text:
Rounders (film)

Rounders is a 1998 film about a reformed gambler who must return to playing big stakes poker to help a friend pay off loan sharks.
 * Directed by John Dahl. Written by David Levien Brian Koppelman

You've got to play the hand you're dealt. taglines

Mike McDermott

 * Listen, here's the thing. If you can't spot the sucker in your first half-hour at the table, then you are the sucker. Guys around here will tell ya, you play for a living, it's like any other job. You don't gamble, you grind it out. Your goal is to win one big bet an hour, that's it. Get your money in when you have the best of it. Protect it when you don't. Don't give anything away. That's how I paid my way through half of law school. A true grinder. You see, I learned how to win a little at a time. But finally I've learned this: if you're too careful, your whole life can become a fuckin' grind.
 * I've often seen these people, these squares at the table, short stack and long odds against them. All their outs gone. One last card in the deck that can help them. I used to wonder how they could let themselves get into such bad shape, and how the hell they thought they could turn it around.
 * We're not playing together. But then again, we're not playing against each other either. It's like the Nature Channel. You don't see piranhas eating each other, do you?
 * It's immoral to let a sucker keep his money.

Teddy KGB

 * Just like a young man coming in for a quickie. I feel so unsatisfied.

Dialogue

 * Worm: I guess the saying's true. In the poker game of life, women are the rake. They are the fucking rake.
 * Mike: What the fuck are you talking about? What saying?
 * Worm: I don't know. There oughta be one.

 * Mike: You comin' up?
 * Worm: No, I've been standin' out here all this time just to say hi.
 * Mike: All right, listen. Things haven't been so smooth on the home front, so tone it down a little, all right?
 * Worm: Tone down what, motherfucker?
 * Mike: Great. Never mind.

 * Worm: Can you believe that? She's really got him by the balls.
 * Petra: Is that so bad?
 * Worm: Depends on the grip.

 * Mike: So, uh, Nick the Greek, what's with kiting my checks?
 * Worm: I'm on empty.
 * Mike: How much was the hooker?
 * Worm: Mike, please! "Relaxation therapist!"

 * Worm: Hey, you know what cheers me up when I'm feeling shitty?
 * Mike: What?
 * Worm: Rolled-up aces over kings.
 * Mike: Is that right?
 * Worm: Check-raising stupid tourists and taking huge pots off of them.
 * Mike: Yeah?
 * Worm: Stacks and towers of checks I can't even see over. Playing all-night, high-limit hold'em at the Taj, "where the sand turns to gold."
 * Mike: Fuck it, let's go.
 * Worm: Don't tease me.
 * Mike: Let's play some fucking cards!
 * Worm: Yes!

 * Mike: Fifteen grand in five days, I can do that. I've gone on rushes like that before.
 * Worm: Uh, under optimum conditions with a bank roll. Maybe, maybe. But... what do you got on you?
 * Mike: I got, like, 350.
 * Worm: Nah, that's only 1200 between us. We might as well play the fucking lotto.

 * Worm: Oh yeah, one more thing, I got a feelin'.
 * Mike: Yeah? What feeling is that?
 * Worm: I know you know this feeling. You know this feeling very well. I mean, you got your table all set up, your fork, your knife, your A1 sauce...
 * Mike and Worm: All you need is the stake.

 * Mike: [after getting thrown out of a game] What the fuck were you thinking?
 * Worm: I was trying to give us an edge.
 * Mike: I had them.
 * Worm: Look, I'm sorry we got banged up, I took a shot and missed. It happens.
 * Mike: Happens all the time around you.
 * Worm: And it doesn't happen to you? You're the one that flushed his whole bank roll on one hand.
 * Mike: Oh, fuck you, man, that was different.
 * Worm: How is that different? What makes you so fucking special? Why are all your moves so smart and noble and I'm always the idiot piece of shit? You act like you're only one with any ambition.
 * Mike: Then what's your ambition? I don't know, you tell me.
 * Worm: I don't know, I don't think like that.
 * Mike: No, you don't think.
 * Worm: No, I don't think like you, you always think you can beat the game straight up. That's not me, and I'm always going to look for that edge, always.
 * Mike: Alright, what's the edge now? We owe fifteen grand in a day and we're broke, what the fuck do we do?
 * Worm: That's easy, we get the fuck outta Dodge. We go on the road, we stay out of the city for a bit, this will all blow over.
 * Mike: Not a chance am I gonna live that way. You call Grama, you get him to stake me.
 * Worm: ...we're not just dealing with Grama.
 * Mike: You said Grama was on his own. You said Grama was on his own!
 * Worm: KGB bankrolled him.
 * Mike: [scoffs] So you just fucked us right in the ass.
 * Worm: Yeah. So no fooling around, it's highway time.

 * Petrovsky: For generations, men of my family have been rabbis. In Israel; before that, in Europe. It was to be my calling. I was quite a prodigy, the pride of my yeshiva. The elders said I had a forty-year-old's understanding of the Midrash by the time I was twelve. But by the time I was thirteen, I knew I could never be a rabbi.
 * Mike: Why not?
 * Petrovsky: Because for all I understood of the Talmud, I never saw God there.
 * Mike: You couldn't lie to yourself.
 * Petrovsky: I tried. I tried like crazy. I mean, people were counting on me.
 * Mike: But yours is a respectable profession.
 * Petrovsky: Not to my family. My parents were destroyed, devastated by my decision. My father sent me away to New York, to live with distant cousins. Eventually, I found my place, my life's work.
 * Mike: What then?
 * Petrovsky: Well, I immersed myself fully. I studied the minutiae. I learned everything I could about the law. I mean, I felt deeply inside that it was what I was born to do.
 * Mike: And did your parents get over it?
 * Petrovsky: No. I always hoped that I would find some way to change their minds, but they were inconsolable. My father never spoke to me again.
 * Mike: If you had to do it all over again, would you make the same choices?
 * Petrovsky: What choice? The last thing I took away from the yeshiva is this: We can't run from who we are. Our destiny chooses us.

 * Mike: Uh, you know what? I got my five grand here. That's just fine by me. I'm going home.
 * Teddy KGB: Fine. It's a fucking joke anyway. After all, I am paying you with your money.
 * Mike: What did you say?
 * Teddy KGB: Your money... I am still up twenty grand... from this last time I stick it in you.
 * Mike: [Narrating] They're trying to goad me, trying to own me. But this isn't a gunfight. It's not about pride or ego. It's only about money. I can leave now, even with Grama and KGB... and halfway to paying Petrovsky back. That's the safe play. I told Worm you can't lose what you don't put in the middle. But you can't win much either.

 * Grama: Enough is enough, Teddy. Finish the fucking kid off.
 * Teddy KGB: Hanging around, hanging around. Kid's got alligator blood. Can't get rid of him.

 * Mike: All right, I'll call the two grand, I'll gamble. Don't splash the pot.
 * Teddy KGB: You're on a draw, Mike? Throw away this one. It's not good for you. And in my club, I will splash the pot whenever the fuck I please.

 * [Teddy KGB reveals the river card: an ace.]
 * Teddy KGB: It hurts, doesn't it? You can't believe what fell. All your dreams... dashed. Hopes down the fucking drain. [motioning to Grama] Your fate is sitting right beside you. That ace could not have helped you. [splashing the pot repeatedly, with a flourish] I bet it all.
 * Mike: You're right that the ace didn't help me. [revealing his hand] I flopped the nut straight.
 * Teddy KGB: [throwing cards and chips] Motherfucker! ёб твою мать! Motherfucker! That is it!
 * Grama: That's it? What the fuck you talkin' about, "that's it"? Take him out, Teddy!
 * Teddy KGB: Nyet! Nyet! No more! No, not tonight! This son of bitch, all night he check, check, check! He trapped me!
 * Mike: Well, you feelin' satisfied now, Teddy? 'Cause I can go on bustin' you up all night.
 * [Teddy's henchmen begin to move in on Mike.]
 * Teddy KGB: Nyet, nyet. He beat me. Straight up. Pay him. Pay that man his money.

 * [last lines of the movie]
 * Taxi Driver: Vegas, huh?
 * Mike: Yep.
 * Taxi Driver: Good luck, man.
 * Mike: [narrating] People insist on calling it luck. [to taxi driver] Thanks. [narrating] First prize at the World Series of Poker is a million dollars. Does it have my name on it?  I don't know.  But I'm going to find out.

