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Star Wars

Star Wars is an American epic space opera media franchise created by George Lucas owned by Lucasfilm. The franchise began with the eponymous 1977 film and quickly became a worldwide pop-culture phenomenon. The franchise has been expanded into various films and other media.

Feature films

 * Star Wars: Episode IV – A New Hope (1977)
 * Star Wars: Episode V – The Empire Strikes Back (1980)
 * Star Wars: Episode VI – Return of the Jedi (1983)
 * Star Wars: Episode I – The Phantom Menace (1999)
 * Star Wars: Episode II – Attack of the Clones (2002)
 * Star Wars: Episode III – Revenge of the Sith (2005)
 * Star Wars: The Clone Wars (2008)
 * Star Wars: The Force Awakens (2015)
 * Rogue One: A Star Wars Story (2016)
 * Star Wars: The Last Jedi (2017)
 * Solo: A Star Wars Story (2018)
 * Star Wars: The Rise of Skywalker (2019)

Films

 * Star Wars Holiday Special (1978)
 * Caravan of Courage: An Ewok Adventure (1984)
 * Ewoks: The Battle for Endor (1985)

Series

 * Star Wars: Droids (1985)
 * Ewoks (1985–1986)
 * Star Wars: Clone Wars (2003–2005)
 * Star Wars: The Clone Wars (2008–2014; 2020)
 * Star Wars Rebels (2014–2018)
 * Star Wars Forces of Destiny (2017–2018)
 * Star Wars Resistance (2018–2020)
 * The Mandalorian (2019–present)
 * Star Wars: The Bad Batch (2021–2024)
 * The Book of Boba Fett (2021–2022)
 * Obi-Wan Kenobi (2022)
 * Andor (2022–present)
 * Ahsoka (2023)

Video games

 * Star Wars Jedi Knight: Jedi Academy (2003)
 * Star Wars: Knights of the Old Republic (2003)
 * Star Wars: Knights of the Old Republic II: The Sith Lords (2004)
 * Star Wars Episode III: Revenge of the Sith (2005)
 * LEGO Star Wars: The Complete Saga (2007)
 * Star Wars: The Old Republic (2011)
 * Star Wars: Battlefront (2015)
 * Star Wars: Battlefront II (2017)

Miscellaneous and more

 * Last words in Star Wars media
 * Chad Vader (fan film)
 * Vader Episode I: Shards of the Past (2018, fan film)
 * Vader Episode II: The Amethyst Blade (upcoming fan film sequel)

About

 * I will just say this: I would never presume to question anything George Lucas says is canon in Star Wars. And our job was not to negate or undo. A lot of people who are critics of our Star Trek, and I respect all of them, said we destroyed what they loved and negated everything. And we worked hard to clarify that we are not saying that our Star Trek over-rides a thing of the original Star Trek — it was a parallel timeline. I never wanted to negate canon that fans held so dear. And because I love Star Wars and have for too many years... ... And having said all that and meaning it — I don't want to presume over-write or change what George says the rules are. I'm not someone who quite understands the science of the Force. To me Star Wars was never about science fiction — it was a spiritual story. And it was more of a fairytale in that regard. For me when I heard Obi-Wan say that the Force surrounds us and binds us all together, there was no judgement about who you were. This was something that we could all access. Being strong with the force didn't mean something scientific, it meant something spiritual. It meant someone who could believe, someone who could reach down to the depths of your feelings and follow this primal energy that was flowing through all of us. I mean, that's what was said in that first film! And there I am sitting in the theater at almost 11 years old and that was a powerful notion. And I think this is what your point was, we would like to believe that when shit gets serious, that you could harness that Force I was told surrounds not just some of us but every living thing. And so, I really feel like the assumption that any character needs to have inherited a certain number of midi-chlorians or needs to be part of a bloodline, it's not that I don't believe that as part of the canon, I'm just saying that at 11 years old, that wasn't where my heart was. And so I respect and adhere to the canon but I also say that the Force has always seemed to me to be more inclusive and stronger than that.
 * J.J. Abrams "Why J.J. Abrams Believes the Force Is More Inclusive Than Midi-Chlorians and Bloodlines", Peter Sciretta, Slash Film, (December 7th, 2015)

 * One of the more commonly described oddities of the Star Wars universe is the notion of entire planets with one climate. We are introduced to desert planets and ice planets and swamp planets. Of course, any one planet could have a myriad of different climates and ecosystems in the real world. But this peculiar detail reveals the metaphor that Star Wars is working with: each planet in Star Wars is basically each country in our world. This metaphor allows the Star Wars universe to essentially retell stories from the era of British imperialism. The empire then becomes quite familiar to us, especially on the surface. In Star Wars, though, the empire is the enemy and the undisciplined, free-spirited rebels become the heroes — thus aligning Star Wars with thematic elements from the American Western even amid the trappings of British imperialist narratives.
 * J. Andrew Deman, “Star Wars is colonial fantasy: How our future imaginings are limited by our past”, The Conversation, (December 13, 2017)

 * General David Petraeus didn't personally kill Osama bin Laden. Why does “General” Han Solo lead a squad to take out the shield generator? His friends Admiral Akbar and General Calrissian, along with the rest of the rebel command structure, are above, fighting in a short-range gun battle with Imperial Star Destroyers.
 * Carl Forsling, *When It Comes To The Military, SciFi Movies Are Missing The Mark", Task and Purpose, (December 1, 2014)

