Blog Archives
Movie Quote of the Day – The Grifters, 1990 (dir. Stephen Frears)
Myra Langtry: I’m Roy’s friend.
Lilly Dillon: Yes. I imagine you’re lots of people’s friend.
Myra Langtry: Oh, of course, now that I see you in the light, you’re plenty old enough to be Roy’s mother.
Lilly Dillon: Aren’t we all?
Roy Dillon: Play nice. Don’t fight.
Movie Quote of the Day – Bullets Over Broadway, 1994 (dir. Woody Allen)
David Shayne: Helen, have you thought about what I said before about the way I feel—
Helen Sinclair: Don’t speak.
David Shayne: But, I. . . I want to express—
Helen Sinclair: Don’t. . .speak. Don’t!
David Shayne: Just a few things that I want to tell you—
Helen Sinclair: Don’t. . .speak!
David Shayne: When we first met—
Helen Sinclair: No, no, don’t speak. Don’t speak. Please don’t speak. Please don’t speak. No. No. No. Go. Go, gentle Scorpio, go. Your Pisces wishes you every happy return.
David Shayne: Just one—
Helen Sinclair: Don’t speak!
Movie Quote of the Day – Pushing Tin, 1999 (dir. Mike Newell)
Russell Bell: Thought is the enemy.
Nick Falzone: I know. I’ve gotta think less. I had that thought, actually.
Movie Quote of the Day – Serendipity, 2001 (dir. Peter Chelsom)
Jonathan: Maybe I am just getting cold feet.
Dean: I’m telling you right now British women do not age well. Eight years ago she was a luscious treat, you know, she probably looked like, you know, Baby Spice, now she could look like…
Jonathan: Old Spice.
Movie Quote of the Day – High Fidelity, 2000 (dir. Stephen Frears)
Rob: What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?
Movie Quote of the Day – Grosse Point Blank, 1997 (dir. George Armitage)
Martin Q. Blank: Dr. Oatman, please pick up, pick up! It’s Martin Blank! I, I’m standing where my, uh, living room was and it’s not here because my house is gone and it’s an Ultimart! You can never go home again, Oatman… but I guess you can shop there.
Movie Quote of the Day – Say Anything…, 1989 (dir. Cameron Crowe)
Lloyd Dobler: I don’t want to sell anything, buy anything, or process anything as a career. I don’t want to sell anything bought or processed, or buy anything sold or processed, or process anything sold, bought, or processed, or repair anything sold, bought, or processed. You know, as a career, I don’t want to do that.
Movie Quote of the Day – America’s Sweethearts, 2001 (dir. Joe Roth)
Wellness Guide: This letter, Edward, is a very important part of the healing process. By writing to your mother, you afford yourself the opportunity to thank her, or forgive her, or to ask her why she did the things she did. Now we don’t mail the letter, but the simple act of putting it on paper frees you, allows you to let go. Now… what did you say to your mother?
Eddie: [reading] “Dear Mom, Fuck you.”
Wellness Guide: Okay. We’ll try the letter some other time.
Oscar Vault Monday – The Thin Red Line, 1998 (dir. Terrence Malick)
Malick was one of the most acclaimed directors in the 1970s, with two highly acclaimed dramas – 1973’s Badlands and 1978’s Days of Heaven. He then disappeared for nearly twenty years before production of The Thin Red Line started. The result is an astounding WWII ensemble based on the novel of the same name by James Jones (who’s other book, From Here To Eternity was turned into a film in 1953 and won 8 Oscars). There is a version of The Thin Red Line from 1964 that I’m told is more true to the book; I’ve yet to see it. I also don’t really care if it’s more true to the book because I love what Malick did with this story. This film is one of my Top Ten Films of All Time. It was nominated for 7 Oscars in 1998 although it didn’t win a single award. It was up against Saving Private Ryan, Shakespeare In Love, Elizabeth and Life Is Beautiful.