Taglines

 * You've got to play the hand you're dealt.
 * In The Game Of Life... Play The Cards You're Dealt
 * Trust everyone... but always cut the cards
 * Pick a card, any card
 * It's immoral to let a sucker keep his money

Cast

 * Matt Damon - Mike McDermott
 * Edward Norton - Lester "Worm" Murphy
 * John Malkovich - Teddy KGB
 * John Turturro - Joey Knish
 * Famke Janssen - Petra
 * Michael Rispoli - Grama
 * Martin Landau - Abe Petrovsky
 * Gretchen Mol - Jo
 * Paul Sorvino - Russian Thug
 * Melina Kanakaredes - Barbara
 * Josh Mostel - Zagosh

title: Rounders (film)


text:
Mahendra Chaudhry

Mahendra Chaudhry is the leader of the Fiji Labour Party and a former Prime Minister, who was deposed in the coup d'état of 2000.

Miscellaneous quotes

 * "I was born here. I am not a foreigner here. I have every right to fight for this country. We are not going to subjugate ourselves to a constitution … signing away all our rights and agreeing to be slaves."

"The Legacy of Ratu Sir Kamisese Mara" - Memorial Lecture, Waterfront Hotel, Lautoka, 27 August 2003

 * "There is absolutely no doubt that our future as a nation, lies in drawing strength from the richness of the cultural diversity that surrounds us, for in that alone lies our sustainability and viability as a sovereign state."

"Diwali is an integral part of Hindu culture" - speech at Diwali celebrations in Ba, 2 November 2002

 * "It is part of our identity as Hindus and the Festival of Lights is today a celebration of the beauty of our culture, our Hindu values which, let me assure you, are second to none in the world."

 * "We as a community have become so immersed in rituals and hundreds of paraphernalia when it comes to religion that we are no longer aware of the real wisdom of Hinduism."

Opposition to the proposed Reconciliation and Unity Commission

 * "This nation made a mistake the first time it granted amnesty to the perpetrators of the 1987 coup. The trust and confidence we showed then was sadly displaced. This time around, we must take a hard line attitude to those who think they can overthrow a democratically-elected government with impunity.  We have to stamp out this coup-culture that has developed in Fiji."  (20 May 2005)

 * "It is disgraceful that the Prime Minister should deceive Church leaders to get their support for the Bill. He then had the audacity to mislead the nation by claiming that the Bill had the support of Christians." (Commenting on allegations made by Roman Catholic Archbishop Petero Mataca that Qarase had misled church leaders about the true contents of the legislation).

 * "It is wrong for others to be asking for forgiveness on behalf of those who had committed the crime because it is not right." (29 June 2005)

 * "The current provisions in the Bill purporting to promote reconciliation are seriously flawed. There should be clear provisions for those appearing before the reconciliation commission to admit the truth under oath and to divulge all that they know about the events of 2000." (2 August 2005)

 * "Without [the coup perpetrators] divulging the information they have, there can not really be any reconciliation. It will merely be a vehicle for them to escape justice as is the provision in the current Bill. There is no compulsion on them to come and tell the truth to the Commission about what actually happened, who were behind it, who were the key figures?" (2 August 2005)

Comments on Fiji's high emigration rate (19 June 2005)

 * "If the trend continues, Fiji will be left with a large pool of poorly educated, unskilled work force with disastrous consequences on our social and economic infrastructure and levels of investment."

 * "A lack of good governance, political instability, declining law and order situation, racial discrimination and lack of opportunities are the major reasons driving people away from Fiji."

Speech at a farewell function for outgoing United States Ambassador David Lyon, 15 July 2005 (excerpts)

 * "All too often, problems are left to simmer until too late, with disastrous consequences to the people who become victims of the excesses committed on them by self-centred and self-serving leaders."

 * "To hide behind culture or tradition to justify anarchy is a gross insult to the very people whose culture or tradition may be paraded to glorify criminal conduct."

Message to the California Fiji Festival 2005
''The California Fiji Festival, held in July 2005, was a get-together for former Fijian residents living in California. These excerpts are from a greeting Mahendra Chaudhry wrote in the festival's souvenir magazine.''

 * "I firmly believe that you all should identify yourselves as Fijian Americans, Fijian Canadians even though this right of being called a Fijian is denied to us (except the indigenous people) in our homeland of Fiji."

 * "It (North America) has drawn heavily from the strength of each community of its people to build the richest and the most powerful nations on earth. You are privileged and fortunate to be in a land that recognises and rewards individual talent and enterprise."

Address to the conference of the Fiji Labour Party, Lautoka, 31 July 2005

 * "These coups did not bolster indigenous rights as claimed by its perpetrators instead they left us a legacy of a shattered economy, lost opportunities, racial rivalries and tensions, political divisiveness, unprecedented levels of poverty and unemployment and so on - yes that is exactly what the three coups have reduced our nation to."

 * "The 18 years since 1987 brought us nothing but bad leadership and bad governance. "

 * "Viewed against such a backdrop, there is creeping anxiety about the future of our nation, characterised as it is by deep communal divisions and a disturbingly high rate of out-migration of our skilled people."

 * "You have the choice to be governed by those who aim to keep us segregated in racial compartments so they can continue to enjoy their privileged status in society, at your expense."

 * "If you as the voters exercise this choice then you must remain content with whatever has come your way in the past four years under the Soqosoqo Duavata ni Lewenivanua rule. But no, you must indeed be prepared to face even worst times because under the SDL there will be more instability and divisiveness. The economy will dip further, more and more people will be leaving our shores and the resources of the indigenous people will continue to be shamelessly exploited by bureaucrats, unscrupulous politicians and their collaborators for their own gain."

Interview with Fiji Live, 22 August 2005

 * "I have always held the belief that Fijians must be integrated into the mainstream of national life. You can't keep them isolated from the other communities and from the mainstream of life and expect them to progress."

 * "The status quo is not good for the ordinary Fijians. It is good for the elites in society but not for the ordinary Fijians. This is why you have not seen the ordinary Fijians progress much in the last 35 years since independence. It needs a change in policy and strategies for the development of the grassroots Fijian people."

 * "A more individual approach to society must be taken. That is an incentive based system which will ensure that given the appropriate training, guidance and advice they will progress through such are system as other communities have."

 * "You can still fulfil your traditional obligations but the contradiction in the system between the communal approach and the free market approach needs to be addressed."

 * "Culture is also something that can not be stagnant."

== Reaction to Prime Minister Laisenia Qarase's address to the Commonwealth Parliamentary Association in Nadi, 31 August 2005 ==

 * "It is these double standards that have and are still keeping the ordinary Fijian shackled to a now outdated system of feudal control, thus contributing to their poverty and misery, whilst certain chiefs and a large number of Fijian elites continue to substantially increase their wealth at the expense of their poorer subjects."

 * "The rule of law must apply equally to everyone, irrespective of status in society or class divisions it is this equal application that is the bulwark of modern democracies."

Reaction to Prime Minister Laisenia Qarase's address to the Fiji Employers Federation in Nadi, 4 September 2005

 * "It was the FLP that was committed to reducing the cost of doing business and started by lowering the cost of utilities, and requested the commercial banks and lending organizations to reduce their fees, charges and interest rates. The FLP also moved to reduce public expenditure, which saw a saving of $96 million in its year in office.  It was also the FLP, which lowered interest in Housing Authority home loans from 12 per cent to 6 per cent for those on lower incomes.  It was the aggregate effect of this and a range of other measures of tight fiscal control, investment in key growth areas and a firm hand on curbing corruption that saw the economy record an unprecedented growth of 9.6% in 1999."

Fiji Day address, 10 October 2005 (excerpts)

 * "As a nation we have not progressed much, particularly after 1987 when we had the political upheaval. Last 18 years since has been a sad story where we have seen a nation which was happy, prosperous, and united flight back to poverty, misery, and division."

 * "The last 18 years has been spent standing and trying to catch up on things, and as we were getting out of that we had another coup in 2000 so we were thrown back again several. That is how I see this day: it is a day of honest reflection and if we want to move the nation forward than we have to really determine the way, learn to read ourselves to the problem that we have and particularly the people who cause this problem."