 * Princess Leia personally witnessed the destruction of her entire planet — something that could be considered the Holocaust, the Mongol invasion, and Stalin’s purges put together and multiplied by a thousand — yet is nonchalantly kissing her brother on Hoth a few weeks later. Luke single handedly took out a small planet's worth of Imperials on the Death Star. Sure, he probably feels justified in killing the Stormtroopers, but even he has to feel a twinge of guilt having wasted probably hundreds of innocent space janitors along with them. The day Luke Skywalker is shown talking in a veterans advocacy group about the trauma of losing his arm fighting his own father in hand-to-hand combat, maybe that will be the day we know the public has finally abandoned the illusion that war is painless ... or glorious.
 * Carl Forsling, *When It Comes To The Military, SciFi Movies Are Missing The Mark", Task and Purpose, (December 1, 2014)

 * One workshop that was developed initially by one of our contributors, Morrigan Phillips, was “Science Fiction and Direct Action Organizing.” It takes existing science fiction worlds—like Hogwart's, like Oz, like Mordor —and has you pick the marginalized folks there and has you create an organizing goal, and has you develop direct action tactics to achieve that goal. It is the funnest workshop on the face of the planet or any other planet. You end up with flying monkeys in Oz demanding the right to return, because they've been taken from their homeland. And you end up with fighting Uruk-hai in Mordor rising up against their slave owners. You have the Elf Liberation Front, who starts creating political education courses magical creatures and squibs. What if storm troopers launched a work stoppage and shut down the Death Star?
 * Walidah Imarisha Interview with Bitch Media

 * So, I took the screenplay and divided it into three stories, and rewrote the first one. As I was writing, I came up with some ideas for a film about robots, with no humans in it. When I got to working on the Wookiee, I thought of a film just about Wookiees, nothing else. So, for a time, I had a couple of odd movies with just those characters. Then, I had the other two films, which were essentially split into three parts each, two trilogies. When the smoke cleared, I said, 'This is really great. I'll do another trilogy that takes place after this.' I had three trilogies of nine films, and then another couple of odd films. Essentially, there were twelve films. It's a nine-part saga that has a beginning, a middle and an end. It progresses over a period of about fifty or sixty years with about twenty years between trilogies, each trilogy taking about six or seven years
 * George Lucas in "George Lucas", by Steranko, Prevue #42, September–October 1980

 * The Star Wars series started out as a movie that ended up being so big that I took each act and cut it into its own movie...The original concept really related to a father and a son, and twins—a son and a daughter. It was that relationship that was the core of the story. And it went through a lot of machinations before I even got to the first draft screenplay. And various characters changed shapes and sizes. And it isn't really until it evolved into what is close to what Star Wars now is that I began to go back and deal with the stories that evolved to get us to that point...When I first did Star Wars I did it as a big piece. It was like a big script. It was way too big to make into a movie. So I took the first third of it, which is basically the first act, and I turned that into what was the original Star Wars...after Star Wars was successful and I said “Well gee, I can finish this entire script, and I can do the other two parts.
 * George Lucas, Skywalking: The Life and Films of George Lucas by Dale 2 Pollock, 1983 p. 36

 * You have to remember that originally Star Wars was intended to be one movie, Episode IV of a Saturday matinee serial. You never saw what came before or what came after. It was designed to be the tragedy of Darth Vader. It starts with this monster coming through the door, throwing everybody around, then halfway through the movie you realise that the villain of the piece is actually a man and the hero is his son. And so the villain turns into the hero inspired by the son. It was meant to be one movie, but I broke it up because I didn’t have the money to do it like that—it would have been five hours long.
 * George Lucas, Skywalking: The Life and Films of George Lucas by Dale 2 Pollock, 1983 p. 38

 * The first [version] talked about a princess and an old general. The second version involved a father, his son, and his daughter; the daughter was the heroine of the film. Now the daughter has become Luke, Mark Hamill's character. There was also the story of two brothers where I transformed one of them into a sister. The older brother was imprisoned, and the young sister had to rescue him and bring him back to their dad.
 * George Lucas, Claire Clouzot, "The Morning of the Magician: George Lucas and Star Wars," The George Lucas Interviews, ed. Sally Kline (Jackson: University Press of Mississippi, 1999), pp. 57-58, ISBN 1-57806-125-3

 * The part that I never really developed is the death of Luke and Leia's mother. I had a backstory for her in earlier drafts, but it basically didn't survive. When I got to Jedi, I wanted one of the kids to have some kind of memory of her because she will be a key figure in the new episodes I'm writing. But I really debated whether or not Leia should remember her.
 * George Lucas, quoted in Bouzereau, The Annotated Screenplays, p. 291

 * Without Ray Harryhausen, there would likely have been no Star Wars.
 * George Lucas, "RIP Ray Harryhausen: 1920–2013", Comingsoon.net. Retrieved 2013-05-08

 * These are my kids. I loved them, I created them, I'm very intimately involved with them and I sold them to the white slavers that take these things...
 * George Lucas "George Lucas Apologizes For 'White Slavers' Remark., Sasha Erfanian, IGN, (2015/12/30)

 * Back in a 1973 note on “Star Wars,” Lucas made clear which side he was rooting for in the Vietnam War: “A large technological empire going after a small group of freedom fighters.”
 * George Lucas as quoted in “How ‘Star Wars’ was secretly George Lucas’ Vietnam protest” by Kyle Smith, (September 21, 2014)

