Author Archives: Marya E. Gates
Movie Quote of the Day – Pulp Fiction, 1994 (dir. Quentin Tarantino)
Mia: Don’t you hate that?
Vincent: What?
Mia: Uncomfortable silences. Why do we feel it’s necessary to yak about bullshit in order to be comfortable?
Vincent: I don’t know. That’s a good question.
Mia: That’s when you know you’ve found somebody special. When you can just shut the fuck up for a minute and comfortably enjoy the silence.
Movie Quote of the Day – Footloose, 1984 (dir. Herbert Ross)
Ren: You like Men At Work?
Willard: What men?
Ren: Men at work.
Willard: Well where do they work?
Ren: No, they’re a music group.
Willard: Well what do they call themselves?
Ren: Oh no! What about the Police?
Willard: What about ’em?
Ren: You ever heard them?
Willard: No, but I seen them.
Ren: Where, in concert?
Willard: No, behind you.
Auteur of the Week: Sam Mendes
We often hear about an actor’s range and praise them for working in a variety of genres, etc. Rarely, however, do we hear the same praise for directors. Sam Mendes is one of those directors who never does the same thing twice. His debut film, 1999’s American Beauty was a slice of life family drama. It went on to win five Academy Awards, including Best Picture and Best Director. His second film, 2002’s Road To Perdition was a period crime drama. In 2005 he made the dark comedy/war drama Jarhead. Three years later was the 2008 literary adaptation/period drama Revolutionary Road, which he followed up less than six months later with the indie dramedy Away We Go. Each of these films is so different from the other, but what they all have in common is Mendes’ strong direction, resulting in a plethora of amazing, complicated, compelling performances.
Oscar Vault Monday – Babe, 1995 (dir. Chris Noonan)
Whenever I think about the 1995 Oscar race I smile a little. It was such a strange and varied year. Up for Best Picture you had a foreign language film – Il Postino, an Oscar-bait period classic literature adaptation – Sense and Sensibility, a slice of American History – Apollo 13, a historical epic – Braveheart (it won) and a fable-esque adaptation of a beloved children’s novel – Babe. I still haven’t seen Il Postino, but I love all four of the other films on this list. Babe, however, will always have a special place in my heart. I read the book when I was in third grade and the film came out when I was in fourth grade – making it the very first film I’d ever seen wherein I’d read the book beforehand. I was so excited to see it and it did not disappoint. I even noticed things like the field where the sheep dog trials took place being named “Kingsmith Fairgrounds” – the author of the book is named Dick King-Smith. This is truly a magical film and I don’t know a single person who’s seen it who doesn’t at least like it, if not love it. It even has a 98% Fresh rating on Rotten Tomatoes. In the end it was nominated for seven Academy Awards – Best Visual Effects (it won), Best Art Direction/Set Decoration, Best Film Editing, Best Supporting Actor – James Cromwell, Best Adapted Screenplay, Best Director – Chris Noonan and Best Picture.
Movie Quote of the Day – 2 Days in Paris, 2007 (dir. Julie Delpy)
Marion: It always fascinated me how people go from loving you madly to nothing at all, nothing. It hurts so much. When I feel someone is going to leave me, I have a tendency to break up first before I get to hear the whole thing. Here it is. One more, one less. Another wasted love story. I really love this one. When I think that it’s over, that I’ll never see him again like this… well yes, I’ll bump into him, we’ll meet our new boyfriend and girlfriend, act as if we had never been together, then we’ll slowly think of each other less and less until we forget each other completely. Almost. Always the same for me. Break up, break down. Drunk up, fool around. Meet one guy, then another, fuck around. Forget the one and only. Then after a few months of total emptiness start again to look for true love, desperately look everywhere and after two years of loneliness meet a new love and swear it is the one, until that one is gone as well. There’s a moment in life where you can’t recover any more from another break-up. And even if this person bugs you sixty percent of the time, well you still can’t live without him. And even if he wakes you up every day by sneezing right in your face, well you love his sneezes more than anyone else’s kisses.
The Best Pictures That Weren’t Nominated For Best Picture
This list is twenty-one films that were nominated for multiple Oscars, including several that were nominated for Best Director, yet somehow missed out on a Best Picture nomination. I’m starting in 1951 because I went all the way down to 1927 and mostly, until 1951, the best films managed to get nom’d for Best Picture. I think this mostly had to do with all the years wherein ten films were nominated for the top prize. Although, last year when there were ten slots again there were several films I would have nom’d over say, The Blind Side. I’m not going to talk about any of those though, because that would take up almost the whole post. Instead, I have twenty-one films from 1951 to 2008 that I think should have gotten one of the Best Picture slots of their year.
Movie Quote of the Day – Fahrenheit 451, 1966 (dir. François Truffaut)
Montag: [reading] There can be no disparity in marriage like unsuitability of mind and purpose. I had endeavored to adapt Dora to myself and found it impracticable. It remained for me to adapt myself to Dora, to share with her what I could and be happy. It made my second year much happier than my first, and, what was better still, made Dora’s life all sunshine. But as that year wore on, Dora was not strong. I had hoped that lighter hands than mine would help to mold her character and that a baby’s smile upon her breast might change my child-wife to a woman. It was not to be. My pretty Dora. We thought she would be running about as she used to do in a few days. But they said wait a few days more, and then wait a few days more, and still she neither ran nor walked. I began to carry her downstairs every morning and upstairs every night. But sometimes when I took her up, I felt that she was lighter in my arms. A dead, blank feeling came upon me, as if I were approaching some frozen region yet unseen that numbed my life. I avoided direct recognition of this feeling by any name, over any communing with myself. Until one night when it was very strong upon me and my aunt had left her with her parting cry, ‘Oh, good-bye, little blossom.’ I sat down at my desk, alone, and tried to think. Oh, what a fatal name it was. And how the blossom withered in its bloom up in the tree.
[Doris bursts into tears]
Jackie: I knew that’s what would happen. It’s what I’ve always said. Life isn’t like novels, novels and tears, novels and suicide. Novels are sick. That was sheer cruelty, Montag. You’re a cruel man.
Helen: All those words; idiotic words. Evil words that hurt people. Isn’t there enough trouble as it is? Why disturb people with that sort of filth?
Linda: Poor, Doris.
Helen: Bye, Linda. We were having such a nice party. Such a shame.
Doris: I can’t bear to know those feelings. I’d forgotten all about those things.
Linda: Oh, I’m sorry, Doris.

