Parliamentary speech, 14 November 2005 (excerpts)
Source: Fiji Times, 15 November 2005

 * "The message in the last five years, in particular, has come through loud and clear: We need to get together as a nation. If we are to surmount our many problems, if we are to realise our full potential as a nation so that the benefits of developments are passed on to all and sundry, then we must reject racist and fundamentalist forces."

Parliamentary speech, 2 December 2005 (excerpts)
Source: Fiji Times, 3 December 2005 (on allegations that funds had been raised for him in the Indian state of Haryana, but had not been delivered).

 * "At no time did I ask Shri Chautala to launch such an appeal which he did at a public meeting in Haryana and in the course of my visit to India following my release from captivity."

 * "My detractors here are engaged in a propaganda that I have received the money and used it for my own purposes.''

 * "My anger about the whole episode is that Shri Chautala should exploit the feelings of the ordinary and poor folks of Haryana who are emotionally tied to me and to the people of Indian origin in Fiji and play on them a game of deceit for self enrichment."

Christmas message, 22 December 2005 (excerpts)
''Source: Fiji Live, 22 December 2005

 * "Christ’s message is universal: To do good, to care for the poor, to love one’s neighbour, to serve honestly and with integrity."

 * "I’m sure that with tolerance and understanding of each other’s cultural identities, compassion for those less fortunate than ourselves and a passionate commitment to all that is fair, socially just and honest we can build a united and prosperous society in Fiji."

 * "But first we must get rid of the bigotry, the fundamentalism and the misconceptions that continue to threaten to keep us apart as a nation."

New Year message, 22 December 2005 (excerpts)
''Source: Fiji Times, 02 January 2006

 * "The Government's determination to push through the controversial Amnesty Bill has created deep divisions in the nation, and leaves behind indelible impressions of an administration that backs lawless elements in society."

Quotes about Mahendra Chaudhry

 * Laisenia Qarase, Prime Minister since 2000: "(These protests) are led by a man who has been convicted by the Suva magistrate’s court for causing the death of a person. Mr Chaudhry himself was convicted sometime back for manslaughter and he was released from prison only three days after serving his sentence on a CSO (Compulsory Supervision Order)." (accusing Chaudhry of hypocrisy for campaigning against the early release of politicians jailed for their part in the 2000 coup).

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Mahendra Chaudhry


text:
Dawn of the Dead

Dawn of the Dead may refer to either of the following films:

 * Dawn of the Dead (1978 film), the original film, directed by George A. Romero
 * Dawn of the Dead (2004 film), a remake film, starring Sarah Polley, Ving Rhames, Jake Weber, Lindy Booth, and Mekhi Phifer.

title: Dawn of the Dead


text:
Talk:O Brother, Where Art Thou?

I attempted to clean the article up. I made seperate section for song snippets and dialogue snippets, and I made the dialogues to look much like those on the whole Veronica Mars/Buffy/Gilmore Girls movement. There are no character links, so the main thing about the quotes is that each line begins with:

Lines which describe action to give context are with [something happens]. Quotes are seperated by <hr width=50%/>.

There was only one quote I removed:

* He's a live wire, though, ain't he?

It had no originator, and I did not remember it. Feel free to add it back with appropriate meta-data.

MosheZadka 00:57, 20 May 2005 (UTC)

Improvement or ?
This article was radically changed. I am not sure if it is improvement or not. If you know this, please check it. Thanks. --Aphaia 5 July 2005 22:55 (UTC)

The delmar line "[to George] Friend? Some of your foldin' money is come unstoled."

should be:

[to George] Friend? Some of your foldin' money is come unstowed.

Tagline
What's a tagline?

Quote limit
As part of the Copyright Cleanup Project to avoid violation of copyright laws, this article has been trimmed to its limit of no more than 9 medium-sized quotes, based on its running time of 106 minutes. If you would like to add another quote to the page, you must first remove one already there. Please see Limits on quotations for more information. ~ UDScott 16:39, 22 December 2008 (UTC)

Missing key quotes
"My hair!" "Damn, we're in a tight spot" "I'm the dang-gum pater familias" "You two are just dumber than a bag of hammers" "In the neighborhood of B, boys" "Is you is, or is you ain't, my constituents?" "Where's the happy little tire swing" -- 69.92.175.16 05:12, 9 April 2009 (UTC)

title: Talk:O Brother, Where Art Thou?


text:
Talk:Errol Morris

I know that the wiki standard is to present quotes in a rather unbroken form, with a single--or no--space between each quote. That works okay for sound bites, but for more substantial quotes, I think that taking the extra space in order to clearly differentiate between each quote is well worth being slightly abnormal for wiki. The quotes are more readable that way, and that's important because you don't simply read one sentence and then move on to the next nugget. Clotten 07:08, 20 May 2005

title: Talk:Errol Morris


text:
User talk:Anish7

Hi,, welcome back to Wikiquote ;-) Here are some useful links:
 * Browse To browse the site.
 * Reference desk To ask some questions related to quotes.
 * Village pump To discuss with other editors.
 * Community Portal Other useful links.

Shortly be bold and enjoy!--Aphaia 09:53, 20 May 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Anish7. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Anish7~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:17, 17 March 2015 (UTC)

title: User talk:Anish7


text:
User talk:Ktotam

--Aphaia 09:53, 20 May 2005 (UTC)

title: User talk:Ktotam


text:
User talk:Istabraq~enwikiquote

--Aphaia 09:55, 20 May 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Istabraq. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Istabraq~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:26, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:49, 19 April 2015 (UTC)

title: User talk:Istabraq~enwikiquote


text:
User talk:Carisoprodol

--Aphaia 09:57, 20 May 2005 (UTC)

title: User talk:Carisoprodol


text:
User talk:Rocastelo

Hi,, welcome back to Wikiquote ;-) Here are some useful links:
 * Browse To browse the site.
 * Reference desk To ask some questions related to quotes.
 * Village pump To discuss with other editors.
 * Community Portal Other useful links.

Shortly be bold and enjoy!--Aphaia 10:00, 20 May 2005 (UTC)

Thanks for the interlang links! I would appreciate it if you would mark edits in which you only add interlang links as minor. Thanks ~ MosheZadka (Talk) 13:29, 7 August 2005 (UTC)

 * Ooops you are already doing that. Thanks again, and sorry for troubling you! ~ MosheZadka (Talk) 13:30, 7 August 2005 (UTC)

title: User talk:Rocastelo


text:
User talk:24.30.181.38

Why did you been writing in "the A-team"?

title: User talk:24.30.181.38


text:
User talk:80.178.222.181

Please don't make a personal attack to another editor. YOu could ask calmly. I am sorry to hear you talked so rudely. --Aphaia 14:28, 20 May 2005 (UTC)

title: User talk:80.178.222.181


text:
User talk:131.123.36.12

Sholey
The article Sholey, which was edited by this IP address, will be nominated for deletion shortly because the article contains no references that provide a means to verify this movie exists, and it is not listed as such in IMDb. (There is a similar title, Aaj Ke Sholey (1985), but the IMDb entry, though incomplete, suggests this may be a different film.) Could the original contributor(s) please add some context to help us confirm the existence of this film and avoid its deletion? Thank you for your assistance. — Jeff Q (talk) 18:10, 20 May 2005 (UTC)

title: User talk:131.123.36.12


text:
User talk:131.123.36.8

Sholey
The article Sholey, which was edited by this IP address, will be nominated for deletion shortly because the article contains no references that provide a means to verify this movie exists, and it is not listed as such in IMDb. (There is a similar title, Aaj Ke Sholey (1985), but the IMDb entry, though incomplete, suggests this may be a different film.) Could the original contributor(s) please add some context to help us confirm the existence of this film and avoid its deletion? Thank you for your assistance. — Jeff Q (talk) 18:10, 20 May 2005 (UTC)

title: User talk:131.123.36.8


text:
Talk:Emily Dickinson

Titles must not be provided except in the rare cases where they were part of tthe manuscript! - Dickinson titled only a very few of her own poems. Later editors have seen fit to massively alter her own punctuation, capitalization, spelling, even line breaks, and to add titles, but luckily this is now deprecated by scholarship and no reliable modern edition does so (Franklin or Johnson). See for instance Why Dickinson Didn't Title Mgasner 02:55, 23 October 2005 (UTC)

 * In the interest of providing as much of the available information as is practical, I think any commonly used titles should be provided, when known, in the comments following a quotation. ~ Kalki 21:38, 9 December 2005 (UTC)

title: Talk:Emily Dickinson


text:
Talk:The Hitchhiker's Guide to the Galaxy

Cleanup
I've just moved the entire contents of the HHGG section of Douglas Adams to this former redirect because I expect that a lot of new editing will take place with the movie's release. However, the article is currently a bit ragged.