 * Western societies have been fortunate in the last decades; since the end of the Second World War they have not experienced war first-hand. True, Western countries have sent military to fight around the world, in Asia, in the Korean or Vietnam Wars or in Afghanistan, in parts of the Middle East or in Africa, but only a very small minority of people living in the West have been touched directly by those conflicts. Millions in those regions of course have had very different experiences and there has been no year since 1945 when there has not been fighting in one part of the world or another. For those of us who have enjoyed what is often called the Long Peace it is all too easy to see war as something that others do, perhaps because they are at a different stage of development. We in the West, so we complacently assume, are more peaceable. Writers such as the evolutionary psychologist Steven Pinker have popularised the view that Western societies have become less violent over the past two centuries and that the world as a whole has seen a decline in deaths from war. So while we formally mourn the dead from our past wars once a year, we increasingly see war as something that happens when peace – the normal state of affairs – breaks down. At the same time we can indulge a fascination with great military heroes and their battles of the past; we admire stories of courage and daring exploits in war; the shelves of bookshops and libraries are packed with military histories; and movie and television producers know that war is always a popular subject. The public never seems to tire of Napoleon and his campaigns, Dunkirk, D-Day or the fantasies of Star Wars or The Lord of the Rings. We enjoy them in part because they are at a safe distance; we are confident that we ourselves will never have to take part in war.
 * Margaret MacMillan, War: How Conflict Shaped Us (2020)

 * [Irvin] Kershner was absolutely perfect for the middle film, which is a dark, troubled and anguished film. That's the kind of character Kershner is himself; he's very amusing socially, but his mind is full of dark torments and worries. George was the perfect man for Star Wars because he understands gags. He's got a great story sense. He's got tremendous appreciation of all the little gags and jokes. But I think I was probably the right guy for the third film, because I like the great virtues: I love loyalty, friendship, love...
 * Richard Marquand, Interviews:Return of The Jedi, Star Wars, Jules-Pierre Malartre, Den of Geek, (25 June 2013)

 * One, two and three are going to be very interesting − if George is ever able to start writing. Steven [Spielberg] and I would like to. It's a very interesting part of the saga, the early days. The youth of Ben Kenobi and Anakin Skywalker is really important. It's a very different world. Technology is different, means of communication are different. Sentiments are different. But it will take a long time, I'm afraid so. It's just a fact we will have to face. Good things come in threes, and all good things come to an end. That's just one of the realities of life. Your kids may see it.
 * Richard Marquand, Interviews:Return of The Jedi, Star Wars, Jules-Pierre Malartre, Den of Geek, (25 June 2013)

 * Huey Freeman: Given that the original story was written in the mid seventies, I think "Star Wars" was meant to be allegorical to the anti-colonial struggles that had only recently taken place on the continents of Africa and Asia - not to mention the struggle for black liberation here in the United States.
 * Aaron McGruder, The Boondocks, (5/18/1999)

 * From the very beginning, toy executives saw more potential in Star Wars as a toy line than a movie. ("I expected the movie would come and go, but that it would be a great hook," Bernie Loomis once said, explaining why his Kenner toy company acquired the worldwide rights to produce Star Wars toys before Star Wars even arrived in theaters.) The movie's unexpected popularity led to a desperate gambit to capitalize in time for Christmas. Their first big Star Wars toy, the "Early Bird Certificate Package," was basically just an empty box containing a few stickers and a mail-in certificate that could be redeemed for four Star Wars figures when they were actually ready. It was a hit.
 * Scott Meslow, "Star Wars isn't a movie franchise. It's a toy franchise.", The Week, (September 4, 2014)

 * Dazzled, jealous and angry ... I am convinced that (Lucas) has looked at my books!
 * Jean-Claude Mézières "Here's what Star Wars took from Valerian", John Wenz, Popular Mechanic, (May 13, 2015)

 * Star Wars leans more towards fantasy than science fiction and I think that's to its benefit. It has good vs. evil, monsters, princesses, knights, magic items, etc. All of these make it as easy fit for the RPG genre. Star Wars is also one of the most beloved IPs in the world. Since the first movie came out in 1977 fans have wanted to live in that universe and video games are the closest they'll ever get to that fantasy.
 * James Ohlen, lead designer; "10 years of kotor lead designer James Ohlen interview", Game Agent, (July 11, 2013)

 * Before Star Wars, the films that were box-office hits were The Godfather, Taxi Driver, Bonnie and Clyde and The French Connection - gritty, amoral art movies. Then suddenly the onus switched over to spectacle and everything changed... I don't know if that is a good thing.
 * Simon Pegg, "Twitter unimpressed by Simon Pegg's criticism of geek culture", Kat Brown, The Telegraph (May 19, 2015)

 * Star Wars had come out around the time of Seagull, and everyone thought I was a horrible actress. I was in the biggest-grossing movie of the decade, and no director wanted to work with me.
 * Natalie Portman "Natalie Portman: Star Wars Made Everyone Think I Was a "Horrible" Actress", Madeline Boardman, USMagazine, (Dec 19, 2014)

 * George made a fairy tale story, with a princess, the young prince, and the cynical Harrison Ford playing Han Solo. To me, it was an absolutely perfect rendition of a great comic serial. I learned to draw from comic strips, the better ones. I always remembered the early Supermans were better drawn than the later one, and the early Tarzans were spectacularly well drawn, the anatomy of the jungle was great. There's artistry in comic strips and George was obviously a devotee of that and what he did was brilliant.
 * Ridley Scott, "Ridley Scott On ‘The Martian’ And Why ‘Star Wars’ And ‘2001’ Sent Him To Space With ‘Alien:’ Toronto Q&A", Mike Fleming Jr., Deadline, (September 12, 2015)

