Monthly Archives: March 2013
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: I 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. . .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?. . .Mr Lundegaard.
Jerry Lundegaard: Well, heck! If you wanna. . .if you wanna play games here. . .I’m workin’ with ya on this thing here, but. . .okay, I’ll do a damn lot count.
Marge Gunderson: Sir, right now?
Jerry Lundegaard: Yah, right now. You’re darned tootin’.
Mavis: Listen you guys, when you turn around and you face your audience for the first time, bam! It’s gotta have style, boom! It’s gotta have the three Ts. You know what the three Ts are? Teeth, taps and tits.
Rose: You only got two Ts, right Geoffrey?
Sylvia: Don’t worry, Geoffrey, I’ve got plenty. You can have some of mine.
When I first saw Ang Lee’s adaptation of Jane Austen’s Sense and Sensibility, I had just finished reading the book and to be quite honest, I didn’t care for it all that much. Emma Thompson won an Oscar for her adapted screenplay and, when I first saw it, I was really unhappy with the changes she’d made to the story and some of the characters. But after repeat viewings, I fell deeply in love with the film, despite said changes. I think it’s really one of those times where you have to suit the story for a new medium and modern audiences (kind of like the 2006 version of The Painted Veil). Sense and Sensibility was nominated for seven Academy Awards, winning one: Best Dramatic Score, Best Costume Design, Best Cinematography, Best Adapted Screenplay Emma Thompson (won), Best Supporting Actress Kate Winslet, Best Actress Emma Thompson and Best Picture. The other films nominated for Best Picture that year were Apollo 13, Babe, Il Postino and winner Braveheart. Both Ron Howard (Apollo 13) and Ang Lee were not nominated for Best Director, despite their films being nominated for Best Picture. Those two spots were given to Tim Robbins (Dead Man Walking) and Mike Figgis (Leaving Las Vegas). Lee, however, was nominated for Best Director by several critic associations, as well as at the BAFTAs, the Golden Globes and the DGA. He was also named Best Director by the National Board of Review.
Luis Molina: Have some. It’s delicious.
Valentin Arregui: No, thanks.
Luis Molina: What’s the matter? You don’t like it?
Valentin Arregui: Sure, I like it, but, no, thanks.
Luis Molina: Well, then go ahead and have some. It’s a long time till lunch.
Valentin Arregui: Can’t afford to get spoiled.
Luis Molina: Do you really think that eating this avocado will make you spoiled and weak? Enjoy what life offers you.
Valentin Arregui: What life offers me is the struggle. When you’re dedicated to that, pleasure becomes secondary.
Luis Molina: Does your girlfriend think the same thing?
Valentin Arregui: How do you know I have a girl?
Luis Molina: It’s. . .the normal thing. Does she avoid pleasure, too?
Valentin Arregui: She knows what really counts. That the most important thing is serving a cause that is noble.
Luis Molina: What kind of cause is that, one that doesn’t let you eat an avocado?
Valentin Arregui: Molina, you would never understand.
Luis Molina: Well, I understand one thing. I offer you half of my precious avocado and you throw it back in my face.
Valentin Arregui: Don’t act like that! You sound just like a —
Luis Molina: Like a what? Say it. Say it. Like a woman, you mean. What’s wrong with being like a woman? Why do only women get to be sensitive? Why not a man? A dog? Or a faggot? If more men acted like women, there wouldn’t be so much violence like that.
CC: What do you think?
Hillary: Oh, it’s gorgeous!
CC: Do I look like Marilyn? I don’t look a thing like Marilyn.
Hillary: My turn. How is it?
CC: Hillary, it’s exactly the same color.
Hillary: What’s wrong? No, it isn’t. No.
CC: You just spent two hours dying your hair exactly the same color.
Hillary: It’s a subtle difference.
CC: I don’t think so.
Marcia Sindell: Paul, since you brought her up,. . .I have to ask you this or I’ll be drummed out of the agents’ union. How would you feel about a non-fiction book, about what went on in that house?
Paul Sheldon: Gee, Marcia, if I didn’t know you better, I’d think you were suggesting I dredge up the worst horror of my life just so we can make a few bucks.
Marcia Sindell: I thought you were over it.
Paul Sheldon: I don’t know if anyone could totally get over something like that. It’s weird. Even though I know she’s dead, I still think about her once in a while.
Waitress: Excuse me. I don’t mean to bother you, but are you Paul Sheldon?
Paul Sheldon: Yes.
Waitress: I just wanna tell you, I’m your number one fan.
Paul Sheldon: That’s very sweet of you.
Judd: To the perfect crime!
Artie: Crime?! Oh, my wealthy fraternity brothers. Sixty-seven dollars! And a secondhand typewriter. I told you to leave it alone. No, you were so scared, you froze to it.
Judd: It was the first time, Artie. The next time, it’ll be all right.
Artie: If there is a next time. When we made the deal, you said you could take orders. You said you wanted me to command you.
Judd: I do. As long as you keep your part of the agreement.