Post by sacrilegend on Feb 3, 2007 18:45:55 GMT -5
Okayyyy... I decided to start a list, but seeing as my culturization is still very young and not quite developed, don't judge my list. The order isn't all that important either, organization isn't my strong point.
Wings of Desire or Der Himmel uber Berlin (Wim Wenders; 1987)
Homer, the aged poet: Where are my heroes? Where are you, my children? Where are my own, the curious ones, the first, the original ones? Name me, muse, the immortal singer who, abandoned by those who listened to him, lost his voice. He who, from the angel of poetry that he was, became a poet, ignored or mocked outside on the threshold of no-man's land.
Withnail and I (Bruce Robinson; 1987)
Withnail: We want the finest wines available to humanity. And we want them here, and we want them now!
Dancer In The Dark (Lars von Trier; 2000)
Selma: Because you just know when it goes really big... and the camera goes like out of the roof... and you just know it's going to end. I hate that. I would leave just after the next to last song... and the film would just go on forever.
Dogville (Lars von Trier; 2003)
Grace: There's a family with kids. Do the kids and make the mother watch. Tell her you'll stop if she can hold back her tears. I owe her that.
Mulholland Drive (David Lynch; 2001)
Cynthia: It's been a very strange day.
Coffee and Cigarettes (Jim Jarmusch; 2003)
Tom Waits: The beauty of quitting is, now that I've quit, I can have one, 'cause I've quit.
Dead Man (Jim Jarmusch; 1995)
Cole Wilson: [seeing a dead marshal's head lying on a woodpile] Looks like a goddamn religious icon!
My Own Private Idaho (Gus van Sant; 1991)
Scott Favor: Why, you wouldn't even look at a clock unless hours were lines of coke, dials looked like the signs of gay bars, or time itself was a fair hustler in black leather.
The Eternal Sunshine of A Spotless Mind (Michel Gondry; 2004)
Clementine: This is it, Joel. It's going to be gone soon.
Joel: I know.
Clementine: What do we do?
Joel: Enjoy it.
Paris, Texas (Wim Wenders; 1984)
Travis: I'm not afraid of heights. I'm afraid of fallin'.
How To Get Ahead in Advertising (Bruce Robinson; 1989)
Denis Dimbleby Bagley: Perhaps if they'd hanged Jesus Christ we'd all be kneeling in front of a fucking gibbet!
Buffalo '66 (Vincent Gallo; 1998)
Billy Brown: I don't need anybody. Do you hear what I said? Do you hear what I said this time? Wanna know the truth? I coulda had any girl I wanted, in school. Any girl I wanted. You know why I didn't have a girlfriend? Huh? Because there was nobody that I liked. Nobody that I liked. That's the truth. I coulda had anybody. There was nobody that I liked because girls stink. They stink. They're evil, and they're all bad. All of them. They're all backstabbers, like you.
The Rocky Horror Picture Show (Jim Sharman; 1975)
Frank: Give yourself over to absolute pleasure. Swim the warm waters of sins of the flesh - erotic nightmares beyond any measure, and sensual daydreams to treasure forever. Can't you just see it? Don't dream it, be it.
Sin City (Frank Miller; 2005)
Dwight: My warrior woman. My Valkyrie. You'll always be mine, always and never. Never. The Fire, baby. It'll burn us both. It'll kill us both. There's no place in this world for our kind of fire. Always and never. If I have to die for you tonight, I will.
Last Days (Gus van Sant; 2005)
Record Executive: Do you say, "I'm sorry, that I'm a rock & roll cliche"?
Elephant (Gus van Sant; 2003)
Alex: So foul and fair a day I have not seen.
The Fountain (Darren Aronofsky; 2006)
Tom Verde: All these years, all these memories, there was you. You pull me through time.
Pi (Darren Aronofsky; 1998)
Sol Robeson: There will be no order, only chaos.
The Elephant Man (David Lynch; 1980)
John Merrick: People are frightened by what they don't understand.
Plumed Dwarf: Luck, my friend, luck. Who needs it more than we?
Tideland (Terry Gilliam; 2005)
Queen Gunhilda: It's your daddy's fault you were the way you were, not mine. 'Cause I loved you... lip smackin' little junkie baby. Irritable and hyperactive, you was, just twitchin' and spasms and convulsions. Your daddy blew smoke in your face to keep you quiet; you know that, mm hmm. I think it what damaged you, well don't blame me, cuz. I breast fed you forever... Jeliza Rose you know I love you, don't you? I'm sorry baby, I'm gonna do something real nice for you real soon some day, I promise.... What the fuck are you doin'? How many times do I have to tell you to stay away from my chocolate, you little bitch?... Oh honey, I don't want you to leave me, Jeliza Rose. I can't get by without you, Jeliza Rose.
C.R.A.Z.Y. (Jean-Marc Vallée; 2005)
Antoine Beaulieu: [after he surprised Zac imitating Bowie] You done imitating that fucking fag? Huh?! You're making us look like a bunch of idiots.
Monty Python's And Now For Something Completely Different (Ian McNaughton; 1971)
Sergeant-Major: Now, I would just like to point out that this film is displaying a distinct tendency to become SILLY. Now, nobody likes a good laugh more than I do... except, perhaps my wife... and some of her friends. Oh, yes, and Captain Johnson. Come to think of it, most people like a good laugh more than I do, but that's beside the point! I'm warning this film NOT to get SILLY again! Right!
Monty Python's The Meaning of Life (Terry Jones, Terry Gilliam; 1983)
Humphrey: And spotteth twice they the camels before the third hour. And so the Midianites went forth to Ram Gilead in Kadesh Bilgemath by Shor Ethra Regalion, to the house of Gash-Bil-Betheul-Bazda, he who brought the butter dish to Balshazar and the tent peg to the house of Rashomon, and there slew they the goats, yea, and placed they the bits in little pots. Here endeth the lesson.
The Graduate (Mike Nichols; 1967)
Mr. Braddock: Would you mind telling me then what those four years of college were for? What was the point of all that hard work?
Benjamin: You got me.
Monty Python's Life of Brian (Terry Jones; 1979)
Brian: You're all different!
The Crowd: Yes, we ARE all different!
Man in crowd: I'm not...
The Crowd: Schhh!
The Tin Drum or Die Blechtrommel (Volker Schlöndorff; 1979)
Oskar Matzerath: You know, Mr. Bebra... to tell the truth, I prefer to be a member of the audience, and let my little art flower in secret.
The United States of Leland (Matthew Ryan Hoge; 2003)
Albert T. Fitzgerald: I recall when our lives were unusual and electric. When we burned with something close to fire. But now we sway to a different rhythm. Lives lived without meaning or even directed hope. The passage of time measured only by loss. Loss of a job, loss of a minivan... a son.
Leland: The worst part is knowing that there is goodness in people. Mostly it stays deep down and buried. Maybe we don't have God because we're scared of the bad stuff. Maybe we're really scared of the good stuff. Because if there's no God, well, that means it's inside of us and we could be good all the time if we wanted. So when we do bad things, it'd be because we want to or because we have to. Or maybe we just need the bad stuff to remind us what the good stuff is in the first place.
Leland: It covers my eyes. It's all I can see. Say there's some kids playing baseball. All I see is the one kid they won't let play because he tells corny jokes. And no-one thinks they're funny. Or I see a boy and a girl in love and kissing, you know. I just see that they're gonna be one of those sad old couples one day who just cheats on each other and can't even look at each other in the eye. And I feel it. I feel all of their sadness. I feel it probably even worse than that sad old couple or that corny kid will ever feel it.
Le Locataire or The Tenant (Roman Polanski; 1976)
Trelkovsky: If you cut off my head, what would I say... Me and my head, or me and my body? What right has my head to call itself me?
Spirited Away or Sen to Chihiro no Kamikakushi(Hayao Miyazaki; 2001)
Chihiro: Daddy, are we lost?
Chihiro's Father: Don't worry, I've got four-wheel drive.
Princess Mononoke or Mononoke-hime (Hayao Miyazaki; 1997)
Lady Eboshi: What exactly are you here for?
Prince Ashitaka: To see with eyes unclouded by hate.
Life Is Beautiful or La Vita è bella (Roberto Benigni; 1997)
Giosué Orefice: [watching his uncle being sent to the gas chamber] Where is Uncle going?
Guido: Uh... oh, he's playing on a different team. Goodbye, Uncle!
Giosué Orefice: Goodbye, Uncle.
Any advice, comments or recommendations would be greatly appreciated and seriously considered. :-)
Wings of Desire or Der Himmel uber Berlin (Wim Wenders; 1987)
Homer, the aged poet: Where are my heroes? Where are you, my children? Where are my own, the curious ones, the first, the original ones? Name me, muse, the immortal singer who, abandoned by those who listened to him, lost his voice. He who, from the angel of poetry that he was, became a poet, ignored or mocked outside on the threshold of no-man's land.
Withnail and I (Bruce Robinson; 1987)
Withnail: We want the finest wines available to humanity. And we want them here, and we want them now!
Dancer In The Dark (Lars von Trier; 2000)
Selma: Because you just know when it goes really big... and the camera goes like out of the roof... and you just know it's going to end. I hate that. I would leave just after the next to last song... and the film would just go on forever.
Dogville (Lars von Trier; 2003)
Grace: There's a family with kids. Do the kids and make the mother watch. Tell her you'll stop if she can hold back her tears. I owe her that.
Mulholland Drive (David Lynch; 2001)
Cynthia: It's been a very strange day.
Coffee and Cigarettes (Jim Jarmusch; 2003)
Tom Waits: The beauty of quitting is, now that I've quit, I can have one, 'cause I've quit.
Dead Man (Jim Jarmusch; 1995)
Cole Wilson: [seeing a dead marshal's head lying on a woodpile] Looks like a goddamn religious icon!
My Own Private Idaho (Gus van Sant; 1991)
Scott Favor: Why, you wouldn't even look at a clock unless hours were lines of coke, dials looked like the signs of gay bars, or time itself was a fair hustler in black leather.
The Eternal Sunshine of A Spotless Mind (Michel Gondry; 2004)
Clementine: This is it, Joel. It's going to be gone soon.
Joel: I know.
Clementine: What do we do?
Joel: Enjoy it.
Paris, Texas (Wim Wenders; 1984)
Travis: I'm not afraid of heights. I'm afraid of fallin'.
How To Get Ahead in Advertising (Bruce Robinson; 1989)
Denis Dimbleby Bagley: Perhaps if they'd hanged Jesus Christ we'd all be kneeling in front of a fucking gibbet!
Buffalo '66 (Vincent Gallo; 1998)
Billy Brown: I don't need anybody. Do you hear what I said? Do you hear what I said this time? Wanna know the truth? I coulda had any girl I wanted, in school. Any girl I wanted. You know why I didn't have a girlfriend? Huh? Because there was nobody that I liked. Nobody that I liked. That's the truth. I coulda had anybody. There was nobody that I liked because girls stink. They stink. They're evil, and they're all bad. All of them. They're all backstabbers, like you.
The Rocky Horror Picture Show (Jim Sharman; 1975)
Frank: Give yourself over to absolute pleasure. Swim the warm waters of sins of the flesh - erotic nightmares beyond any measure, and sensual daydreams to treasure forever. Can't you just see it? Don't dream it, be it.
Sin City (Frank Miller; 2005)
Dwight: My warrior woman. My Valkyrie. You'll always be mine, always and never. Never. The Fire, baby. It'll burn us both. It'll kill us both. There's no place in this world for our kind of fire. Always and never. If I have to die for you tonight, I will.
Last Days (Gus van Sant; 2005)
Record Executive: Do you say, "I'm sorry, that I'm a rock & roll cliche"?
Elephant (Gus van Sant; 2003)
Alex: So foul and fair a day I have not seen.
The Fountain (Darren Aronofsky; 2006)
Tom Verde: All these years, all these memories, there was you. You pull me through time.
Pi (Darren Aronofsky; 1998)
Sol Robeson: There will be no order, only chaos.
The Elephant Man (David Lynch; 1980)
John Merrick: People are frightened by what they don't understand.
Plumed Dwarf: Luck, my friend, luck. Who needs it more than we?
Tideland (Terry Gilliam; 2005)
Queen Gunhilda: It's your daddy's fault you were the way you were, not mine. 'Cause I loved you... lip smackin' little junkie baby. Irritable and hyperactive, you was, just twitchin' and spasms and convulsions. Your daddy blew smoke in your face to keep you quiet; you know that, mm hmm. I think it what damaged you, well don't blame me, cuz. I breast fed you forever... Jeliza Rose you know I love you, don't you? I'm sorry baby, I'm gonna do something real nice for you real soon some day, I promise.... What the fuck are you doin'? How many times do I have to tell you to stay away from my chocolate, you little bitch?... Oh honey, I don't want you to leave me, Jeliza Rose. I can't get by without you, Jeliza Rose.
C.R.A.Z.Y. (Jean-Marc Vallée; 2005)
Antoine Beaulieu: [after he surprised Zac imitating Bowie] You done imitating that fucking fag? Huh?! You're making us look like a bunch of idiots.
Monty Python's And Now For Something Completely Different (Ian McNaughton; 1971)
Sergeant-Major: Now, I would just like to point out that this film is displaying a distinct tendency to become SILLY. Now, nobody likes a good laugh more than I do... except, perhaps my wife... and some of her friends. Oh, yes, and Captain Johnson. Come to think of it, most people like a good laugh more than I do, but that's beside the point! I'm warning this film NOT to get SILLY again! Right!
Monty Python's The Meaning of Life (Terry Jones, Terry Gilliam; 1983)
Humphrey: And spotteth twice they the camels before the third hour. And so the Midianites went forth to Ram Gilead in Kadesh Bilgemath by Shor Ethra Regalion, to the house of Gash-Bil-Betheul-Bazda, he who brought the butter dish to Balshazar and the tent peg to the house of Rashomon, and there slew they the goats, yea, and placed they the bits in little pots. Here endeth the lesson.
The Graduate (Mike Nichols; 1967)
Mr. Braddock: Would you mind telling me then what those four years of college were for? What was the point of all that hard work?
Benjamin: You got me.
Monty Python's Life of Brian (Terry Jones; 1979)
Brian: You're all different!
The Crowd: Yes, we ARE all different!
Man in crowd: I'm not...
The Crowd: Schhh!
The Tin Drum or Die Blechtrommel (Volker Schlöndorff; 1979)
Oskar Matzerath: You know, Mr. Bebra... to tell the truth, I prefer to be a member of the audience, and let my little art flower in secret.
The United States of Leland (Matthew Ryan Hoge; 2003)
Albert T. Fitzgerald: I recall when our lives were unusual and electric. When we burned with something close to fire. But now we sway to a different rhythm. Lives lived without meaning or even directed hope. The passage of time measured only by loss. Loss of a job, loss of a minivan... a son.
Leland: The worst part is knowing that there is goodness in people. Mostly it stays deep down and buried. Maybe we don't have God because we're scared of the bad stuff. Maybe we're really scared of the good stuff. Because if there's no God, well, that means it's inside of us and we could be good all the time if we wanted. So when we do bad things, it'd be because we want to or because we have to. Or maybe we just need the bad stuff to remind us what the good stuff is in the first place.
Leland: It covers my eyes. It's all I can see. Say there's some kids playing baseball. All I see is the one kid they won't let play because he tells corny jokes. And no-one thinks they're funny. Or I see a boy and a girl in love and kissing, you know. I just see that they're gonna be one of those sad old couples one day who just cheats on each other and can't even look at each other in the eye. And I feel it. I feel all of their sadness. I feel it probably even worse than that sad old couple or that corny kid will ever feel it.
Le Locataire or The Tenant (Roman Polanski; 1976)
Trelkovsky: If you cut off my head, what would I say... Me and my head, or me and my body? What right has my head to call itself me?
Spirited Away or Sen to Chihiro no Kamikakushi(Hayao Miyazaki; 2001)
Chihiro: Daddy, are we lost?
Chihiro's Father: Don't worry, I've got four-wheel drive.
Princess Mononoke or Mononoke-hime (Hayao Miyazaki; 1997)
Lady Eboshi: What exactly are you here for?
Prince Ashitaka: To see with eyes unclouded by hate.
Life Is Beautiful or La Vita è bella (Roberto Benigni; 1997)
Giosué Orefice: [watching his uncle being sent to the gas chamber] Where is Uncle going?
Guido: Uh... oh, he's playing on a different team. Goodbye, Uncle!
Giosué Orefice: Goodbye, Uncle.
Any advice, comments or recommendations would be greatly appreciated and seriously considered. :-)