It's a challenge to accurately represent the many versions of quotations from the different books, radio and TV programs, audiobooks, and now the film. The original approach appears to have focused on the quotes themselves, allowing the various media to be cited as needed. Given the significant overlap of the many versions of HHGG, this may be the only practical method to avoid repeating the many choice quotes in different sections for different media. But the current article still shows some significant deficiencies: My inclination would be for us to do the following to clean up this article: I expect it will take some time to do this (unless some enthusiastic HHGG fans bury themselves in the work). In the meantime, with the 2005 movie in the theaters, the problem will probably get worse before it gets better. — Jeff Q (talk) 20:44, 20 May 2005 (UTC)
 * Some quotes nominally from the books are shown in radio/TV dialog format.
 * Page numbers are given without any reference to what publication they're taken from (making them virtually useless).
 * Some quotes have no source, despite having been in a "Sourced" section of the Douglas Adams article.
 * There are at least three different formats used to provide quotes, with little distinction between them, and not necessarily representing three different source media — all rather confusing.
 * The article could really use some typographical standardization.
 * When duplication exists, prefer book citations to others, except when quotes are most succinct in dialog form.
 * Standardize the quoting based on existing Wikiquote forms (one for books, one for radio/TV/film).
 * Format dialog using one of the existing Wikiquote formats, preferably one that makes the non-book form visually obvious without unduly distracting from reading all the quotes. (Alternatively, a Dialogue section may be a practical way to present these quotes, and would avoid frequently-shifting formats as one reads the page.)
 * Either pick a published edition to cite page numbers from, or just provide chapter numbers. (The latter is probably much safer, given the many published forms of these books.)
 * Provide a list of radio plays, TV shows, etc., that can be referenced in shorthand (e.g., "Radio: Fit the Sixth") as citations. This master list of sources might also provide publication information for any that have been provided in commercial audio or video form.

Bad link in contents
How do you edit the contents because the link to the second heading called 'The Hitchhiker's Guide to the Galaxy' takes you to the first heading called that.

Pictures
Some of the pictures make no sense in reference to the quotes under them.--Viridis 22:27, 20 January 2007 (UTC)

I agree! If anything, just do without the pictures, or upload ones with relavance to the story and to the quotes, for that note. --BatzMonkey 01:12, 19 April 2007 (UTC)

Unsourced or inadequately sourced
Wikiquote no longer allows unsourced quotations, and they are in process of being removed from our pages (see Wikiquote:Limits on quotations); but if you can provide a reliable and precise source for any quote on this list please move it to The Hitchhiker's Guide to the Galaxy. --Antiquary 19:52, 16 March 2009 (UTC)

 * We live in strange times. We also live in strange places: each in a universe of our own. The people with whom we populate our universes are the shadows of whole other universes intersecting with our own. Being able to glance out into this bewildering complexity of infinite recursion and say thing like, "Oh, hi, Ed! Nice tan. How's Carol?" involves a great deal of filtering skill for which all conscious entities have eventually to develop a capacity in order to protect themselves from the comtemplation of the chaos through which they see the and world tumble. So give your kid a break, okay? - c. ?; Extract from Practical Parenting in a Fractally Demented Universe

 * The universe is a lot more complicated than you might think even if you start from a position of thinking that its pretty damn complicated to begin with. - Mostly Harmless, The Guide, Mark II, c. ?

 * If I had two heads like you, Zaphod, I could have hours of fun banging them against a wall.
 * Radio Series.

 * "It goes like this. Let's see now: 'Protect me from knowing what I don't need to know. Protect me from even knowing that there are things to know that I don't know. Protect me from knowing that I decided not to know about the things that I decided not to know about. Amen.' That's it. It's what you pray silently inside yourself anyway, so you may as well have it out in the open." Arthur: "Hmmm, Well, thank you - " Old Man: "There's another prayer that goes with it that's very important, so you'd better jot this down, too." Arthur: "OK." Old Man: "It goes, 'Lord, lord, lord...' It's best to put that bit in, just in case. You can never be too sure. 'Lord, lord, lord. Protect me from the consequences of the above prayer. Amen...' And that's it. Most of the trouble people get into in life comes from missing out that last part.'" - Old Man Oracle's prayer given to Arthur Dent

 * The oracle hit himself on the thumb and began speaking in tongues. - The oracle as he is hammering a nail

 * Old woman Oracle: "Can you help me pull out the photocopier?" Arthur: "What?" OWO: "The photocopier. It's solar-powered, but I have to keep it in the cave so the birds don't shit on it." - c. ?
 * HHGTTG Radio Series

 * ...and he would then enter the long dark teatime of the soul. - (about Wowbagger, the Infinitely Prolonged)

 * "Where God Went Wrong", "Some More of God's Greatest Mistakes", "Who is this God Person Anyway?", and "Well That About Wraps It Up for God" . - The four books on God by 'Oolon Colluphid'

 * [I've been] In a deep dark hole. I climbed out because I started to like it too much.
 * Marvin
 * Radio Series

 * It can be very dangerous to see things from someone else's point of view without the proper training.

 * Reference to Pascal's Wager.

One more?
I searched "I'm a personality prototype, you can tell, can't you" (which, said by Marvin, you certainly can!), but no results - think it should be included. Like the page a lot, though! Maelli (talk) 14:30, 4 February 2015 (UTC)

copyvio?
At what point can you be guilty of copyright violation when quoting a work? how about just omitting one word, or punctuation mark? we're getting close to copyvio it seems. not that i would know, being an Earthling who flaps his lips way too much2602:304:CFD0:6350:3871:1D08:E3DF:43A3 03:14, 17 May 2016 (UTC)


text:
User:Starblind

Andrew Lenahan is a writer and artist living near Harrisburg, Pennsylvania, USA. Areas of expertise include old-time radio, British pop music, and mystery fiction.

Further Information

 * My website and weblog: http://www.starblind.com
 * My Photography and Paintings: http://starblind.deviantart.com

Wikipedia Info
See http://en.wikipedia.org/wiki/User:Starblind for my articles contributed to the English Wikipedia.

title: User:Starblind


text:
Ingmar Bergman

Ernst Ingmar Bergman (14 July 1918 – 30 July 2007) was a Swedish director, screenwriter, and producer whose unique cinematographic style made him one of the most notable directors of the twentieth century.
 * See also: The Seventh Seal (Det sjunde inseglet), Persona, Scenes from a Marriage (Scener ur ett aktenskap).

Quotes

 * Self-portraiture is something one should never get involved in, since it is wrong to lie even though one endeavours to tell the truth.
 * "Ingmar's self portrait" (1957) as quoted in "Who is he really?"

 * When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.
 * "Introduction" of Four Screenplays (1960).

 * People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres. Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation. The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts. Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.
 * Four Screenplays of Ingmar Bergman (1960)

 * Say anything you want against The Seventh Seal. My fear of death — this infantile fixation of mine — was, at that moment, overwhelming. I felt myself in contact with death day and night, and my fear was tremendous. When I finished the picture, my fear went away. I have the feeling simply of having painted a canvas in an enormous hurry — with enormous pretension but without any arrogance. I said, 'Here is a painting; take it, please.'
 * Interview with Charles Thomas Samuels (1971)

 * In this profession, I always admire people who are going on, who have a sort of idea and, however crazy it is, are putting it through; they are putting people and things together, and they make something. I always admire this. But I can't see his pictures. I sit for perhaps twenty-five or thirty or fifty minutes and then I have to leave, because his pictures make me so nervous. I have the feeling the whole time that he wants to tell me things, but I don't understand what it is, and sometimes I have the feeling that he's bluffing, double-crossing me.
 * On Jean-Luc Godard in an interview with John Simon (1971)

 * I think he's a very good technician. And he has something in Psycho, he had some moments. Psycho is one of his most interesting pictures because he had to make the picture very fast, with very primitive means. He had little money, and this picture tells very much about him. Not very good things. He is completely infantile, and I would like to know more — no, I don't want to know — about his behaviour with, or, rather, against women. But this picture is very interesting.
 * On Alfred Hitchcock in an interview with John Simon (1971)

 * I want very much to tell, to talk about, the wholeness inside every human being. It's a strange thing that every human being has a sort of dignity or wholeness in him, and out of that develops relationships to other human beings, tensions, misunderstandings, tenderness, coming in contact, touching and being touched, the cutting off of a contact and what happens then.
 * As quoted in Ingmar Bergman Directs (1972) by John Simon

 * I write scripts to serve as skeletons awaiting the flesh and sinew of images.
 * The New York Times (22 January 1978)

 * I make all my decisions on intuition. I throw a spear into the darkness. That is intuition. Then I must send an army into the darkness to find the spear. That is intellect.
 * As quoted in "Ingmar Bergman Confides in Students" New York Times (7 May 1981)

 * I am very much aware of my own double self... The well-known one is very under control; everything is planned and very secure. The unknown one can be very unpleasant. I think this side is responsible for all the creative work — he is in touch with the child. He is not rational, he is impulsive and extremely emotional. Perhaps it is not even a "he," but a "she."
 * As quoted in "Ingmar Bergman: Summing Up A Life In Film" by  Michiko Kakutani in The New York Times Magazine (26 June 1983)]

 * I was very cruel to actors and to other people. I think I was a very, very unpleasant young man. If I met the young Ingmar today, I think I would say, "You are very talented and I will see if I can help you, but I don't think I want anything else to do with you." I don't say I'm pleasant now, but I think I changed slowly in my 50's. At least I hope I've changed.
 * As quoted in "Ingmar Bergman: Summing Up A Life In Film" by Michiko Kakutani in The New York Times Magazine (26 June 1983)

 * I am so 100 percent Swedish... Someone has said a Swede is like a bottle of ketchup — nothing and nothing and then all at once — splat. I think I'm a little like that. And I think I'm Swedish because I like to live here on this island. You can't imagine the loneliness and isolation in this country. In that way, I'm very Swedish — I don't dislike to be alone
 * As quoted in "Ingmar Bergman: Summing Up A Life In Film" by Michiko Kakutani in The New York Times Magazine (26 June 1983)

 * I'm planning, you see, to try to confine myself to the truth. That's hard for an old, inveterate fantasy martyr and [illegible] liar who has never hesitated to give truth the form he felt the occasion demanded.
 * On his plans for his autobiography Laterna Magica, as quoted in "Who is he really?"

 * When film is not a document, it is dream. That is why Tarkovsky is the greatest of them all. He moves with such naturalness in the room of dreams. He doesn't explain. What should he explain anyhow? He is a spectator, capable of staging his visions in the most unwieldy but, in a way, the most willing of media. All my life I have hammered on the doors of the rooms in which he moves so naturally. Only a few times have I managed to creep inside. Most of my conscious efforts have ended in embarrassing failure...
 * On Andrei Tarkovsky in Laterna Magica (1987); The Magic Lantern : An Autobiography as translated by Joan Tate (1988). [also sometimes referred to as The Magical Lantern]

 * Film has dream, film has music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster — a movement.
 * Laterna Magica (1987); The Magic Lantern : An Autobiography as translated by Joan Tate (1988).
 * Variant translation: Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.
 * As quoted in "Ev'ry Time We Say Goodbye" by John Berger, Sight and Sound (June 1991)

 * I hope I never get so old I get religious.
 * As quoted in the International Herald Tribune (8 September 1989)

 * The demons are innumerable, arrive at the most inappropriate times and create panic and terror... but I have learned that if I can master the negative forces and harness them to my chariot, then they can work to my advantage.... Lilies often grow out of carcasses' arseholes.
 * As quoted in "Bergman talks of his dreams and demons in rare interview" by Xan Brooks The Guardian (12 December 2001)

 * I don't watch my own films very often. I become so jittery and ready to cry... and miserable. I think it's awful.
 * BBC article (10 April 2004)

 * I don't want to produce a work of art that the public can sit and suck aesthetically…. I want to give them a blow in the small of the back, to scorch their indifference, to startle them out of their complacency.
 * As quoted in "Film master Ingmar Bergman dies at 89" by Myrna Oliver in Los Angeles Times (31 July 2007)

 * When I was young, I was extremely scared of dying, but now I think it a very, very wise arrangement. It’s like a light that is extinguished. Not very much to make a fuss about.
 * As quoted in "Ingmar Bergman, Master Filmmaker, Dies at 89" by Mervyn Rothstein in The New York Times (31 July 2007)

Films

 * This damned ranting about doom. Is that food for the minds of modern people? Do they really expect us to take them seriously?
 * "Jöns" (Gunnar Björnstrand) in The Seventh Seal (1957)

 * Our social relationships are limited, most of the time, to gossip and criticizing people's behavior. This observation slowly pushed me to isolate from the so-called social life. My days pass by in solitude.
 * "Isak Borg" (Victor Sjöström) in Wild Strawberries (1957)

 * Love her? You're devoid of all feeling. You lack common decency. You know how to express yourself. You always have just the right words. There's just one thing you haven't the slightest clue about: life itself. You're a craven coward, but a genius at evasions and excuses.
 * "Martin" (Max von Sydow) in Through a Glass Darkly (1961)

 * When Jesus was nailed to the cross — and hung there in torment - he cried out — "God, my God! Why hast thou forsaken me?" He cried out as loud as he could. He thought that his heavenly father had abandoned him. He believed everything he'd ever preached was a lie. The moments before he died, Christ was seized by doubt. Surely that must have been his greatest hardship? God's silence.
 * Algot Frövik (Allan Edwall) in Winter Light (1962)

 * You find him disgusting with his thick mouth and ugly body and wet appealing eyes. You think he's disgusting and you're afraid.
 * "Alma" (Bibi Andersson) in Persona (1966)

“The close-up, the correctly illuminated, directed and acted close-up of an actor is and remains the height of cinematography. There is nothing better. That incredibly strange and mysterious contact you can suddenly experience with another soul through an actor’s gaze. A sudden thought, blood that drains away or blood that pumps into the face, the trembling nostrils, the suddenly shiny complexion or mute silence, that is to me some of the most incredible and fascinating moments you will ever experience.” (1980)

Bergman on Bergman (1970)

 * Bergman on Bergman: Interviews with Ingmar Bergman (1970); Interviews (1968 - 1970) by Stig Bjorkman, Torsten Manns and Jonas Sima; English translation by Paul Britten Austin (1973) ISBN 0306805200

 * I know the first film I ever saw — it must have been some time in 1924, when I was six or so... was Black Beauty. About a stallion. I still recall a sequence with fire. It was burning, I remember that vividly. And I remember too how it excited me, and how afterwards we bought the book of Black Beauty and how I learned the chapter on the fire by heart — at that time I still hadn't learned to read.
 * Stig Bjorkman interview

 * In our family we had a well-to-do aunt who always gave us magnificent Christmas presents. She was so much part of the family that we even included her in our prayers at bedtime... I suppose I must have been nine or ten years old at the time. Suddenly Aunt Anna's Christmas presents were lying there too, and among them a parcel with 'Forsner's on it. So of course I instantly knew it contained a projector. For a couple of years I'd been consumed with a passionate longing to own one, but had been considered too small for such a present... I was incredibly excited. Because my father was a clergyman we never got our presents on Christmas Eve, like other Swedish children do. We got them on Christmas Day... Well, you can imagine my disappointment when it turned out to be my older brother — he's four years older than myself — who got the projector — and I was given a teddy bear. It was one of my life's bitterest disappointments. After all, my brother wasn't a scrap interested in cinematography. But both of us had masses of lead soldiers. So on Boxing Day I bought the projector off him for half my army and he beat me hollow in every war ever afterwars. But I'd got the projector, anyway.
 * Stig Bjorkman interview

 * That I wasn't interested in politics or social matters, that's dead right. I was utterly indifferent. After the war and the discovery of the concentration camps, and with the collapse of political collaborations between the Russians and the Americans, I just contracted out. My involvement became religious. I went in for a psychological, religious line... the salvation-damnation issue, for me, was never political. It was religious. For me, in those days, the great question was: Does God exist? Or doesn't God exist? Can we, by an attitude of faith, attain to a sense of community and a better world? Or, if God doesn't exist, what do we do then? What does our world look like then? In none of this was there the least political colour. My revolt against bourgeois society was a revolt-against-the-father. I was a peripheral fellow, regarded with deep suspicion from every quarter... When I arrived in Gothenburg after the war, the actors at the Municipal Theatre fell into distinct groups: old ex-Nazis, Jews, and anti-Nazis. Politically speaking, there was dynamite in that company: but Torsten Hammaren, the head of the theatre, held it together in his iron grasp.
 * Stig Bjorkman interview

 * My basic view of things is — not to have any basic view of things. From having been exceedingly dogmatic, my views on life have gradually dissolved. They don't exist any longer... I've a strong impression that our world is about to go under. Our political systems are deeply compromised and have no further uses. Our social behavior patterns — interior and exterior — have proved a fiasco. The tragic thing is, we neither can nor want to, nor have the strength to alter course. It's too late for revolutions, and deep down inside ourselves we no longer even believe in their positive effects. Just around the corner an insect world is waiting for us — and one day it's going to roll in over our ultra-individualized existence. Otherwise I'm a respectable social democrat.
 * Stig Bjorkman interview

 * Now let's get this Devil business straight, once and for all. To begin at the beginning: the notion of God, one might say, has changed aspect over the years, until it has either become so vague that it has faded away altogether or else has turned into something entirely different. For me, hell has always been a most suggestive sort of place; but I've never regarded it as being located anywhere else than on earth. Hell is created by human beings — on earth! What I believed in those days — and believed in for a long time — was the existence of a virulent evil, in no way dependent upon environmental or hereditary factors. Call it original sin or whatever you like — anyway an active evil, of which human beings, as opposed to animals, have a monopoly. Our very nature, qua human beings, is that inside us we always carry around destructive tendencies, conscious or unconscious, aimed both at ourselves and at the outside world. As a materialization of this virulent, indestructible, and — to us — inexplicable and incomprehensble evil, I manufactured a personage possessing the diabolical traits of a mediaeval morality figure. In various contexts I'd made it into a sort of private game to have a diabolic figure hanging around. His evil was one of the springs in my watch-works. And that's all there is to the devil-figure in my early films... Unmotivated cruelty is something which never ceases to fascinate me; and I'd very much like to know the reason for it. Its source is obscure and I'd very much like to get at it.
 * Torsten Manns interview

 * One of the strongest feelings I remember from my childhood is, precisely, of being humiliated; of being knocked about by words, acts, or situations. Isn't it a fact that children are always feeling deeply humiliated in their relations with grown-ups and each other? I have a feeling children spend a good deal of their time humiliating one another. Our whole education is just one long humiliation, and it was even more so when I was a child. One of the wounds I've found hardest to bear in my adult life has been the fear of humiliation, and the sense of being humiliated. . . Every time I read a review, for instance — whether laudatory or not — this feeling awakes. . . To humiliate and be humiliated, I think, is a crucial element in our whole social structure. It's not only the artist I'm sorry for. It's just that I know exactly where he feels most humiliated. Our bureaucracy, for instance. I regard it as in high degree built up on humiliation, one of the nastiest and most dangerous of all poisons.
 * Torsten Manns interview

 * I stick to what I know. If I've objected strongly to Christianity, it has been because Christianity is deeply branded by a very virulent humiliation motif. One of its main tenets is 'I, a miserable sinner, born in sin, who have sinned all my days, etc.' Our way of living and behaving under this punishment is completely atavistic. I could go on talking about this humiliation business for ever. It's one of the big basic experiences. I react very strongly to every form of humiliation; and a person in my situation, in my position, has been exposed to whole series of real humiliations. Not to mention having humiliated others!
 * Torsten Manns interview

 * To the fanatical believer physical and spiritual suffering is beside the point, compared with salvation. That is why, to him, everything happening around him is irrelevant, a mirror-image, a mere will-o'-the-wisp. … I can really never get shot of them, the fanatics. Whether they appear as religious fanatics or vegetarian fanatics makes no odds. They're catastrophic people. These types whose whole cast of mind as it were looks beyond mere human beings toward some unknown goal. The terrible thing is the great power they often wield over their fellow human beings. Apart from the fact that I believe they suffer like the very devil, I've no sympathy for them.
 * Jonas Sima interview

 * I've never been much smitten by Catholicism. I've never been committed to any religious dogma of any sort. … For years the Catholics had me on their blacklist. Then along comes some sharp-witted pater and says 'Let's take this lad into the business, instead.' And I've been plagued by Catholic interpretations ever since. … I've never felt any attraction to Catholicism. Catholicism, I think, does have its attractions. But Protestantism is a wretched kettle of fish.
 * Stig Bjorkman interview

 * As far as I recall, it's a question of the total dissolution of all notions of an other-worldly salvation. During those years this was going on in me all the time and being replaced by a sense of the holiness — to put it clumsily — to be found in man himself. The only holiness which really exists. A holiness wholly of this world. And I suppose that's what the final sequence tries to express. The notion of love as the only thinkable form of holiness. At the same time another line of development in my idea of God begins here, one that has perhaps grown stronger over the years. The idea of the Christian God as something destructive and fantastically dangerous, something filled with risk for the human being and bringing out in him dark destructive forces instead of the opposite.
 * On the ideas of God presented in Hour of the Wolf (1968); Torsten Manns interview

 * Well, we're grasping for two things at once. Partly for communion with others — that's the deepest instinct in us. And partly, we're seeking security. By constant communion with others we hope we shall be able to accept the horrible fact of our total solitude. We're always reaching out for new projects, new structure, new systems in order to abolish — partly or wholly — our insight into our loneliness. If it weren't so, religious systems would never arise.
 * Torsten Manns interview

 * No one is safe from religious ideas and confessional phenomena. Neither you nor I. We can fall victim to them when we least expect it. It's like Mao flu, or being struck by lightning. You're utterly helpless. Exposed. As I see it today, any relapse is utterly out of the question. But I can't say it's out of the question tomorrow.
 * Jonas Sima interview

 * Winter Light — suppose we discuss that now?... The film is closely connected with a particular piece of music: Stravinski's A Psalm Symphony. I heard it on the radio one morning during Easter, and it struck me I'd like to make a film about a solitary church on the plains of Uppland. Someone goes into the church, locks himself in, goes up to the altar, and says: 'God, I'm staying here until in one way or another You've proved to me You exist. This is going to be the end either of You or of me!' Originally the film was to have been about the days and nights lived through by this solitary person in the locked church, getting hungrier and hungrier, thirstier and thirstier, more and more expectant, more and more filled with his own experiences, his visions, his dreams, mixing up dream and reality, while he's involved in this strange, shadowy wrestling match with God. We were staying out on Toro, in the Stockholm archipelago. It was the first summer I'd had the sea all around me. I wandered about on the shore and went indoors and wrote, and went out again. The drama turned into something else; into something altogether tangible, something perfectly real, elementary and self-evident. The film is based on something I'd actually experienced. Something a clergyman up in Dalarna told me: the story of the suicide, the fisherman Persson. One day the clergyman had tried to talk to him; the next, Persson had hanged himself. For the clergyman it was a personal catastrophe.
 * Jonas Sima interview

 * We drove about, looking for churches, my father and I. My father, as you probably know, was a clergyman — he knew all the Uppland churches like the back of his hand. We went to morning services in variouis places and were deeply impressed by the spiritual poverty of these churches, by the lack of any congregation and the miserable spiritual status of the clergy, the poverty of their sermons, and the nonchalance and indifference of the ritual. In one church, I remember — and I think it has a great deal to do with the end of the film — Father and I were sitting together. My father had already been retired for many years, and was old and frail.... Just before the bell begins to toll, we hear a car outside, a shining Volvo: the clergyman climbs out hurriedly, and there is a faint buzz from the vestry, and then the clergyman appears before he ought to — when the bell stops, that is — and says he feels very poorly and that he's talked to the rector and the rector has said he can use an abbrviated form of the service and drop the part at the altar. So there would be just one psalm and a sermon and another psalm. And goes out. Whereon my father, furious, began hammering on the pew, got to his feet and marched out into the vestry, where a long mumbled conversation ensued; after which the churchwarden also went in, then someone ran up the organ gallery to fetch the organist, after which the churchwarden came out and announced that there would be a complete service after all. My father took the service at the altar, but at the beginning and the end. In some way I feel the end of the play was influenced by my father's intervention — that at all costs one must do what it is one's duty to do, particularly in spiritual contexts. Even if it can seem meaningless.
 * On Winter Light, Jonas Sima interview

 * Today we say all art is political. But I'd say all art has to do with ethics. Which after all really comes to the same thing. It's a matter of attitudes. … All this talk about me standing aside, cutting myself off and so forth, has always amazed me... I've stated, firmly and clearly, that though as an artist I'm not politically involved, I obviously am an expression of the society I live in. Anything else would be grotesque. But I don't make propaganda for either one attitude or the other. No. As I told you, I vote for the Social Democrats. Their way of solving social problems comes closest to what I regard as decent. That I also find their actual solutions odd in many ways is another matter...
 * Jonas Sima interview

 * I come from a world of conservative Christian thought. I've absorbed Christianity with my mother's milk. So it must be obvious that certain... archetypes, aren't they called? — stick in one's mind, and that certain lines, certain courses of events, certain ways of behaving, become adequate symbols for what goes on in the Christian system of ideas. … I keep myself supplied with my own angels and demons...
 * Torsten Manns interview

 * People think there's a solution... If everything is distributed in the proper quarters, put into the right pigeonholes, everything will be fine. But I'm not so sure. … Nothing, absolutely nothing at all has emerged out of all these ideas of faith and scepticism, all these convulsions, these puffings and blowings. For many of my fellow human beings on the other hand, I'm aware that these problems still exist — and exist as a terrible reality. I hope this generation will be the last to live under the scourge of religious anxiety.
 * Jonas Sima interview

 * If you have a faith, if you've some deep conviction, whether you're a Nazi or a Communist or what the hell else you are — then you can sacrifice yourself and others to your faith. But from the moment you've no faith — from that moment you live in a deep inner confusion — from then on you're exposed to what Strindberg calls 'the powers'.

Images : My Life in Films (1990)

 * A French critic cleverly wrote that "with Autumn Sonata Bergman does Bergman." It is witty but unfortunate. For me, that is. I think it is only too true that Bergman (Ingmar, that is) did a Bergman... I love and admire the filmmaker Tarkovsky and believe him to be one of the greatest of all time. My admiration for Fellini is limitless. But I also feel that Tarkovsky began to make Tarkovsky films and that Fellini began to make Fellini films. Yet Kurosawa has never made a Kurosawa film. I have never been able to appreciate Buñuel. He discovered at an early stage that it is possible to fabricate ingenious tricks, which he elevated to a special kind of genius, particular to Buñuel, and then he repeated and varied his tricks. He always received applause. Buñuel nearly always made Buñuel films.

 * The Seventh Seal is one of the few films really close to my heart. Actually, I don't know why. It's certainly far from perfect. I had to contend with all sorts of madness, and one can detect here and there the speed with which it was made. But I find it even, strong, and vital.

 * The final scene when Death dances off with the travelers was…shot at Hovs hallar. We had packed up for the day because of an approaching storm. Suddenly, I caught sight of a strange cloud. Gunnar Fischer hastily set the camera back into place. Several of the actors had already returned to where we were staying, so a few grips and a couple of tourists danced in their place, having no idea what it was all about. The image that later became famous of the Dance of Death beneath the dark cloud was improvised in only a few minutes. That's how things can happen on the set.

 * Since at this time I was still very much in a quandary over religious faith, I placed my two opposing beliefs side by side, allowing each to state its case in its own way. In this manner, a virtual cease-fire could exist between my childhood piety and my newfound harsh rationalism. Thus, there are no neurotic complications between the knight and his vassals. Also, I infused the characters of Jof and Mia with something that was very important to me: the concept of the holiness of the human being. If you peel off the layers of various theologies, the holy always remains.

 * I had recklessly dared to do what I wouldn't dare to do today. The knight performs his morning prayer. When he is ready to pack up his chess set, he turns around, and there stands Death. 'Who are you?' asks the knight. 'I am Death.' Bengt Ekerot and I agreed that Death should have the features of a white clown. An amalgamation of a clown mask and a skull. It was a delicate and dangerous artistic move, which could have failed. Suddenly, an actor appears in whiteface, dressed all in black, and announces that he is Death. Everyone accepted the dramatic feat that he was Death, instead of saying, 'Come on now, don't try to put something over us! You can't fool us! We can see that you are just a talented actor who is painted white and clad in black! You're not Death at all!' But nobody protested. That made me feel triumphant and joyous.

Jan Aghed interview (2002)

 * Interview with Jan Aghed, published in the Swedish daily newspaper Sydsvenska Dagbladet (May 2002)

 * Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh — they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.

 * I liked Truffaut a lot, I've felt a lot of admiration for his way to address the audience, and his storytelling.... La nuit américaine is adorable, and another film I like to see is L'enfant sauvage, with its fine humanism.
 * On the works of filmmaker Francois Truffaut
 * Variant translation: I liked Truffaut enormously, I admired him. His way of relating with an audience, of telling a story, is both fascinating and tremendously appealing. It's not my style of storytelling, but it works wonderfully well in relation to the film medium.

 * I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead. Cinematographically uninteresting and infinitely boring. Godard is a fucking bore. He's made his films for the critics. One of the movies, Masculin, féminin, was shot here in Sweden. It was mindnumbingly boring.
 * On the works of filmmaker Jean-Luc Godard, as quoted in Secret Lives of Great Filmmakers: What Your Teachers Never Told You about the World's Greatest Directors (2014) by Robert Schnakenberg

 * I've never liked Welles as an actor, because he's not really an actor. In Hollywood you have two categories, you talk about actors and personalities. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he's croaks. In my eyes he's an infinitely overrated filmmaker.
 * On Orson Welles

 * For me he's just a hoax. It's empty. It's not interesting. It's dead. Citizen Kane, which I have a copy of — is all the critics' darling, always at the top of every poll taken, but I think it's a total bore. Above all, the performances are worthless. The amount of respect that movie's got is absolutely unbelievable.
 * On the work of Orson Welles

 * He's done two masterpieces, you don't have to bother with the rest. One is Blow-Up, which I've seen many times, and the other is La Notte, also a wonderful film, although that's mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido, and damn what a boring movie it is. So devilishly sad, I mean. You know, Antonioni never really learned the trade... He concentrated on single images, never realising that film is a rhythmic flow of images, a movement. Sure, there are brilliant moments in his films. But I don't feel anything for L'Avventura, for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress.
 * On Michelangelo Antonioni
 * Variant translation: Antonioni has never properly learnt his craft. He's an aesthete. If, for example, he needs a certain kind of road for The Red Desert, then he gets the houses repainted on the damned street. That is the attitude of an aesthete. He took great care over a single shot, but didn't understand that a film is a rhythmic stream of images, a living, moving process; for him, on the contrary, it was such a shot, then another shot, then yet another. So, sure, there are some brilliant bits in his films... I can't understand why Antonioni is held in such high esteem.

 * We were supposed to collaborate once, and along with Kurosawa make one love story each for a movie produced by Dino de Laurentiis. I flew down to Rome with my script and spent a lot of time with Fellini while we waited for Kurosawa, who finally couldn't leave Japan because of his health, so the project went belly-up. Fellini was about to finish Satyricon. I spent a lot of time in the studio and saw him work. I loved him both as a director and as a person, and I still watch his movies, like La Strada and that childhood rememberance...
 * On Federico Fellini

Quotes about Bergman

 * The Seventh Seal was always my favourite film, and I remember seeing it with a small audience at the old New Yorker Theatre. Who would have thought that the subject matter could yield such a pleasurable experience? If I described the story and tried to persuade a friend to watch it with me, how far would I get? 'Well,' I'd say, 'it takes place in a plague-ridden medieval Sweden and explores the limits of faith and reason based on Danish — and some German — philosophical concepts.' Now this is hardly anyone's idea of a good time, and yet it's all dealt off with such stupendous imagination, suspense, and flair that one sits riveted like a child at a harrowing fairy tale. Suddenly the black figure of Death appears on the seashore to claim his victim, and the Knight of Reason challenges him to a chess game, trying to stall for time and discover some meaning to life. The tale engages and stalks forward with sinister inevitability. Again, the images are breathtaking! The flagellants, the burning of the witch (worthy of Carl Dreyer), and the finale, as Death dances off with all the doomed people to the nether lands in one of the most memorable shots in all movies. Bergman is prolific, and the films that followed these early works were rich and varied, as his obsession moved from God's silence to the tortured relations between anguished souls trying to make sense of their feelings.
 * Woody Allen in "Through a Life Darkly" a review of The Magic Lantern : An Autobiography as translated by Joan Tate (1988) in The New York Times (18 September 1988)

 * I was very saddened by the death of Ingmar Bergman. He was a friend and certainly the greatest film artist of my lifetime. … He told me that he was afraid that he would die on a very, very sunny day and I can only hope it was overcast and he got the weather he wanted
 * Woody Allen, as quoted in "Film-makers, critics pay tribute to Bergman" at ABC (Australian Broadcasting Corporation) (31 July 2007)

 * I think his films have eternal relevance, because they deal with the difficulty of personal relationships and lack of communication between people and religious aspirations and mortality, existential themes that will be relevant a thousand years from now. When many of the things that are successful and trendy today will have been long relegated to musty-looking antiques, his stuff will still be great.
 * Woody Allen, as quoted in "Woody Allen on Ingmar Bergman' in TIME magazine (1 August 2007)

 * part of Bergman's freedom, of course, is purely economical. It is based on the social and economic structure of Sweden. He hasn't got to worry about money for his films, which is a very healthy thing for him. But on another level, he impressed me as being free because-and this is a great paradox about freedom-he'd accepted his limitations: limitations within himself, limitations within his society. I don't mean that he necessarily accepted all these limitations, or that he was passive in the face of them. But he recognized that he was Ingmar Bergman, could do some things and could not do some others, and was not going to live forever; he recognized something that people in this country have a great deal of trouble recognizing: that life is very difficult, very difficult for anybody, anybody born.
 * 1961 interview in Conversations with James Baldwin edited by Louis H. Pratt and Fred L. Standley (1989)

 * This is a testament of love and anguish from the man who used to be called the greatest living filmmaker. Well, dammit, he was. And, as proves, he still is.
 * Richard Corliss on Saraband (2003)

 * Ingmar Bergman is probably the greatest living filmmaker.
 * Roger Ebert

 * During a career that spans some four decades, he has made about 50 movies, and in those movies he has created an immediately recognizable world. Whether it is the distant allegorical realm of The Seventh Seal or the banal domestic one of Scenes From a Marriage, this world is a place where faith is tenuous; communication, elusive; and self-knowledge, illusory at best. God is either silent (as in Winter Light) or malevolent (as in The Silence), and Bergman's characters find themselves ruled, instead, by the capricious ghosts and demons of the unconscious. More persuasively than any other director, Bergman has mapped out the geography of the individual psyche — its secret yearnings and its susceptibility to memory and desire.
 * Michiko Kakutani in "Ingmar Bergman: Summing Up A Life In Film" in The New York Times Magazine (26 June 1983)

 * I believe Bergman, De Sica, and Fellini are the only three filmmakers in the world who are not just artistic opportunists. By this I mean they don't just sit and wait for a good story to come along and then make it. They have a point of view which is expressed over and over and over again in their films, and they themselves write or have original material written for them.
 * Stanley Kubrick

 * For me the filmmaker Bergman is the greatest actor of all. His vision and his filmic force, the thing that the Frenchmen call auteur. What Kurosawa and Fellini also have — but to me Bergman is number one!
 * Ang Lee in Expressen (17 April 2006)

 * Bergman is undeniably one of the great directors, but he has always stood for more than the sum of his films. From the first, he was regarded … as a visionary who grappled with the Big Questions of God and Man. His symbol-thick films were drenched in the night sweats of mortal torment. He was the kind of artist we had been brought up to believe was the real deal: He suffered for our souls.
 * Peter Rainer as quoted in "Film master Ingmar Bergman dies at 89" by Myrna Oliver in 'Los Angeles Times'' (31 July 2007)

 * I have always admired him, and I wish I could be a equally good filmaker as he is, but it will never happen. His love for the cinema almost gives me a guilty conscience.
 * Steven Spielberg

 * Bergman was the first to bring metaphysics — religion, death, existentialism — to the screen. … But the best of Bergman is the way he speaks of women, of the relationship between men and women. He’s like a miner digging in search of purity.
 * Bertrand Tavernier as quoted in "Ingmar Bergman, Master Filmmaker, Dies at 89" in The New York Times (31 July 2007)

 * I have a horror of tags and labels. I don't understand, for instance, how people can talk about Bergman's "symbolism." Far from being symbolic, he seems to me, through and almost biological naturalism, to arrive at the spiritual truth about human life that is important to him.
 * Andrei Tarkovsky in Sculpting in Time, p. 149

title: Ingmar Bergman


text:
User talk:Willy on Wheels!~enwikiquote

For more on the likely identity of this person see w:Wikipedia:Vandalism_in_progress/Willy_on_Wheels. ~ Kalki 00:54, 21 May 2005 (UTC)

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title: User talk:Willy on Wheels!~enwikiquote


text: User talk:4.23.77.2

title: User talk:4.23.77.2


text:
User:Patrice Létourneau

Cf. w:fr:Utilisateur:Patrice Létourneau

title: User:Patrice Létourneau


text:
Talk:Modest Mouse

Copyright
These lyrics are copywritten... (68.160.33.231, 20/5/05)

Thank you for your information. I'll list this article to Votes for deletion, if we have to remove it.--Aphaia 02:29, 21 May 2005 (UTC)

 * I've removed the excerpts from three songs that seemed to be pushing the admittedly vague limits of fair use:
 * "Novocain Stain": 15 of 19 lines (79%)
 * "Whenever You Breathe Out, I Breathe In (Positive/Negative)": 9 of 16 lines (56%)
 * "Talking Shit About A Pretty Sunset": 6 of 14 lines (43%)
 * I suggest that interested parties can re-add more pithy subsets of these songs in order to provide the sentiments they liked without incurring copyvio concerns. — Jeff Q (talk) 19:46, 29 May 2005 (UTC)

Vote for deletion notice
This article was preserved after a vote for its deletion. See its archived VfD entry for details. — Jeff Q (talk) 05:59, 5 Jun 2005 (UTC)

organization
Sort of hard to keep track of them, could use some sort of organization, maybe by album, yeah.

-I changed a lyric to the correct version

title: Talk:Modest Mouse


text: User talk:68.43.231.143

title: User talk:68.43.231.143


text:
User talk:Prsephone1674~enwikiquote

--Aphaia 02:26, 21 May 2005 (UTC)

Hi, Prsephone1674, thank you for your submission. By the way, I think it would be better and reader-friendly, consume most of quotes on John Milton rather than creating "an article with only one quote". I am sorry to say but some of your submissions seem to be too short. Would you like to put some quotes back to the author's article? Cheers, --Aphaia 05:56, 21 May 2005 (UTC)

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text: User talk:67.22.6.37

title: User talk:67.22.6.37


text:
User talk:Keaton~enwikiquote

--Aphaia 02:38, 21 May 2005 (UTC)

TimeSplitters: Future Perfect
I have added a "" template to the article TimeSplitters: Future Perfect, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but it may not satisfy Wikiquote's criteria for inclusion, for the reasons given in the deletion notice (see also "What Wikiquote is not" and Wikiquote's deletion policy).

You may contest the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page. Also, please consider improving the article to address the issues raised. Even though removing the deletion notice will prevent deletion through the proposed deletion process, the article may still be deleted if it matches any of the speedy deletion criteria or it can be sent to Votes for deletion, where it may be deleted if consensus to delete is reached. User: Tryst (talk to me!) 22:27, 24 June 2012 (UTC)

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