 * Star Wars is about good versus evil. I don't know what the empire did wrong. I still have no idea. I still don't know, they got up and they dress the same and then they (the rebels) kill them because they dress the same, like, I don't understand it. Yeah they blew up a planet, but that's a cheap reason to want to hate someone. The point is Power Rangers is way doper than Star Wars.
 * Adi Shankar in "Adi Shankar Says Power Rangers Is A Better Franchise Than Star Wars" by Matthew Mueller, ComicBook.com, (August 31, 2018)

 * Dude, I think Star Wars is f****** horrible. I think Star Wars is a terrible franchise. It has terrible values. What are you teaching people with Star Wars, right? 'Oh yeah, we're the rebels and we're just gonna blow up people who dress the same?' Like it's good versus evil? It's terrible because there's really very little evil out there. The evil is taught to us through a narrative, but the evil has a point of view, the evil has a perspective., and if you don't get to know the perspective of the evil then how do you know you're not evil?
 * Adi Shankar in "Adi Shankar Says Power Rangers Is A Better Franchise Than Star Wars" by Matthew Mueller, ComicBook.com, (August 31, 2018)

 * Star Wars producer Gary Kurtz claimed that Star Wars made three times as much on toys as it did on films, while creator George Lucas said: “All the money is in the action figures.” Lucas famously retained licensing and merchandising rights to Star Wars in exchange for a $500,000 directorial fee. The result made him a billionaire.
 * Anna Smith, "Lights, camera but no action figures: are movie toys going out of fashion?", The Guardian, (5 Apr 2018)

 * A refurbished Star Wars is on somewhere or everywhere. I have no intention of revisiting any galaxy. I shrivel inside each time it is mentioned. Twenty years ago, when the film was first shown, it had a freshness, also a sense of moral good and fun. Then I began to be uneasy at the influence it might be having. The first bad penny dropped in San Francisco when a sweet-faced boy of twelve told me proudly that he had seen Star Wars over a hundred times. His elegant mother nodded with approval. Looking into the boy's eyes I thought I detected little star-shells of madness beginning to form and I guessed that one day they would explode.

 * "I would love you to do something for me," I said.

 * "Anything! Anything!" the boy said rapturously.

 * "You won't like what I'm going to ask you to do," I said.

 * "Anything, sir, anything!"

 * "Well," I said, "do you think you could promise never to see Star Wars again?"

 * He burst into tears. His mother drew herself up to an immense height. "What a dreadful thing to say to a child!" she barked, and dragged the poor kid away. Maybe she was right but I just hope the lad, now in his thirties, is not living in a fantasy world of secondhand, childish banalities.

 * Alec Guinness, A Positively Final Appearance: A Journal 1996-98 (1999), p. 11

Dialogue about

 * Caesar: Hey man, are you ok?
 * Huey: A friend of mine back home just died...I never got to say goodbye, you know? I keep wishing he'll come back as a blue ghost, like Obi-Wan Kenobi. There's so much I want to say to him. [sigh] Why can't life be like Star Wars?
 * Caesar: Well, then Jar-Jar Binks would be real, and there'd be a bunch of Ewoks running around everywhere - nobody wants that.
 * Huey: A small price to pay if the people you love could come back as blue ghosts.
 * Aaron McGruder, The Boondocks (comic strip), (7/9/2000).

title: Star Wars


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André Breton

André Breton (19 February 1896 – 28 September 1966) was a French writer, poet and theorist of Surrealism. He is known best as the founder of the Surrealist art movement. He wrote the first Surrealist Manifesto: the 'Manifeste du Surréalisme' of 1924.

Quotes of André Breton

 * chronologically arranged, after date of the quotes of André Breton

1920's

 * La beauté sera CONVULSIVE ou ne sera pas.
 * Beauty will be CONVULSIVE or not at all.
 * Quote from Breton's novel Nadja (1928), final sentence

 * Pure psychic automatism, by which one seeks to express, be it verbally, in writing, or in any other manner, (is) the real working of the mind. Dictated by the unconsciousness, in the absence of any control exercised by reason, and free from aesthetic or moral preoccupations.
 * Quote from 'Manifesto du Surréalisme', André Breton, Paris, Editions KRA, 1929

 * I was asked to make a report on the Italian situation to this special committee of the 'gas cell', which made it clear to me that I was to stick to the statistical facts (steel production etc.) and above all not to get involved with ideology. I couldn't do it.
 * Quote of André Breton, from his Second Manifesto of Surrealism 1930; as quoted in Manifestos of Surrealism, trans. by Richard Seaver and Helen Lane; Ann Arbor 1972, p. 143
 * Breton was unable to join a worker's cell in Paris as part of his induction into the French Communist Party, as he admitted in 1929

 * [T]his cancer of the mind which consists of thinking all too sadly that certain things 'are' while others, which well might be, 'are not'.
 * Quote from Deuxième Manifeste du Surréalisme, Andre Breton (Second Manifesto of Surrealism; 1930)

Le Manifeste du Surréalisme, Andre Breton (Manifesto of Surrealism; 1924)

 * Quotes from: First Manifesto of Surrealism - 1924; in The Abridged Dictionary of Surrealism, reprinted in Marguerite Bonnet, ed. (1988). Oeuvres complètes, 1:328. Paris: Éditions Gallimard

 * Children set off each day without a worry in the world. Everything is near at hand; the worst material conditions are fine. The woods are white or black, one will never sleep.
 * Quote of Breton, from the Introduction of his 'Manifesto du Surréalisme', Andre Breton, 1924

 * So strong is the belief in life, in what is most fragile in life — real life, I mean — that in the end this belief is lost. Man, that inveterate dreamer, daily more discontent with his destiny, has trouble assessing the objects he has been led to use, objects that his nonchalance has brought his way, or that he has earned through his own efforts, almost always through his own efforts, for he has agreed to work, at least he has not refused to try his luck (or what he calls his luck!). At this point he feels extremely modest: he knows what women he has had, what silly affairs he has been involved in; he is unimpressed by his wealth or his poverty, in this respect he is still a new-born babe and, as for the approval of his conscience, I confess that he does very nicely without it. If he still retains a certain lucidity, all he can do is turn back toward his childhood which, however his guides and mentors may have botched it, still strikes him as somehow charming. There, the absence of any known restrictions allows him the perspective of several lives lived at once; this illusion becomes firmly rooted within him; now he is only interested in the fleeting, the extreme facility of everything.
 * the first lines in 'Manifesto du Surréalisme', Andre Breton, 1924

 * But it is true that we would not dare venture so far, it is not merely a question of distance. Threat is piled upon threat, one yields, abandons a portion of the terrain to be conquered. This imagination which knows no bounds is henceforth allowed to be exercised only in strict accordance with the laws of an arbitrary utility; it is incapable of assuming this inferior role for very long and, in the vicinity of the twentieth year, generally prefers to abandon man to his lusterless fate.

 * Beloved imagination, what I most like in you is your unsparing quality. There remains madness, 'the madness that one locks up', as it has aptly been described. That madness or another..

 * We all know, in fact, that the insane.. ..derive a great deal of comfort and consolation from their imagination, that they enjoy their madness sufficiently to endure the thought that its validity does not extend beyond themselves. And, indeed, hallucinations, illusions, etc., are not a source of trifling pleasure... These people are honest to a fault, and their 'naiveté' has no peer but my own. Christopher Columbus should have set out to discover America with a boatload of madmen. And note how this madness has taken shape, and endured.

 * It is not the fear of madness which will oblige us to leave the flag of imagination furled.

 * We are still living under the reign of logic: this, of course, is what I have been driving at. But in this day and age logical methods are applicable only to solving problems of secondary interest. The absolute rationalism that is still in vogue allows us to consider only facts relating directly to our experience. Logical ends, on the contrary, escape us. It is pointless to add that experience itself has found itself increasingly circumscribed. It paces back and forth in a cage from which it is more and more difficult to make it emerge. It too leans for support on what is most immediately expedient, and it is protected by the sentinels of common sense.

 * I could spend my whole life prying loose the secrets of the insane. These people are honest to a fault, and their naivety has no peer but my own.

 * Surrealism will usher you into death, which is a secret society. It will glove your hand, burying therein the profound M with which the word Memory begins. Do not forget to make proper arrangements for your last will and testament: speaking personally, I ask that I be taken to the cemetery in a moving van. May my friends destroy every last copy of the printing of the Speech concerning the Modicum of Reality.

 * If the depths of our mind contain within it strange forces capable of augmenting those on the surface, or of waging a victorious battle against them, there is every reason to seize them - first to seize them, then, if need be, to submit them to the control of our reason. The analysts themselves have everything to gain by it. But it is worth noting that no means has been designated a priori for carrying out this undertaking, that until further notice it can be construed to be the province of poets as well as scholars, and that its success is not dependent upon the more or less capricious paths that will be followed.

 * Freud very rightly brought his critical faculties to bear upon the dream. It is, in fact, inadmissible that this considerable portion of psychic activity (since, at least from man’s birth until his death, thought offers no solution of continuity, the sum of the moments of the dream, from the point of view of time, and taking into consideration only the time of pure dreaming, that is the dreams of sleep, is not inferior to the sum of the moments of reality, or, to be more precisely limiting, the moments of waking) has still today been so grossly neglected.

 * I have always been amazed at the way an ordinary observer lends so much more credence and attaches so much more importance to waking events than to those occurring in dreams. It is because man, when he ceases to sleep, is above all the plaything of his memory, and in its normal state memory takes pleasure in weakly retracing for him the circumstances of the dream, in stripping it of any real importance, and in dismissing the only determinant from the point where he thinks he has left it a few hours before: this firm hope, this concern. He is under the impression of continuing something that is worthwhile. Thus the dream finds itself reduced to a mere parenthesis, as is the night. And, like the night, dreams generally contribute little to furthering our understanding. This curious state of affairs seems to me to call for certain reflections.

 * Why should I not expect from the sign of the dream more than I expect from a degree of consciousness which is daily more acute? Can’t the dream also be used in solving the fundamental questions of life? Are these questions the same in one case as in the other and, in the dream, do these questions already exist? Is the dream any less restrictive or punitive than the rest? I am growing old and, more than that reality to which I believe I subject myself, it is perhaps the dream, the difference with which I treat the dream, which makes me grow old.

 * Let me come back again to the waking state. I have no choice but to consider it a phenomenon of interference. Not only does the mind display, in this state, a strange tendency to lose its bearings (as evidenced by the slips and mistakes the secrets of which are just beginning to be revealed to us), but, what is more, it does not appear that, when the mind is functioning normally, it really responds to anything but the suggestions which come to it from the depths of that dark night to which I commend it.

 * The mind of the man who dreams is fully satisfied by what happens to him. The agonizing question of possibility is no longer pertinent. Kill, fly faster, love to your heart's content. And if you should die, are you not certain of re-awaking among the dead? Let yourself be carried along, events will not tolerate your interference. You are nameless. The ease of everything is priceless.

 * What reason, I ask, a reason so much vaster than the other, makes dreams seem so natural and allows me to welcome unreservedly a welter of episodes so strange that they could confound me now as I write? And yet I can believe my eyes, my ears; this great day has arrived, this beast has spoken.

 * Surrealist methods would, moreover, demand to be heard. Everything is valid when it comes to obtaining the desired suddenness from certain associations. The pieces of paper that Picasso and Braque (in this quote Breton refers to the early collage art of the two Cubists, ed.) insert into their work have the same value as the introduction of a platitude into a literary analysis of the most rigorous sort. It is even permissible to entitle POEM what we get from the most random assemblage possible (observe, if you will, the syntax) of headlines and scraps of headlines cut out of the newspapers.

 * A story is told according to which Saint-Pol-Roux, in times gone by, used to have a notice posted on the door of his manor house in Camaret, every evening before he went to sleep, which read: ‘THE POET IS WORKING’.

 * In those days, a man at least as boring as I, Pierre Reverdy, was writing: 'The image is a pure creation of the mind. It cannot be born from a comparison but from a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be – the greater its emotional power and poetic reality..' (in the 'Nord-Sud', March 1918). These words, however sibylline for the uninitiated, were extremely revealing, and I pondered them for a long time.

 * Apollinaire asserted that Chirico's first paintings were done under the influence of kinesthetic disorders (migraines, colic, etc.)

 * In homage to Guillaume Apollinaire [famous French poet, art-critic, writer and defender of Cubism], who had just died and who, on several occasions, seemed to us to have followed a discipline of this kind, without however having sacrificed to it any mediocre literary means, Soupault and I baptized the new mode of pure expression which we had at our disposal and which we wished to pass on to our friends, by the name of SURREALISM. I believe that there is no point today in dwelling any further on this word and that the meaning we gave it initially has generally prevailed over its Apollinarian sense.
 * Breton's quote refers to the start of the term Surrealism, together with Philippe Soupault

 * Those who might dispute our right to employ the term SURREALISM in the very special sense that we understand it are being extremely dishonest, for there can be no doubt that this word had no currency before we came along. Therefore, I am defining it once and for all: SURREALISM, Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner–the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.

 * After you have settled yourself in a place as favorable as possible to the concentration of your mind upon itself, have writing materials brought to you. Put yourself in as passive, or receptive, a state of mind as you can. Forget about your genius, your talents, and the talents of everyone else. Keep reminding yourself that literature is one of the saddest roads that lead to everything. Write quickly, without any preconceived subject, fast enough so that you will not remember what you're writing and be tempted to reread what you have written. The first sentence will come spontaneously, so compelling is the truth that with every passing second there is a sentence unknown to our consciousness which is only crying out to be heard.

 * Surrealism will usher you into death, which is a secret society. It will glove your hand, burying therein the profound M with which the word Memory begins. Do not forget to make proper arrangements for your last will and testament: speaking personally, I ask that I be taken to the cemetery in a moving van. May my friends destroy every last copy of the printing of the Speech concerning the Modicum of Reality.

 * Surrealism, such as I conceive of it, asserts our complete nonconformism clearly enough so that there can be no question of translating it, at the trial of the real world, as evidence for the defense. It could, on the contrary, only serve to justify the complete state of distraction which we hope to achieve here below. Kant's absentmindedness regarding women, Pasteur's absentmindedness about 'grapes', Curies absentmindedness with respect to vehicles, are in this regard profoundly symptomatic. This world is only very relatively in tune with thought, and incidents of this kind are only the most obvious episodes of a war in which I am proud to be participating. 'Ce monde nest que très relativement à la mesure de la pensée et les incidents de ce genre ne sont que les épisodes jusquici les plus marquants dune guerre dindépendence à laquelle je me fais gloire de participer'. Surrealism is the 'invisible ray' which will one day enable us to win out over our opponents. 'You are no longer trembling, carcass'. This summer the roses are blue; the wood is of glass. The earth, draped in its verdant cloak, makes as little impression upon me as a ghost. It is living and ceasing to live which are imaginary solutions. Existence is elsewhere.
 * The last sentences of the Surrealist Manifesto, 1924

Le Surréalisme et la Peinture, (1926) Andre Breton

 * Quotes of André Breton from: Le Surréalisme et la Peinture, (1926) (Surrealism and Painting); first publication, 1928; new publication, Gallimard, 2002

 * L'amour est toujours devant vous. Aimez.
 * Love is always before you. Love it.

 * L'œil existe à l'état sauvage.
 * Eyes exist in the savage state.

after 1930

 * Les valeurs oniriques l'ont définitivement emporté sur les autres et je demande à ce qu'on tienne pour un crétin celui qui se refuserait encore, par exemple, à voir un cheval galoper sur une tomate. Une tomate est aussi un ballon d'enfant, le surréalisme, je le répète, ayant supprimé le mot comme.
 * Oneiric values have definitely won out over the others, and I maintain that anyone who still refuses to see, for instance, a horse galloping on a tomato, must be an idiot. A tomato is also a child's balloon - Surrealism, again, having suppressed the word "like."
 * from: Point du Jour (Break of Day; 1934)
 * Breton's quote is often misquoted as The man who can't visualize a horse galloping on a tomato is an idiot.

 * Surrealism is only trying to rejoin the most durable traditions of mankind. Among the primitive peoples art always goes beyond what is conventionally and arbitrarily called the 'real'. The natives of the Northwest Pacific coast, the Pueblos, New Guinea, New Ireland, the Marquesas, among others, have made 'objets' [in the Collections of Max Ernst, C. Levy-Strauss, Andre Breton, Pierre Matisse, Carlbach, Segredakis] which Surrealists particularly appreciate.
 * Quote of 1942, in the introduction of the Catalog 'First papers of surrealism: hanging by André Breton, his twine Marcel Duchamp'; exhibition at the Coordinating Council of French Relief Societies, Inc., New York, Oct. 14-Nov. 7, 1942

 * I say that the eye is not open when it is limited to the passive role of a mirror – even if the water of that mirror offers some interesting peculiarities.. ..that eye impresses me as no less dead than the eye of a slaughtered steer if it has only the capacity to reflect – what if it reflects the object in one or in many aspects, in repose or in motion, in waking or in dream? The treasure of the eye is elsewhere! Most artists are still for tuning around the hands of the clock..  ..without having the slightest concern for the spring hidden in the opaque case. The eye-spring..  ..Arshile Gorky – for me the first painter to whom the secret have been completely revealed.
 * Breton's quote in the Introduction to the exhibition of Gorky's first show, Julien Levy Gallery, March 1945; as quoted in Arshile Gorky, – Goats on the roof, ed. by Matthew Spender, Ridinghouse, London, 2009, pp. 257-258

 * Truly the eye was.. ..made to cast a lineament, a conducting wire between the most heterogeneous things. Such a wire, of maximum ductility, should allow us to understand, in a minimum of time, the relationship which connect, without possible discharge of continuity, innumerable physical and mental structures.. ..the key (of the mental prison, ed.) lies in a free unlimited pay of analogies..  ..one can admire today a canvas signed by Gorky, 'The liver is the Cock’s Comb', which should be considered the great open door to the analogy world.
 * Quote of Breton, from Introduction to the exhibition of Gorky's first show, Julien Levy Gallery, March 1945; as quoted in Arshile Gorky, – Goats on the roof, ed. by Matthew Spender, Ridinghouse, London, 2009, p. 258

 * In short it is my concern to emphasize that Gorky is, of all the surrealist artists, the only one who maintains direct contact with nature – sit down to paint before her. Furthermore, it is out of the question that he would take the expression of this nature as an end in itself – rightly he demands of her that she provide sensations that can serve as springboards for both knowledge and pleasure in fathoming certain profound states of mind.. .Here for the first time nature is treated as a cryptogram. The artist has a code by reason of his own sensitive anterior impressions, and can decode nature to reveal the very rhythm of life, in the discovery of the very rhythm of life.
 * Quote of Breton, from Introduction to the exhibition of Gorky's first show, Julien Levy Gallery, March 1945; as quoted in Arshile Gorky, – Goats on the roof, ed. by Matthew Spender, Ridinghouse, London, 2009, p. 258

 * Art today can only be revolutionary, that is, it must aspire at the complete and radical reconstruction of society, even if for no other reason than to emancipate intellectual creation from the chains which obstruct it and to allow all mankind to rise to the heights that only geniuses could reach in the past.
 * Quote of Breton, from La Clé des Champs (1953); as cited by Thomas Molnar, The Decline of the Intellectual (1961)

 * As we liked to do as children, extracting from the soft forest floor the light chestnut trees only a few centimeters high at the base of which the chestnut continues to shine to the sun its clods of soil from the past, the chestnut conserving all of its presence and witnessing with its presence the power of green hands, of shadow, of airy white or pink pyramids of dances.. ..and of future chestnuts which, under new dust, would be discovered by the marveled sight of other children. It is in this perspective that the work of Arp, more than any other, should be situated. He found the most vital in himself in the secrets of this germinating life where the most minimal detail is of the greatest importance, where, on the other hand, the distinction between the elements becomes meaningless, adopting a peculiar under the rock humor permanently.
 * Quote from Anthologie de l'humour noir, André Breton; as cited in Arp, ed. Serge Fauchereau, Ediciones Poligrafa S. A., Barcelona, Spain, 1988

 * Under his [ Marc Chagall ] sole impulse metaphor made its triumphal entry into modern painting.
 * Quote in Chagall – a biography, Jackie Wullschlagger, Knopf, Publisher, New York 2008, text from inside-cover

 * Divine Dali!
 * Quote of Breton, written in the prologue of The Diary of a Genius, Salvador Dali, London Pan Books, 1976, 1980 p. 35

Quotes about André Breton

 * chronologically arranged, after date of the quotes about Andre Breton

 * So, André Breton, if tonight I dream I am screwing you, tomorrow morning I will paint all of our best fucking positions with the greatest wealth of detail.
 * Quote of Salvador Dali, c. 1930; as cited by Jonathan Jones in his article 'André in wonderland'; The Guardian / Culture, 16 June, 2004
 * In the early 1930's Dalí was judged by a surrealist 'high court' at André Breton's flat; Dali was accused of 'counter-revolutionary actions'. Dalí claimed that he was being an honest and pure surrealist, recording the unexpurgated contents of his psychic life, which this quote should illustrate.

 * We lived in New York between 1941 and 1945 in a great friendship, running museums and antiquarians together. I owe him a lot about the knowledge and appreciation of objects. I've never seen him [Breton] doing a mistake on exotic and unusual objects. When I say a mistake, I mean about its authenticity but also its quality. He [Breton] had a sense, almost of divination.
 * Quote by Claude Lévi-Strauss, in an interview in 1971; as quoted on Wikipedia: André Breton
 * the French anthropologist Claude Lévi-Strauss spoke about Breton's skill in determining the authenticity of objects and moreover described their friendship while the two were living in New York.

 * I had always believed in Andre Breton's freedom, to write as one thinks, in the order and disorder in which one feels in thinks, to follow sensations and absurd correlations of events and images, to trust to the new realms they lead one into. "The cult of the marvelous." Also the cult of the unconscious leadership, the cult of mystery, the evasion of false logic. The cult of the unconscious as proclaimed by Rimbaud. It is not madness. It is an effort to transcend the rigidities and the patterns made by the rational mind.
 * Winter, 1931-1932 The Diary of Anaïs Nin, Volume One 1931-1934

 * There is a concealment that is of a different nature. It may take various forms; it always has to do, I think, with a special concern for the majority. I remember a meeting with André Breton after I had translated an introduction of his to a book of "primitive" paintings. We spoke of publishing. "I would never publish anywhere," he said, "unless I knew that there I and my followers constituted a majority." (This attitude, certainly, stands in direct relation to the forming of groups of the "intentionally obscure.")
 * Muriel Rukeyser The Life of Poetry (1949)

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

title: André Breton


text:
The Matrix Reloaded

The Matrix Reloaded is a 2003 film, and the second film in The Matrix series.
 * Written and directed by Lilly & Lana Wachowski

Reload Before the Revolution Begins. (taglines)

Neo

 * Choice. The problem is choice.

Morpheus

 * Then tomorrow we may all be dead, but how would that be different from any other day? This is a war, and we are soldiers. Death can come for us at any time, in any place. Now consider the alternative. What if I am right? What if the prophecy is true? What if tomorrow the war could be over? Isn't that worth fighting for? Isn't that worth dying for?

Agent Smith

 * I killed you, Mr. Anderson, I watched you die; and with a certain satisfaction, I might add. And then something happened. Something that I knew was impossible, but it happened anyway: you destroyed me, Mr. Anderson. Afterward, I knew the rules, I understood what I was supposed to do, but I didn't. I couldn't. I was compelled to stay. Compelled to disobey. And now here I stand because of you, Mr Anderson. Because of you, I'm no longer an agent of this system. Because of you, I'm changed, unplugged, a new man, so to speak, like you, apparently free.
 * We're not here because we're free; we're here because we're not free. There's no escaping reason, no denying purpose, for as we both know, without purpose we would not exist. It is purpose that created us, purpose that connects us, purpose that pulls us, that guides us, that drives us; it is purpose that defines, purpose that binds us. We are here because of you, Mr. Anderson. We're here to take from you what you tried to take from us... Purpose!
 * I'm sorry, gentlemen, but this is a dead end.

The Merovingian

 * Who has time? Who has time? But then if we do not ever take time, how can we ever have time?
 * Choice is an illusion, created between those with power, and those without.
 * "Handle" us?! You'll "handle" us?! You know, your predecessors had a lot more respect!
 * Mark my words, boy, and mark them well. I survived your predecessors and I will survive you.

Dialogue

 * [After parking the hovership]
 * Morpheus: Link. Given your experience I can't say I fully understand your reasons for serving aboard my ship. However, if you wish to continue to do so, I must ask you to do one thing.
 * Link: What's that, sir?
 * Morpheus: To trust me.

 * Morpheus: [Speaking before all Zionites gathered in a cavern] Zion, hear me! It is true what many of you have heard: the machines have raised an army and, as I speak, that army is drawing nearer to our home. [Congregants murmurs frightened and disturbed] Believe me when I say we have a difficult time ahead of us. But if we are to understand it, we must first shed our fear of it. I stand here now before you, truthfully, unafraid. Why? Because I believe something you do not? No! I stand here without fear because I remember. I remember that I stand here not because of the path that lies before me, but because of the path that lies behind me. I remember that for one hundred years, we have fought these Machines. I remember that for one hundred years, they have sent their armies to destroy us. And after a century of war, I remember that which matters most: WE ARE STILL HERE! [thunderous cheers] Tonight, let us make them remember! Tonight, let us shake these caves of earth, fire, steel and stone! Tonight, let us be heard from red core to black sky! Tonight, let us make them remember: this is Zion! And we are not afraid! [to more, louder cheers, he waves in farewell and leaves them to celebrate]

 * [In the elevator]
 * Morpheus: What can you see, Neo?
 * Neo: It’s strange, the code is somehow different.
 * Morpheus: Encrypted?
 * Neo: Maybe.
 * Trinity: Is that good for us or bad for us?
 * Neo: Well, it looks like every floor is wired with explosives.
 * Trinity: Bad for us.
 * Morpheus: Here we go.
 * