks: How did he die?
Randal Graves: He broke his neck.
Dante Hicks: That’s embarrassing?
Randal Graves: He broke his neck trying to suck his own dick!
Dante Hicks: Shut the hell up.
Randal Graves: I swear.
Dante Hicks: Stop it.
Randal Graves: Bible truth.
Dante Hicks: Oh, my God.
Randal Graves: Come on, haven’t you ever tried to suck your own dick?
Dante Hicks: No.
Randal Graves: Yeah, right. You’re so repressed.
Dante Hicks: Because I never tried to suck my own dick?
Randal Graves: No, because you won’t admit to it. As if a guy’s a fucking pervert because he tries to get down on himself. You’re as curious as the rest of us, pal. You’ve tried it.
Veronica Loughran: You men make me feel sick. You’ll sleep with anything that says yes.
Dante Hicks: Animal, mineral or vegetable.
Veronica Loughran: Vegetable, meaning paraplegic.
Dante Hicks: They put up the least amount of struggle.
Randal Graves: Which did you like better? “Jedi” or “The Empire Strikes Back”?
Dante Hicks: Empire.
Randal Graves: Blasphemy.
Dante Hicks: Empire had the better ending. I mean, Luke gets his hand cut off, finds out Vader’s his father, Han gets frozen and taken away by Boba Fett. It ends on such a down note. I mean, that’s what life is, a series of down endings. All Jedi had was a bunch of Muppets.
[referring to Dante’s relationship with Caitlin]
Dante Hicks: There was a lot of good in our relationship
Randal Graves: Oh, yeah?
Dante Hicks: Yeah, I mean aside from the cheating, we were a great couple. I mean, that’s what high school is about. Algebra, bad lunch and infidelity.
Randal Graves: Oh, what? What’s with you, man? You haven’t said anything for like twenty minutes. What the hell’s your problem?
Dante Hicks: This life.
Randal Graves: This life?
Dante Hicks: Why do I have this life?
Randal Graves: Have some chips, you’ll feel better.
Dante Hicks: I’m stuck in this pit, working for less than slave wages, working on my day off, the goddamn steel shutters are closed, I deal with every backward-ass fuck on the planet, I smell like shoe polish, my ex-girlfriend is catatonic after fucking a dead guy, and my present girlfriend has sucked thirty-six dicks.
Randal Graves: Thirty-seven.
Dante Hicks: My life is in the shitter right now and if you don’t mind, I’d like to stew a bit.
Randal Graves: Melodrama coming from you seems about as natural as an oral bowel movement.
Dante Hicks: You know what the real tragedy about all this is? I’m not even supposed to be here today.
Randal Graves: Oh, fuck you! Fuck you, pal! Jesus, there you go trying to pass the buck. I’m the source of all your misery. Who closed the store to play hockey? Who closed the store to go to a wake? Who tried to win back his ex-girlfriend without even discussing how he felt with his present one? You wanna blame somebody, blame yourself. “I’m not even supposed to be here today.” You sound like an asshole! Jesus, nobody twisted your arm to be here. You’re here of your own volition. You think the weight of the world rests on your shoulders, like this place would fall apart if Dante wasn’t here. Jesus, you overcompensate for having what’s basically a monkey’s job. You push fucking buttons. Anybody can waltz in here and do our jobs. You…you’re so obsessed with making it seem so much more epic, so much more important than it really is. Christ, you work in a convenience store, Dante! And badly, I might add! I work in a shitty video store. Badly, as well.
Randal Graves: That guy Jay’s got it right, man. He has no delusions about what he does. Us, we like to make ourselves seem so much more important than the people that come in here to buy a paper, or God forbid, cigarettes. We look down on them, as if we’re so advanced. Well, if we’re so fucking advanced, then what are we doing working here?
Phil: [to Davis] Repairing the human heart is like repairing and automobile. You have to take everything apart, just examine everything, and then you can put it all back together.
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The Disappearance of Eleanor Rigby: Them (2014)
Conor Ludlow: Some people don’t let you forget them.
Julian Rigby: Everyone starts out thinking this is forever, but then things get hard.
Eleanor Rigby: I can’t do this anymore. I think we should take a break. Just let me disappear for a while.
Eleanor Rigby: I need to try some other version of myself.
Conor Ludlow: Would you still love me if I couldn’t pay for dinner?
Eleanor Rigby: I think I need to leave first. And then when the time is right, like when the Maître d is not um…looking, you meet me down the street.
[she kisses him and leave, then as Eleanor is walking away from the restaurant she hears Conor running behind her]
Conor Ludlow: Hey, run! Run, run run!
Eleanor Rigby: We’ll never get to where we were.
Conor Ludlow: Where was that?
Eleanor Rigby: Some place good.
Conor Ludlow: I’ve no clue where she’d go. She just vanished.
Julian Rigby: None of us know how to help you.
Eleanor Rigby: Please, stop reminding me that something’s wrong.
Stuart: Maybe she wants you to go after her.
Conor Ludlow: No, she doesn’t.
Stuart: Wait a couple of days then go after her.
Conor Ludlow: Shut up.
Professor Lillian Friedman: If you walk away from things, you start a whole history of walk aways.
Eleanor Rigby: Everything seemed so limitless.
Julian Rigby: It was. It still is.
[making out on the hood of the car]
Conor Ludlow: Where are we?
Eleanor Rigby: Some place good.
[Conor follows Eleanor as she leaves her class]
Conor Ludlow: Hey, Rigby! Come on! I barely get a chance to respond before you went AWOL.
Eleanor Rigby: What did I ask you, Conor?
Conor Ludlow: Just give me a second…
Eleanor Rigby: I’ll give you plenty of seconds! Please, do me a favor, leave me alone!
[she starts walking away]
Conor Ludlow: You know what? Fine!
[he starts walking in the opposite direction]
Conor Ludlow: Fine. You do what you gotta do…
[as Connor crosses the street he gets hit by a car]
Eleanor Rigby: Conor!
Conor Ludlow: I was going to say something good, something that would have solved all our problems and made everything all better. But you know what? I forgot what it was.
Eleanor Rigby: That’s too bad.
Mary Rigby: You can’t run from your life, El.
Eleanor Rigby: I could.
Mary Rigby: So why are you still here?
Conor Ludlow: Have you ever wondered why we fall in love with a specific person?
Spencer Ludlow: There’s always one that haunts us.
Donnie Darko (2001)
Gretchen: You’re weird.
Gretchen: No, that was a compliment actually.
Donnie: You’re such a fuck-ass!
Rose Darko: Please.
Elizabeth: Did you just call me a fuck-ass?
Rose Darko: Elizabeth, that’s enough.
Elizabeth: You can go suck a fuck!
Donnie: Oh, please, tell me, Elizabeth, how exactly does one suck a fuck?
Elizabeth: You want me to tell you?
Donnie: Please, tell me.
Rose Darko: We will not have this at the dinner table.
[holds his ears and mouths to Elizabeth]
Donnie: I’m all ears!
Rose Darko: Stop!
Dr. Lilian Thurman: Do you feel alone right now?
Donnie: Oh, I don’t know. I mean, I’d like to believe I’m not, but I just…I’ve just never seen any proof, so I…I just don’t debate it anymore, you know? It’s like I could spend my whole life debating it over and over again, weighing the pros and cons. And in the end, I still wouldn’t have any proof. So I just…I just don’t debate it anymore. It’s absurd.
Dr. Lilian Thurman: The search for God is absurd?
Donnie: It is if everyone dies alone.
Dr. Lilian Thurman: Does that scare you?
Donnie: I don’t want to be alone.
[Donnie goes over to Cherita, grabs her head between his hands holding onto her ear mitts]
Donnie: I promise that one day, everything’s gonna be better for you.
[suddenly Cherita looks frightened and backs away leaving her ear mitts in Donnie’s hands]
Cherita Chen: Shut up!
[she turns and runs off]
Gretchen: And what if you could go back in time and take all those hours of pain and darkness and replace them with something better?
Gretchen: I guess some people are just born with tragedy in their blood.
[in a letter]
Donnie: Dear Roberta Sparrow, I have reached the end of your book and there are so many things that I need to ask you. Sometimes I’m afraid of what you might tell me. Sometimes I’m afraid that you’ll tell me that this is not a work of fiction. I can only hope that the answers will come to me in my sleep. I hope that when the world comes to an end, I can breathe a sigh of relief, because there will be so much to look forward to.
The Drop (2014)
Bob Saginowski: There are some sins that you commit that you can’t come back from, you know? No matter how hard you try. You just can’t.
Bob Saginowski: Everybody has a past.
Bob Saginowski: In Brooklyn money changes hands all night long, and it’s not the kind of money that you can deposit in a bank. But all that money needs to end up somewhere, they call it “a drop bar.” You just hide the entire city’s dirty money right in plain sight.
Cousin Marv: Did you ever go out at the front of the bar and take a look at that name on the sign? You know that’s my name, cause I used to own it once.
Bob Saginowski: They pressed, you blinked, it’s over. It’s been over for a while now.
Cousin Marv: When I walked into a place people sat up straight, they noticed. I had something once. I was respected. I was feared. And that meant something!
Bob Saginowski: Are you doing something desperate? Something we can’t clean up this time?
Nadia: I head that your Cousin Marv doesn’t own the bar, some hard guys do.
Nadia: You still in the life?
Bob Saginowski: Me? I just tend the bar.
Nadia: But you’re not a hard guy.
Bob Saginowski: Yeah, we had a crew back in the day when we was young. And Marve, he thought he was a tough guy. Then the neighborhood changed, it wasn’t enough to be tough anymore. You know, you had to be mean.
[referring to the dog]
Nadia: What are you gonna name him?
Bob Saginowski: Uh…well, I was thinking maybe Rocco. And you know, I like the name Rocco, then I thought Mike.
Bob Saginowski: You don’t like Mike?
Nadia: No, Mike is not a great name for a dog.
Bob Saginowski: Right.
Nadia: Rocco is better.
Bob Saginowski: Okay.
Bob Saginowski: So they name you, uh…Nadia after the gymnast?
Bob Saginowski: So you a gymnast?
[she prepares the dog name badge with Rocco written on it]
Nadia: Oh, there you go.
[showing the name badge to the dog]
Nadia: See, Rocco.
Nadia: He likes it.
Bob Saginowski: Yeah, I like Mike.
Eric: You know what you’re gonna do. You’re gonna give me ten.
Bob Saginowski: What?
Eric: Ten grand, by tomorrow morning.
Bob Saginowski: Who’s got ten thousand dollars?
Eric: Come on. Listen, you want the dog, you give me ten. It’s simple.
Bob Saginowski: You listen to me, pal. You can’t come walkin’ into people’s lives and expect…
Eric: Listen. Listen, take it easy. Listen to me. That is life. That’s what it is. People like me come along when you’re not looking.
Elvis & Nixon (2016)
Elvis Presley: I’ve been in thirty-one major motion pictures, that makes me an expert in costume and disguise. I could infiltrate the communist and then I’d bust them all.
Secret Service: And undercover Rock’ n Roller sounds ludicrous.
Elvis Presley: I can supply my own firearms.
[he opens the flap of his jacket and points to his gun]
Richard Nixon: What the hell is going on in the House. I read this cockamamie story last night, it’s the most ridiculous thing. I mean he’s on the sauce.
[to the White House security guard]
Elvis Presley: I need to give this letter to the president. It’s Elvis, Elvis Presley.
Dwight Chapin: [to Krogh] You’ll never guess in a million years who just showed up at the Northwest Gate asking to see him.
[holding Elvis’s letter in his hand]
Egil Krogh: You swear this isn’t a joke, because his penmanship is horrible.
H.R. Haldeman: You got the letter? Read it to me.
[Krogh starts reading the letter in Elvis’s voice]
Egil Krogh: Firstly I’d like to introduce myself. I’m Elvis Presley.
H.R. Haldeman: Not in his Goddamn voice.
Egil Krogh: Sorry.
[reading from Elvis’s letter]
Egil Krogh: I can and will do more good if I were made a Federal Agent at large.
Dwight Chapin: Does that even exist?
Dwight Chapin: Sir, Elvis dropped this letter off for you this morning.
Richard Nixon: Elvis? Elvis Presley?
Dwight Chapin: The entertainer.
Richard Nixon: Oh, I know who Elvis Presley is.
Richard Nixon: And you think we should meet with him, during my nap hour.
Egil Krogh: Yes, Mr. President.
Egil Krogh: Everybody loves Elvis. He could really help us with the youth vote. He would also like a badge.
Richard Nixon: A what?
Richard Nixon: Alright, now what do we have on this guy?
Egil Krogh: Well, he’s one of the most famous men on the planet. Loves guns, hates The Beatles.
Richard Nixon: The Beatles. Well, I don’t like them.
[as he’s being searched before going to meet Nixon]
White House Security: Okay, sir, if you have any firearm or weapons of any kind on your person.
[Elvis and his two body guards place four guns on the table]
Elvis Presley: [to Krogh] It’s a good thing they didn’t catch this little fella in my boot.
[pulls up his boot to reveal another weapon]
Egil Krogh: Mr. Presley, we’re going to have to go over the protocols. On the coffee table is a dish with M&M’s, those are only for the president. There’s also an unopened bottle of Dr. Pepper. Please do not open it, please do not drink from it, because it’s only for the president.
[entering Nixon’s office]
Egil Krogh: Mr. President, Mr. Elvis Presley.
[Elvis extends his hand]
Elvis Presley: Mr. President, put it right here.
Richard Nixon: Well okay. Hello.
[the shake hands]
[Elvis and Nixon take a sit on the couch opposite each other]
Elvis Presley: M&M’s are my favorite.
[he takes a handful]
Richard Nixon: Mine too.
[pointing to the bottle of Dr. Pepper’s]
Elvis Presley: Do you have a bottle opener?
[after opening the bottle Elvis takes a long swig from it as Nixon watches him, perplexed]
Richard Nixon: What in the good God is going on?
Egil Krogh: I don’t know, sir.
Richard Nixon: Make sure that we get a picture of Mr. Presley and me.
Richard Nixon: [to Elvis] You and me, we rose from nothing, but look where I am today, look where you are.
Elvis Presley: Guess how I learned to develop these knuckles of steel?
[we see Elvis holding his knuckles out to Nixon]
Elvis Presley: Now slap ‘em.
[Nixon slaps his knuckles]
Elvis Presley: Come on, harder!
[Nixon slaps them again]
Elvis Presley: Harder! Hard it up.
[Nixon slaps them again harder]
Elvis Presley: Let it out!
[Nixon slaps them again, the Elvis holds up his hands]
Elvis Presley: Those are the steel claws of a tiger, Mr. President.
Enough Said (2013)
Eva: I’m tired of being funny.
Albert: Me, too.
Eva: But you’re not funny.
Eva: You have, like, eighty million toothbrushes.
Albert: I do?
Albert: I only use one of them.
Eva: Then why don’t you just throw the other ones out?
Albert: I don’t know. Because they’re my friends?
Albert: So while you were, uh…being torn, she was poisoning our relationship and poisoning your perception of me. Now why would you want that?
Eva: I don’t know. I mean, except maybe I was trying to protect myself, you know, because, you know, because we’d both been married before, and you know how things can turn out.
Albert: What about us? What about protecting us?
Eva: I didn’t protect us.
Eva: I don’t usually park in front of your house. I usually just drive by.
Albert: Sometimes I drive by your house, too.
Eva: You do?
Marge Gunderson: So that was Mrs. Lundegaard on the floor in there? And I guess that was your accomplice in the wood chipper. And those three people in Brainerd. And for what? For a little bit of money. There’s more to life than a little money, you know. Don’t you know that? And here y’are. And it’s a beautiful day. Well. I just don’t understand it.
[Marge bends over next to the overturned car, as if she’s looking at something on the ground]
Lou: You see something down there, Chief?
Marge Gunderson: No, I just think I’m gonna barf. Jeez.
Lou: You okay, Margie?
Marge Gunderson: Yeah, I’m fine. It’s just morning sickness.
[straightens up again after a moment]
Marge Gunderson: Well, that passed.
Marge Gunderson: Yah. Now I’m hungry again.
Lou: You had breakfast yet, Margie?
Marge Gunderson: Oh, yah. Norm made some eggs.
Marge Gunderson: Lou, did ya hear the one about the guy who couldn’t afford personalized plates, so he went and changed his name to J3L2404?
Lou: Yah, that’s a good one.
Marge Gunderson: I’m not sure I agree with you a hundred percent on your police work, there, Lou.
Marge Gunderson: Yah.
Marge Gunderson: The perpetrators were driving a car with dealer plates and called someone here, so it would be quite a coincidence if they weren’t, you know, connected.
Jerry Lundegaard: Yah, I see. So how do you…
Marge Gunderson: Have you done an inventory recently?
Jerry Lundegaard: The car’s not from our lot, ma’am.
Marge Gunderson: How can you be sure without doin’ a …
Jerry Lundegaard: Well, I would know. I’m the executive sales manager.
Marge Gunderson: Yah, but I understand…
Jerry Lundegaard: We run a pretty tight ship here.
Marge Gunderson: know, but how do they establish that? Are the cars counted daily, or what kind of a routine here?
Jerry Lundegaard: Ma’am! I answered your question.
Marge Gunderson: I’m sorry, sir?
Jerry Lundegaard: Ma’am, I answered your question. I answered the darn…I’m cooperating here, and there’s no…
Marge Gunderson: Sir, you have no call to get snippy with me. I’m just doing my job here.
Jerry Lundegaard: I’m…I’m not arguin’ here. I’m cooperating and there’s no… We’re doin’ all we can.
Marge Gunderson: Sir, could I talk to Mr. Gustafson?
[Jerry looks at her knowing that Gustafason is dead]
Marge Gunderson: Mr. Lundegaard.
Jon: [voice over] How to describe Frank? Well, there’s the head, of course.
Frank: I say tell everyone everything. Why cover anything up? Right?
Jon: [voice over] He never takes it off.
Frank: You think it’s weird? Would it help if I said my facial expressions out loud?
[pointing to his face]
Frank: “Welcoming smile.”
[pointing to his own face]
Jon: “Delighted look.”
Jon: [voice over] Well, what goes on inside the head inside that head…is music.
Jon: Frank, people should know about you. You should be famous.
[pointing to his face]
Frank: “Flattered grin.” Follow by, “bashful half smile.”
Clara: Stop saying your facial expressions out loud. It’s extremely annoying.
Jon: We’ve been offered a really important gig. South by South West, in Texas.
Frank: People are interested in us?
Jon: We could be big.
Jon: [voice over] Frank wants us to start everything from scratch. He’s created an entirely new musical notation system. We’ve designed our own instruments. He has initiated a strict regime of physical exercise. Fortunately, we have a safe word for when things get too intense. “Chinchilla.” It’s incredible, Frank finds inspiration in everything. How does he do this? If I’m to grow as an artist, I must see as he sees. I dedicate myself to learning his secret, and I will let anybody get in my way, however desperately they may try.
Jon: [voice over] I am more convinced than ever, that this band, whether they realize it or not, could achieve greatness. And I will work to take my place at its very heart. I will show them what I am capable of. I will show them.
[referring to Frank]
Don: With all his issues, one hundred percent sanest cat I’ve ever met.
Jon: The head, take it off.
[Frank holds up his hand to stop Jon]
Frank: I have a certificate.
[suddenly Jon grabs hold of Frank’s fake head]
Jon: Take it off!
Garden State (2004)
Andrew Largeman: You changed my life, and I’ve known you four days. This is the beginning of something really big. But right now, I’ve gotta go.
Sam: If you can’t laugh at yourself, life’s gonna seem a whole lot longer than you’d like.
Andrew Largeman: Alright, so, what are we laughing at you about?
Sam: Mmm…I lied again. l have epilepsy.
Andrew Largeman: Which part are we laughing about?
Sam: l, um…I had a seizure at the law office where I work. Their insurance wouldn’t cover me unless I wore preventative covering. What’s preventative covering? The helmet I was wearing. Oh, come on! That’s funny. That’s really funny. I’m the only person who wears a helmet to work who isn’t, like, putting out fires or, like, racing for NASCAR. But what do you do? l mean, I can’t quit. Their insurance is amazing. What do you do? You laugh, you know? I’m not saying I don’t cry. But in between I laugh. And I realize how silly it is to take anything too seriously. Plus, I look forward to a good cry. Feels pretty good.
Andrew Largeman: I didn’t cry at my mother’s funeral. I tried, you know? I thought of all the saddest things l could think of, like things in movies. There’s this image from Life magazine that’s always haunted me, and I just, I focused in on it, you know? But nothing came. That actually made me sadder than anything: the fact that I just felt so numb.
Andrew Largeman: Fuck, this hurts so much.
Sam: Yeah, I know. But that is life. If nothing else, that’s life, you know? It’s real. Sometimes it fucking hurts. To be honest, it’s sort of all we have.
Sam: How are you feelin’?
Andrew Largeman: Safe. When I’m with you I feel so safe. Like I’m home.
Andrew Largeman: What I want more than anything in the world is for it to be okay with you for me to feel something again, even if it’s pain.
Gideon Largeman: Going against your doctor’s recommendation is a pretty weighty experiment to take on, don’t you think?
Andrew Largeman: This is my life, Dad. This is it. I’ve spent twenty-six years waiting for something else to start. So, no. I don’t think it’s too much to take on, because it’s everything there is. I see now it’s all there is. You and I are gonna be okay. You know that, right? We may not be as happy as you always dreamed we would be, but for the first time, to be whatever it is that we are. And that will be better, okay? I think that will be better.
Sam: What are you doing?
Andrew Largeman: Do you remember that idea I had about working stuff out, then finding you once I figured stuff out?
Sam: The ellipsis?
Andrew Largeman: Yeah, the ellipsis. It’s dumb. It’s an awful idea, and I’m not gonna do it, okay? Cause like you said, this is it. This is life. And I’m in love with you, Samantha. I think that’s the only thing I’ve ever been really sure of in my entire life. I’m really messed up right now, and I’ve got a lot of stuff to work out, but I don’t want to waste any more of my life without you in it, okay?
Andrew Largeman: And I think I can do this. I want to. We have to, right?
Andrew Largeman: Right?
Andrew Largeman: So, what do we do? What do we do?
Ghost World (2001)
[referring to the party]
Rebecca: Wow. This is so bad, it’s almost good.
Enid: This is so bad, it’s gone past good and back to bad again.
Rebecca: So, what do you do if you’re a Satanist anyway?
Enid: Sacrifice virgins and stuff.
Rebecca: Well, that lets us off the hook.
Enid: Sometimes I think I’m going crazy from sexual frustration.
Rebecca: And you haven’t heard of the miracle of masturbation?
Enid: I think only stupid people have good relationships.
Seymour: That’s the spirit.
Rebecca: Hey, see that guy over there?
Enid: Which one?
Rebecca: The blonde guy over there.
[Enid spots him and rolls her eyes]
Rebecca: He gives me, like, a total boner.
Enid: He’s, like, the biggest idiot of all time.
[the blonde guy walks past with his friends]
Reggae Fan: You guys up for some reggae tonight?
[Enid lifts her hand, as if to say “See what I mean?”]
Rebecca: Okay, you’re right.
Seymour: I can’t relate to ninety-nine percent of humanity.
Enid: I can’t relate to humanity, either, but I don’t think it’s completely hopeless.
Enid: How come in all that time I was trying to get you a date, you never asked me out?
Seymour: You’re a beautiful young girl, I couldn’t imagine you’d have any interest in me except as an amusingly cranky eccentric curiosity.
Enid: At least you’re not like every other stupid guy in the world. All they care about is guitars or sports.
Seymour: I hate sports.
Enid: You know what my number one fantasy used to be?
Enid: I used to think about one day, just not telling anyone, and going off to some random place. And I’d just…disappear, and they’d never see me again. Did you ever think about stuff like that?
Seymour: I guess I probably did when I was your age.
The Gift (2015)
Gordo: I believe that the bad things in life, they can be a gift.
Gordo: You think you’re done with the past, but the past is not done with you.
Robyn: I think he wants to hurt us for something that happened back then. What did you do to him?
The Grand Budapest Hotel (2014)
[giving a sermon to his staff]
M. Gustave: Rudeness is merely the expression of fear. People fear they won’t get what they want. The most dreadful and unattractive person only needs to be loved, and they will open up like a flower. I am reminded of a verse, “The painter’s brush touched the inchoate face by ends of nimble bristles and with their blush of first color, rendered her lifeless cheek living.”
[referring to Madame D.]
M. Gustave: It’s quite a thing winning the loyalty of a woman like that for nineteen consecutive seasons.
Zero: Um…yes, sir.
M. Gustave: She’s very fond of me, you know.
Zero: Yes, sir.
M. Gustave: But I’ve never seen her like that before.
Zero: No, sir.
M. Gustave: She was shaking like a shitting dog.
[referring to Madame D.]
M. Gustave: She was dynamite in the sack, by the way.
Zero: She was eighty-four, Monsieur Gustave.
M. Gustave: Mm, I’ve had older. When you’re young, it’s all fillet steak, but as the years go by, you have to move on to the cheaper cuts, which is fine with me, because I like those. More flavorful, or so they say.
[talking to Madame D.’s corpse]
M. Gustave: You’re looking so well, darling. You really are. They’ve done a marvelous job. I don’t know what sort of cream they’ve put on you down at the morgue, but I want some. Honestly, you look better than you have in years. You look like you’re alive.
Dmitri: This criminal has plagued my family for nearly twenty years. He’s a ruthless adventurer and a con-artist who preys on mentally feeble, sick old ladies, and he probably fucks them, too!
M. Gustave: I go to bed with all my friends.
[suddenly Dmitri punches M. Gustave, Zero punches Dmitri then Jopling punches Zero]
Zero: What happened?
M. Gustave: What happened, my dear Zero, is I beat the living shit out of a sniveling little runt called Pinky Bandinski who had the gall to question my virility, because if there’s one thing we’ve learned from penny dreadfuls, it’s that, when you find yourself in a place like this, you must never be a candy-ass. You’ve got to prove yourself from day one. You’ve got to win their respect. You should take a long look at his ugly mug this morning.
[he takes a sip of water and laughs]
M. Gustave: He’s, actually, become a dear friend.
M. Gustave: I’ve been dropped into a nest of vipers.
Zero: You have an alibi?
M. Gustave: Of course, but she’s married to the Duke of Westphalia. I can’t allow her name to get mixed-up in all this monkey business.
Zero: Your life may be at stake.
M. Gustave: I know, but the bitch legged it. She’s already on board the Queen Nasstasja halfway to Dutch Tanganyika.
M. Gustave: But I’ll tell you what, if I die first, and I most certainly will, you will be my sole heir. There’s not much in the kitty except a set of ivory-backed hairbrushes and my library of romantic poetry, but when the time comes, these will be yours, along with whatever we haven’t already spent on whores and whiskey.
Serge X.: Forgive me, Monsieur Gustave. I never meant to betray you. They threatened my life and now they’ve murdered my only family.
M. Gustave: No. Who did they kill this time?
Serge X.: My dear sister.
M. Gustave: The girl with the club foot?
Serge X.: Yes.
M. Gustave: Those fuckers!
M. Gustave: The beginning of the end of the end of the beginning has begun. A sad finale played off-key on a broken-down saloon piano in the outskirts of a forgotten ghost town. I’d rather not bear witness to such blasphemy.
Zero: Me neither.
M. Gustave: The Grand Budapest has become a troops’ barracks. I shall never cross its threshold again in my lifetime.
Zero: Me neither.
M. Gustave: Never again shall I…
Zero: Actually, I think we might be going in there right now after all.
The Guest (2014)
David: You know, I promised Caleb I would do anything I could to help your family. But I’m afraid I haven’t been fully honest with you.
[after ringing on the Peterson’s front door]
David: Mrs. Peterson?
Laura Peterson: Can I um…help you?
David: My name is David, Mrs. Peterson. I uh…I knew your son, Caleb, I was with him when he died. Part of the things he asked was for me to check on you all, you and your whole family are here. I said I’d do that and so, here I am.
Laura Peterson: Would you like to come inside?
David: Thank you, ma’am.
Anna Peterson: You knew Caleb?
David: Yes, ma’am. We were pretty close.
Anna Peterson: “Yes, ma’am”?
David: Mrs. Peterson, are you sure you’re comfortable with me staying here?
Laura Peterson: I think it could be a good thing for us.
David: I want you to show me who hit you yesterday.
Luke Peterson: What are you gonna do?
David: Nothing bad.
David: Never allow anyone to pick on you.
[gives Luke his switchblade]
David: Here, you keep it.
Laura Peterson: I don’t know what I would have done if you hadn’t been here.
David: Really, Mrs. Peterson, it’s no problem.
Anna Peterson: I called the RAB that David’s from. They told me he doesn’t exist.
David: I’m a soldier, man. I like guns.
Anna: What the fuck?
Hail, Caesar! (2016)
Laurence Lorenz: Alright, alright. Let’s try this. Your line, just say it as I say it. Say your line exactly as I’m about to.
Tobey: Okay, sure.
[in a crisp British accent]
Laurence Lorenz: Would that it were so simple.
[tries to do it in a British accent but still has his Southern drawl]
Tobey: Would that it were so simple.
Laurence Lorenz: Would that t’were so simple.
Tobey: Wou…would that it were…
Laurence Lorenz: Wait, watch my mouth. Would that it were so simple.
Tobey: Would that t’were so simple.
See more Hail, Caesar! Quotes
Hell or High Water (2016)
Tanner Howard: This is Mr. Pibb. I asked for a Dr. Pepper.
Toby Howard: So?
Tanner Howard: Only assholes drink Mr. Pibb.
See more Hell or High Water Quotes
The Imitation Game (2014)
Alan Turing: Sometimes it’s the very people who no one imagines anything of who do the things that no one can imagine.
Alan Turing: Do you know why people like violence? It is because it feels good. Humans find violence deeply satisfying. But remove the satisfaction, and the act becomes hollow.
Alan Turing: When people talk to each other, they never say what they mean.
[pauses for a moment]
Alan Turing: They say something else and you’re expected to just know what they mean.
Joan Clarke: I know it’s not ordinary. But who ever loved ordinary?
Alan Turing: Advise about keeping secrets: it’s a lot easier if you don’t know them in the first place.
Alan Turing: I have something, uh, uh, to tell you. I’m…I’m a homosexual.
Joan Clarke: Alright.
Alan Turing: No, no. M-men, Joan…uh, not women!
Joan Clarke: So what?
Alan Turing: Well, I…I just told you.
Joan Clarke: So what?
Alan Turing: I’m…I’m just a mathematician.
Stewart Menzies: I know a lot of spies, Alan. You’ve got more secrets than the best of them.
Nate Foster: “For evil to triumph, it only takes good men to do nothing. ” But how? You know, fucking how?
See more Imperium Quotes
Inside Llewyn Davis (2013)
Llewyn Davis: I’m so fucking tired. I thought I just needed a night’s sleep, but it’s…it’s more than that.
Jean: I should’ve had you wear double condoms. Well, we shouldn’t have done it in the first place, but if you ever do it again, which as a favor to women everywhere, you should not, but if you do, you should be wearing condom on condom, and then wrap it in electrical tape. You should just walk around always inside a great big condom because you are shit.
Llewyn Davis: Okay.
Jean: You should not be in contact with any living thing, being shit.
Llewyn Davis: Have you ever heard the expression, “it takes two to tango”?
Jean: Fuck you.
Llewyn Davis: If it was never new, and it never gets old, then it’s a folk song.
Roland Turner: Holy Jesus. What is that thing?
Llewyn Davis: It’s…it’s my cat. Well, it’s not my cat, it’s…
Roland Turner: Grown man with a cat. Is that part of your act?
Llewyn Davis: No.
Roland Turner: What’d you say you played?
Llewyn Davis: Folk songs.
Roland Turner: Folk songs. Thought you said you were a musician. Folk singer with a cat. You queer?
Llewyn Davis: It’s not my cat. I just didn’t know what to do with it.
Roland Turner: Really? So did you bring your dick along too?
Roland Turner: What the N stand for?
Llewyn Davis: What?
Roland Turner: What’s the N stand for? Lou N. Davis.
Llewyn Davis: Llewyn. Llewyn, L-L-E-W-Y-N. It’s Welsh.
Roland Turner: Well, it would have to be something, stupid fucking name like that. You don’t look Welsh.
Roland Turner: Solo act?
Llewyn Davis: Yeah, now.
Roland Turner: Now? Used to, what, work with the cat? Every time you play a C major, he’d puke a hair ball?
Llewyn Davis: I used to have a partner.
Roland Turner: What happened?
Llewyn Davis: He threw himself off the George Washington Bridge.
Roland Turner: Well, shit, I don’t blame him. I couldn’t take it either, having to play “Jimmy Cracked Corn” every night. Oh, pardon me for saying so, that’s pretty fucking stupid, isn’t it? George Washington Bridge? You throw yourself off the Brooklyn Bridge, traditionally. George Washington Bridge? Who does that? What was he, a dumbbell?
Llewyn Davis: Not really.
[after Llewyn finishes playing his song to Bud Grossman]
Bud Grossman: I don’t see a lot of money here.
Llewyn Davis: Okay. Okay. So that’s it?
Bud Grossman: You’re okay. You’re not green.
Kill the Messenger (2014)
Ronny Quail: Do you believe in conspiracy theories, Gary?
Gary Webb: No, I don’t believe in conspiracy theories. Conspiracies, yes. If I believe it, there’s nothing theory about it.
Gary Webb: National security and crack cocaine in the same sentence. Does that not sound strange to you?
Norwin Meneses: I’m gonna tell you the whole truth. I’m going to introduce you to people you should talk to. And then you will be faced with the most important decision of your life.
Gary Webb: Oh, yeah? What’s that?
Norwin Meneses: Deciding whether to share it or not.
Gary Webb: What do the DEA’s most want? Bought in thousands of kilo’s of cocaine to the U.S. every day to sell.
Jerry Ceppos: To who?
Gary Webb: The U.S. government, or with them, or at least while they were looking the other way.
Jerry Ceppos: Jesus.
Fred Weil: That’s some fancy information you have there. Dangerous.
Fred Weil: You have no idea what you’re getting into.
Gary Webb: Are you really telling me that I should just walk away from this?
Fred Weil: You’d be an idiot not to.
Gary Webb: This is a true story.
Fred Weil: Some stories are just too true to tell.
John Cullen: What you’ve found here, Gary, is a monster.
Anna Simons: This story scares people.
Gary Webb: Well it should!
Gary Webb: There’s no such thing as a little mistake, Ian. One wrong turn and you’re lost.
Gary Webb: I thought my job was to tell the public the truth, the facts, pretty or not. And that the publishing of those facts make a difference in how people look at it, at themselves and what they stand for.
Anna Simons: It’s over.
Gary Webb: I’m not finished with it! I’m not finished!
Gary Webb: Bad guys are usually more honest than good guys. And more fun.
The Lobster (2015)
Hotel Manager: Have you thought of what animal you’d like to be if you end up alone?
David: Yes, a lobster.
Hotel Manager: A lobster is an excellent choice.
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Ivan Locke: You make one mistake, Donal, one little fucking mistake, and the whole world comes crashing down around you.
Ivan Locke: Well, hear this, Gareth. When I left the site just over two hours ago, I had a job, a wife, a home. And now I have none of those things. I have none of those things left. I just have myself and the car that I’m in. And I’m just driving and that’s it.
Gareth: Ivan, you fucked up your life, that’s your business, but Chicago is going insane.
Ivan Locke: Two words I learned tonight: Fuck Chicago.
Ivan Locke: The difference between never and once is the difference between good and bad.
Ivan Locke: Katrina, I love you. Okay? I made one mistake. I don’t feel anything for this woman, and I’m trying to do the right thing tonight, because she is on her own and the baby is my fault. And I know how it feels to be coming out into the world like this. There is someone being brought
into the world and it’s my fault. So I have to fix it, somehow.
Katrina: Oh, my God.
Ivan Locke: I would really like it if you would say that you will wait and I can come back and we can talk…we can talk about it and that we can fix something up. I really want to know that tomorrow I can drive home and talk to the boys and be at home as normal, and we can go out or something and have a drink and talk about it. I want to know that I am not driving in one direction. I want to know that I will be driving back when the sun comes up.
Lost in Translation (2003)
Bob: The more you know who you are, and what you want, the less you let things upset you.
Charlotte: Yeah. I just don’t know what I’m supposed to be.
Charlotte: Let’s never come here again because it would never be as much fun.
Charlotte: So, what are you doing here?
Bob: Uh…a couple of things. Taking a break from my wife, forgetting my son’s birthday. And, uh, getting paid two million dollars to endorse a whiskey when I could be doing a play somewhere.
Bob: But the good news is, the whiskey works.
Bob: I don’t want to leave.
Charlotte: So don’t. Stay here with me. We’ll start a jazz band.
Mean Streets (1973)
Charlie: You don’t make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it.
Charlie: It’s all bullshit except the pain, right? The pain of hell. The burn from a lighted match increased a million times. Infinite. You don’t fuck around with the infinite. There’s no way you do that. The pain in hell has two sides: The kind you can touch with your hand. The kind you can feel in your heart…your soul, the spiritual side. And you know, the worst of the two is the spiritual.
[they all raises their glasses to the Queen]
Charlie: You know what the Queen said? “If I had balls, I’d be the King.”
Johnny Boy: Hey, Mike. You’re really something, you know that? You too good for this ten dollars, huh? You too good for it? It’s a good ten dollars. You know something, Mikey? You make me laugh, you know that? I borrow money all over this neighborhood, from everybody, and I never paid them back. So I can’t borrow no money from nobody no more, right? Who does that leave me to borrow money from but you? I borrow money from you because you’re the only jerk-off around that I could borrow money from without paying back, right? Right? Because that’s what you are. That’s what I think of you, a jerk-off. He’s smiling. Because you’re a jerk-off. Ha, ha, ha. You’re a fucking jerk-off.
[lights ten dollar bill on fire]
Johnny Boy: And I’ll tell you something else. Mikey, I fucked you right where you breathe because I don’t give two shits about you or nobody else.
Teddy: So you lie to yourself to be happy. There’s nothing wrong with that. We all do it.
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Mississippi Grind (2015)
Gerry: A hero is nothing more than a guy who pulls off what the rest of us are too scared to do.
A Most Violent Year (2014)
Abel Morales: You’ll never do anything hard as staring someone straight in the eye and telling the truth.
Abel Morales: I run a fair and clean business, and I will fight till my last breath to prove that.
Anna Morales: I understand you and your men have a job to do here, but we’re in the middle of a ten year old’s birthday party.
Lawrence: I am sorry, but we are coming in.
Anna Morales: That’s not a problem. We have nothing to hide from you.
Anna Morales: My husband is a good man. Don’t mistake his honesty for weakness. He deserves respect. This was very disrespectful.
Anna Morales: This is probably one you’re going to regret.
Lawrence: Excuse me?
Anna Morales: My husband’s an honorable man. We’re not who you think we are.
Lawrence: I think I know your father.
Anna Morales: Good for you. My husband is not my father, not even close. So if I were you I would start treating us with a little more respect, or I a guarantee he will make his mission in life to ruin you.
[she drops her cigarette]
Anna Morales: This was very disrespectful.
Bill O’Leary: These are dangerous times and we have to adapt. It’s not like when we was driving.
Anna Morales: We are at war here.
Abel Morales: No, we are not.
Anna Morales: But they are.
Lawrence: There were more murders and rapes in this city last year than there have ever been. So if you’ve come to tell me that we have an urgent security issue here, trust me, I’m aware.
Abel Morales: It’s been two years since you started investigating my industry, do you have any idea who’s been doing this to us?
Lawrence: Or you may be doing something to bring this on yourself.
Abel Morales: I have always taken the path that is most right. The result is never a question for me. Just what path do you take to get there.
[holding up a gun]
Abel Morales: Where did you get that?
Anna Morales: Your youngest daughter found it in the bushes outside our front door. It’s not a brick through car window, this is your kid playing with a loaded gun.
Andrew Walsh: The D.A.’s coming down with a fourteen count indictment. You’ve just pushed a little too far, that’s all.
Abel Morales: If one of these guys shoots someone, it will be the end of everything that we have worked for.
Anna Morales: It wasn’t your good luck helping you out all these years, it was me!
Abel Morales: I don’t want anything to do with this!
Abel Morales: When it feels scary to jump, that is exactly when you jump. Otherwise you end up staying in the same place your whole life. And that I can’t do.
[training his three young recruits]
Abel Morales: Now they’re almost always gonna take you to the dining room table, and they’re gonna offer you something. Whatever it is, always take the fancy option.
[demonstrating for the recruits]
Instructor: Can I get you a coffee or a tea?
Abel Morales: I would like a tea, please.
Instructor: We have some homemade lemonade or a soda.
Abel Morales: I would love a lemonade, thank you.
Abel Morales: Because, we’re never gonna be the cheapest option, so we have to be the best. And they want…no, they need to feel that you want the best too. That’s why our trucks are the newest or the cleanest. And our drivers are approachable.
Abel Morales: Now, after you’ve done the math and you’ve shown them how much they could save over the long haul through proper maintenance, you’ll need to get them to sign. But the problem is by hiring you they need to fire someone else, and that’s never easy. So, after you show them the number, you look up at them and stare.
[he pauses, staring at the group]
Abel Morales: Stare longer than you should.
[Abel stares at the girl then back at the two boys, one of the boys laughs softly]
Abel Morales: This is not a joke. You will only keep this job if you close, and that’s not funny to you. I’m only interested in this company growing, and when it isn’t, it’s not very funny to me at all. These people work very hard for their money, and these other guys are ripping them off, treating them poorly because they don’t know. So when you look them in the eye, you have to believe that we are better. And we are. But you will never do anything as hard as staring someone straight in the eye and telling the truth.
Lou Bloom: My motto is if you want to win the lottery, you have to make the money to buy a ticket.
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Only Lovers Left Alive (2013)
Eve: [to Adam] How can you’ve live for so long and still not get it? This self obsession is a waste of living. It could be spend in surviving things, appreciating nature, nurturing kindness and friendship, and dancing. You have been pretty lucky in love though, if I may say so.
The Perks of Being a Wallflower (2012)
Charlie: If my Aunt Helen were still here, I could talk to her. And I know she would understand how I am both happy and sad, and I’m still trying to figure out how that could be.
Mr. Anderson: You know, I heard you had a tough time last year. But they say if you make one friend on your first day, you’re doing okay.
Charlie: Thank you, sir. But if my English teacher is the only friend I make today that would be sort of depressing.
Sam: So, what are you going to do when you get out of this place?
Charlie: Well, My Aunt Helen said I should be a writer, but I don’t know what I’d write about.
Sam: You could write about us.
Patrick: Yeah. Call it “Slut and The Falcon.” Make us solve crimes.
Charlie: Dear Friend, I’m sorry I haven’t written for awhile, but I’ve been trying hard not to be a loser.
Patrick: Hey, everyone! Everybody! Everyone. Raise your glasses to Charlie.
Charlie: What did I do?
Patrick: You didn’t do anything. We just want to toast to our new friend. You see things. And you understand. You’re a wallflower.
[Charlie looks embarrassed]
Patrick: What is it? What’s wrong?
Charlie: I didn’t think anyone noticed me.
Patrick: Well, we didn’t think there was anyone cool left to meet. So, Come on, everyone. To Charlie!
Sam: To Charlie! Welcome to the island of misfit toys.
Charlie: Mr. Anderson. Can I ask you something?
Mr. Anderson: Yeah.
Charlie: Why do nice people choose the wrong people to date?
Mr. Anderson: Are we talking about anyone specific?
Mr. Anderson: We accept the love we think we deserve.
Charlie: Can we make them know that they deserve more?
Mr. Anderson: We can try.
Charlie: Sam, do you think that if people knew how crazy you really were, no one would ever talk to you?
[Sam and Patrick laugh]
Sam: All the time.
Sam: Can we be friends again?
Charlie: Of course. Come on. Let’s go be psychos together.
Charlie: My doctor said we can’t choose where we can come from but we can choose where we go from there. I know it’s not all the answers but it was enough to start putting these pieces together.
Charlie: [voice over] I don’t know if I will have the time to write any more letters because I might be too busy trying to participate. So, if this does end up being the last letter, I just want you to know that I was in a bad place before I started high school. And you helped me. Even if you didn’t know what I was talking about. Or know someone who’s gone through it. It made me not feel alone. Because I know there are people who say all of these things don’t happen. And there are people who forget what it’s like to be 16 when they turn 17. I know these will all be stories someday. And our pictures will become old photographs. And we’ll all become somebody’s mom or dad. But right now, these moments are not stories. This is happening. I am here. And I am looking at her. And she is so beautiful. I can see it. This one moment when you know you’re not a sad story. You are alive, and you stand up and see the lights on buildings and everything that makes you wonder. And you are listening to that song on that drive with the people you love most in this world. And in this moment, I swear, we are infinite.
Pulp Fiction (1994)
Marsellus: Fuck pride! Pride only hurts, it never helps.
Mia: That’s when you know you’ve found sombody really special. When you can just shut the fuck up for a minute and comfortably share silence.
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Reservoir Dogs (1992)
Mr. Pink: Man, I don’t wanna kill anybody. If I gotta get out that door and you’re standing in my way. One way or the other you’re getting out of my way. That’s the way I look at it.
Mr. White: The choice between doing ten years and taking out some stupid motherfucker ain’t no choice at all. But I ain’t no madman, either!
Nice Guy Eddie: Come on, throw in a buck!
Mr. Pink: Uh-uh, I don’t tip.
Nice Guy Eddie: You don’t tip?
Mr. Pink: No, I don’t believe in it.
Nice Guy Eddie: You don’t believe in tipping?
Mr. Blue: You know what these chicks make? They make shit.
Mr. Pink: Don’t give me that. She don’t make enough money, she can quit.
Nice Guy Eddie: I don’t even know a fucking Jew who’d have the balls to say that. Let me get this straight, you don’t ever tip, huh?
Mr. Pink: I don’t tip because society says I have to. Alright, if somebody really deserves a tip, if they really put forth an effort, I’ll give ’em something extra. But I mean, this tipping automatically, uh, it’s for the birds. I mean, as far as I’m concerned, they’re just doin’ their job.
Mr. Blue: Hey, this girl was nice.
Mr. Pink: She was okay. She wasn’t anything special.
Mr. Blue: What’s special? Take you in the back and suck your dick?
Nice Guy Eddie: I’d go over twelve percent for that.
Mr. Pink: Hey, look. I ordered coffee, right? Now, we’ve been here a long, fucking time. She’s only filled my cup three times. I mean, when I order a coffee, I want it filled six times.
Mr. Blonde: Six times. Well, you know, what if she’s too fucking busy?
Mr. Pink: Words “too fucking busy” shouldn’t be in a waitress’s vocabulary.
Nice Guy Eddie: Excuse me, Mr. Pink, but the last fucking thing you need’s another cup of coffee.
Mr. Pink: Jesus Christ. I mean, these ladies aren’t starving to death They make minimum wage. You know, I used to work minimum wage, and when I did, I wasn’t lucky enough to have a job that society deemed tip worthy.
Mr. Blue: You don’t care they’re countin’ on your tips to live?
[rubbing his thumb and forefinger together]
Mr. Pink: You know what this is? It’s the world’s smallest violin playing just for the waitresses.
Joe: He was the only one I wasn’t hundred percent on. I should have my fuckin’ head examined goin’ ahead when I wasn’t hundred percent.
Mr. White: That’s your proof?
Joe: You don’t need proof when you have instinct. I ignored it before but no more.
[Blonde has tied up the LAPD cop in a chair]
Marvin Nash: I told you, I don’t know anything about any fuckin’ setup. I’ve been on the force for only eight months. They don’t tell me anything. Nobody tells me shit. You can torture me all you want.
Mr. Blonde: Torture you? That’s a good…that’s a good idea. I like that one, yeah.
Mr. Blonde: Look kid, I’m not gonna bullshit you, okay? I don’t really give a good fuck what you know, or don’t know, but I’m gonna torture you anyway, regardless. Not to get information. It’s amusing, to me, to torture a cop. You can say anything you want cause I’ve heard it all before. All you can do is pray for a quick death, which you ain’t gonna get.
[he takes his gun out and points it at Marvin who starts squirming in terror, Blonde laughs then removes his razor from inside his boots]
Mr. Blonde: You ever listen to K-Billy’s “Super Sounds of the Seventies” weekend? It’s my personal favorite.
[after Mr. Blonde has cut off Marvin’s]
Mr. Blonde: Was that as good for you as it was for me?
[he talks into Marvin’s ear]
Mr. Blonde: Hey, what’s goin’ on? Do you hear that?
Mr. Pink: Why am I Mr. Pink?
Joe: Because you’re a faggot, all right?
Mr. Pink: Why can’t we pick our own colors?
Joe: No way, no way. Tried it once. It doesn’t work. You get four guys all fightin’ over who’s gonna be Mr. Black, but they don’t know each other so nobody wants to back down. No way. I pick! You’re Mr. Pink. Be thankful you’re not Mr. Yellow.
Mr. Brown: Uh…yeah, but Mr. Brown, that’s a little too close to Mr. Shit.
Mr. Pink: Well, Mr. Pink sounds like Mr. Pussy. How about if I’m Mr. Purple? I mean, that sounds good to me. I’ll…I’ll be Mr. Purple.
Joe: You’re not Mr. Purple. Some guy on some other job is Mr. Purple. You’re Mr. Pink!
Mr. White: Who cares what your name is?
Mr. Pink: Yeah, that’s easy for you to say. You’re Mr. White. You have a cool sounding name. Alright, look, if it’s no big deal to be Mr. Pink, you wanna trade?
Joe: Hey, nobody’s tradin’ with anybody. This ain’t a goddamn fuckin’ city council meeting, you know. Now, listen up, Mr. Pink. There’s two ways you can go on this job: my way or the highway. Now, what’s it gonna be, Mr. Pink?
Mr. Pink: Jesus Christ, Joe. Fucking forget about it. It’s beneath me, you know. I’m Mr. Pink. Let’s move on.
Joe: I’ll move on when I feel like it. Do all you guys got the Goddamn message? I’m so Goddamn mad hollering at you guys I can hardly talk. Let’s go to work.
Herman Blume: What’s the secret, Max?
Max Fischer: The secret?
Herman Blume: Yeah. Well, you seem to have it pretty figured out.
Max Fischer: The secret. I don’t know. Uh…I think you just gotta find something you love to do and then do it for the rest of your life. For me, it’s going to Rushmore.
Herman Blume: What’s his name again?
Dr. Nelson Guggenheim: Max Fischer.
Herman Blume: Sharp little guy.
Dr. Nelson Guggenheim: He’s one of the worst students we’ve got.
Bert Fischer: You’re like one of those clipper ship captains. You’re married to the sea.
Max Fischer: Yes, that’s true. But I’ve been out to sea for a long time.
Max Fischer: So you were in Vietnam?
Herman Blume: Yeah.
Max Fischer: Were you in the shit?
Herman Blume: Yeah, I was in the shit.
Max Fischer: I don’t give a shit about the barracudas, fuck it! I’m building it anyway.
Max Fischer: The truth is, neither one of us has the slightest idea where this relationship is going. We can’t predict the future.
Rosemary Cross: We don’t have a relationship.
Max Fischer: But we’re friends.
Rosemary Cross: Yes, and that’s all we’re going to be. Well, yes…
Max Fischer: That’s all I meant by “relationship.” You want me to grab a dictionary?
Rosemary Cross: Has it ever crossed your mind that you’re far too young for me?
Max Fischer: It crossed my mind that you might consider that a possibility, yeah.
Dirk Calloway: Oh, yeah. And with friends like you, who needs friends?
Max Fischer: I’m sorry, I just came by to thank you for wrecking my life!
Max Fischer: War does funny things to men.
Herman Blume: She’s my Rushmore, Max
Max Fischer: Yeah, I know. She was mine too.
Dr. Peter Flynn: I understand you’re a neurosurgeon.
Bert Fischer: No, I’m a barber, but a lot of people make that mistake.
Rosemary Cross: Well, you pulled it off.
Max Fischer: Yeah, it went okay. At least nobody got hurt.
Rosemary Cross: Except you.
John Doe: It seems that envy is my sin.
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Slow West (2015)
Silas Selleck: The most dangerous are the last to fall.
Jay Cavendish: I know why you need my help
Silas Selleck: Oh, yeah?
Jay Cavendish: Yeah. You’re lonely. You’re a lonely man.
Silas Selleck: Sure, kid.
Jay Cavendish: “Sure, kid.” “Let’s drift.” Silent, lonely drifter. You’re a lonely, lonely man.
Silas Selleck: No need to concern over me. Hold still.
Jay Cavendish: All I’m sayin’ is there’s more to life than just surviving.
Mike Rezendes: They knew and they let it happen! It could’ve been you, it could’ve been me, it could’ve been any of us.
Mike Rezendes: I know there’s things you cannot tell people. But I also know there’s a story here, and I think everybody will hear about it.
Mitchell Garabedian: Do you think your paper has the resources to take that on?
Mike Rezendes: I do. Do you?
Marty Baron: A Boston priest molested kids in six different parishes over the last thirty years. The church found out about it and did nothing.
Marty Baron: We haven’t committed any long term investigative resources to the case.
Ben Bradlee Jr.: No, we haven’t.
Marty Baron: That’s the kind of thing your team would do.
Walter ‘Robby’ Robinson: Spotlight?
Walter ‘Robby’ Robinson: [to his team] Guys, listen. Everybody’s gonna be interested in this.
Mike Rezendes: I’m trying to get some background information.
Mitchell Garabedian: I don’t want you recording this in any way shape or form. Nothing.
Sacha Pfeiffer: We understand you’ve settled several cases against the church.
Eric Macleish: I can’t discuss that.
Sacha Pfeiffer: There aren’t any records of any of these settlements.
Eric Macleish: Nope.
Phil Saviano: When you’re a poor kid from a poor family and when a priest pays attention to you, it’s a big deal. How do you say no to God?
Marty Baron: We need to focus on the institution. Show me that it came from the top down.
Marty Baron: Six percent act out sexually.
Walter ‘Robby’ Robinson: Six percent is ninety. Ninety priests!
Ben Bradlee Jr.: If there were ninety of these bastards, people would know.
Mike Rezendes: Maybe they do.
Walter ‘Robby’ Robinson: You’re gonna give me their names and the names of their victims.
Eric Macleish: Are you threatening me?
Walter ‘Robby’ Robinson: We’ve got two stories here. The story about degenerate clergy, and the story about a bunch of lawyers turning child abuse into a cottage industry. Which story do you want us to write? Because we’re writing one of them.
Jim Sullivan: I was doing my job.
Walter ‘Robby’ Robinson: Yeah, you and everyone else.
Sacha Pfeiffer: I am here because I care. We’re gonna tell this story, we’re gonna tell it right.
Pete Conley: I’m hoping we can keep this between us until we all get on the same page.
Walter ‘Robby’ Robinson: Is that why we’re here, to get on the same page?
Mitchell Garabedian: I’m not crazy, they control everything.
Still Alice (2014)
Dr. Alice Howland: I am not suffering, I am struggling. Struggling to be a part of things, to stay connected to who I once was. So live in the moment, I tell myself. It’s really all I can do. Live in the moment.
[Alice and John are holding a meeting with their children]
Tom Howland: What’s going on?
Dr. Alice Howland: Oh, boy.
Lydia Howland: You guys are gonna break up, or…?
Dr. Alice Howland: No. I have Alzheimer’s Disease. Early on set.
Anna Howland-Jones: Oh, my God.
Dr. Alice Howland: I’d like to see you go to college.
Lydia Howland: You can’t use your situation to just get me to do everything you want.
Dr. Alice Howland: Why can’t I?
Lydia Howland: Because it’s no fair!
Dr. Alice Howland: I don’t have to be fair, I’m your mother.
Dr. Alice Howland: I hate that this is happening to me.
Dr. John Howland: But we have to keep the important things in our life going. We have to try or we’re going to go crazy.
Dr. Alice Howland: This might be the last time that I’m myself.
Dr. John Howland: Please don’t say that.
Lydia Howland: What’s it like? I mean, what does it actually feel like?
Dr. Alice Howland: Mmm…well, it’s not always the same. You know, I have, uh…I have good days and bad days. And on my good days I can, you know, almost pass for a normal person. And on my bad days I feel like I can’t find myself. Um…I’ve always been so defined by my intellect, my language, my articulation. And now sometimes I can see the words hanging in front of me and I can’t reach them and I don’t who I am, and I don’t know what I’m gonna lose next.
Lydia Howland: Sounds horrible.
Dr. Alice Howland: Thanks for asking.
Straight Outta Compton (2015)
Eazy-E: I liked ‘Boyz ‘n the Hood.’
Ice Cube: You called it an Afterschool Special.
Eazy-E: I like Afterschool Specials.
Verna Griffin: Spinning records ain’t paying the bills around here.
Dr. Dre: What are you talking about? I get paid.
Verna Griffin: 50 dollars? So that makes you rich?
Dr. Dre: It’s a start.
[watching a crowd destroy their records]
Ice Cube: Ain’t that some shit? Speak a little truth and people lose their minds.
Eazy-E: See, the truth is, they can do whatever they want with them. They bought them motherfuckers.
Swiss Army Man (2016)
Manny: If my best friend hides his farts from me then what else is he hiding from me, and why does that make me feel so alone?
See more Swiss Army Man Quotes
The Theory of Everything (2014)
Stephen Hawking: Ever since the dawn of civilization people have craved for an understanding of the underlying order of the world. There ought to be something very special about the boundary conditions of the universe. And what can be more special than that there is no boundary? And there should be no boundary to human endeavor. We are all different. However bad life may seem, there is always something you can do, and succeed at. While there is life, there is hope.
[meeting for the first time]
Stephen Hawking: Hello.
Jane Hawking: Hello.
Stephen Hawking: Science?
Jane Hawking: Arts.
Stephen Hawking: The universe is expanding. If you reverse time, then the universe is getting smaller.
Jane Hawking: Alright.
Stephen Hawking: What if I reversed the process all the way back to see what happened at the beginning of time itself.
Jane Hawking: Wind back the clock.
Stephen Hawking: Wind back the clock.
Frank Hawking: It’s called motor neuron disease. Life expectancy is two years.
Stephen Hawking: The brain. What about the brain?
Frank Hawking: The brain isn’t effected. Your thoughts won’t change, it’s just no one will know what they are.
Stephen Hawking: Leave me now.
Jane Hawking: Are you going to talk about this or not?
Stephen Hawking: Can you just go.
Jane Hawking: Is that what you want?
Stephen Hawking: Yes, it is what I want. So, please if you care about me at all then please just go.
Jane Hawking: I can’t.
Stephen Hawking: I have two years to live, I need to work.
Jane Hawking: I love you.
[Stephen looks shocked]
Stephen Hawking: You…you…but…you’ve led… That’s a false conclusion.
Jane Hawking: I want us to be together for as long as we’ve got. And if that’s not very long, well then that’s just how it is. It’ll have to do.
Stephen Hawking: You don’t know what’s coming. It’ll effect everything.
[Jane kisses him, then they look at each other and Jane smiles]
Jane Hawking: Your glasses are always dirty.
[she takes his glasses off, cleans it with her dress and places the glasses back on his face]
Jane Hawking: There. That’s better isn’t it?
[Stephen smiles at her]
Stephen Hawking: Yes. Yes, it is.
Jane Hawking: I know what you all think, that I don’t look like a terribly strong person. But I love him and he loves me. We’re going to fight this illness together.
Frank Hawking: This will not be a fight, Jane. You don’t know what lies ahead. This is going to be a very heavy defeat.
Jane Hawking: If you don’t get up, I won’t come back here again. Ever.
Stephen Hawking: Thank you.
Jane Hawking: Sorry, did you say something.
Stephen Hawking: I said, thank you.
[demonstrating his computerized voice]
Stephen Hawking: My name is Stephen Hawkin.
Jane Hawking: It’s American.
Technician: Is that a problem?
Dennis Sciama: One never knows from where the next great leap forward is going to come or from whom.
Dennis Sciama: Keep going.
Stephen Hawking: I don’t know how.
Dennis Sciama: Yet.
Dennis Sciama: So, this black hole at the beginning of time. Brilliant. Brilliant, Stephen. Well done, doctor.
Dennis Sciama: It has been a great privilage to watch this man defy every expectation, both scientific and personal.
There Will Be Blood (2007)
Plainview: I have a competition in me. I want no one else to succeed. I hate most people.
Henry Brands: That part of me is gone. Working and not succeeding, all my uh…failures have left me. I just don’t care.
Plainview: Well, if it’s in me, it’s in you. There are times when I…I look at people and I see nothing worth liking. I want to earn enough money I can get away from everyone.
Plainview: I see the worst in people, Henry. I don’t need to look past seeing them to get all I need. I’ve built up my hatreds over the years, little by little. Having you here gives me a second breath of life. I can’t keep doing this on my own with these, um…people.
Plainview: I was lost, but now I am found. I was lost, but now I’m found. I have abandoned my child.
Eli Sunday: Say it. Say it.
Plainview: I abandoned my child.
Eli Sunday: Say it louder. Say it louder!
Plainview: I’ve abandoned my child! I’ve abandoned my child! I’ve abandoned my boy!
Eli Sunday: Now beg for the blood!
Plainview: Just give me the blood, Eli. Let me get out of here. Give me the blood, Lord, and let me get away!
Eli Sunday: Do you accept Jesus Christ as your Lord and Savior?
Plainview: Yes, I do.
Eli Sunday: Get out of here, devil! Out, devil! Out, sin!
Plainview: One night I’m going to come to you, inside of your house, or wherever you’re sleeping, and I’m going to cut your throat.
H.M. Tilford: What? What are you talking about? Have you gone crazy?
Plainview: Did you hear what I said?
H.M. Tilford: I heard what you said. Why did you say it?
Plainview: You don’t tell me about my son.
H.M. Tilford: Why are you acting insane and threatening to cut my throat?
Plainview: You don’t tell me about my son.
H.M. Tilford: I’m not telling you anything! I’m asking you to be reasonable. If I’ve offended you, I apologize.
Plainview: You’ll see what I can do.
Plainview: Look at me! You’re lower than a bastard. You have none of me in you. You’re just a bastard from a basket.
HW’s Interpreter, George: I thank God I have none of you in me.
[H.W. and George get up and begin to leave the room]
Plainview: Not my son. Just a little piece of competition. Bastard from a basket. Bastard from a basket! You’re a bastard from a basket!
Plainview: Drainage! Drained dry. I’m so sorry. If you have a milkshake and I have a milkshake, and I have a straw, there it is. That’s the straw, you see? Watch it. Now my straw reaches across the room and starts to drink your milkshake. I drink your milkshake! I drink it up!
Eli Sunday: Don’t bully me, Daniel.
[Daniel roars and throws Eli across the room]
Plainview: Did you think your song and dance and your superstition would help you, Eli? I am the Third Revelation. I am who the Lord has chosen.
Eli Sunday: Daniel!
Plainview: Because I’m smarter than you! I’m older!
Eli Sunday: I’m your old friend, Daniel!
Plainview: I’m not a false prophet…
Eli Sunday: Help me! Help me!
Plainview: …you sniveling boy! I am the Third Revelation! I am the Third Revelation! I told you I would eat you.
Eli Sunday: We’re family!
Plainview: I told you I would eat you up!
Eli Sunday: We’re brothers! We’re brothers! Daniel, please forgive me. I beg you.
What We Do in the Shadows (2014)
Deacon: When you are a vampire you become very…sexy!
Terence Fletcher: I was there to push people beyond what’s expected of them. I believe that’s an absolute necessity.
Cheryl Strayed: [voice over] “If your nerve, deny you. Go above your nerve.” Emily Dickinson, and Cheryl Strayed.
[as she struggle to walk with the massive backpack on her back]
Cheryl Strayed: Oh, my God. What have I done?
Stacey: You get lonely?
Cheryl: Um…honestly? I’m lonelier in my real life than I am out here. I miss my friends, of course, but it’s not like I really have anybody waiting for me at home. How about you? Why are you here?
Stacey: Um…I don’t know. I just need to find something in myself, you know? I think the trail was good for that. I mean, look.
[looking up at the sunset]
Stacey: This has the power to fill you up again, if you’ll let it.
Cheryl: My mother used to say something that drove me nuts. There is a sunrise and a sunset every day and you can choose to be there for it. You can put yourself in the way of beauty.
Stacey: My kind of woman.
Greg: Must have been some breakup, huh?
Cheryl Strayed: Breakup is sort of a short hand.
[referring to her mother as she falls to her knees and looks up to the sky]
Cheryl Strayed: I miss you. God, I miss you.
Cheryl Strayed: My mother was the love of my life.
Vince: You’re using heroin and you’re having sex with anyone who asks.
Frank: Do you ever think about quitting?
Cheryl Strayed: Only once every two minutes or so.
Frank: Hell, I’ve quit a bunch of stuff. Quit jobs, quit marriages.
Cheryl Strayed: Do you regret any of them?
Frank: I didn’t have a choice. Never been a time when there was a fork in my road.
Cheryl Strayed: [voice over] Here’s some questions I’ve been asking myself: I thought. What if I forgave myself even though I’d done something I shouldn’t have? What if I was a liar and a cheat and there was no excuse for what I’d done other than because it was what I wanted and needed to do? What if I was sorry, but if I could go back in time I wouldn’t do anything differently than I had done? What if I’d actually wanted to fuck every one of those men? What if heroin taught me something? What if yes was the right answer instead of no? What if what made me do all those things everyone thought I shouldn’t have done was what also had got me here? What if I was never redeemed? What if I already was?
Total Quotes: 60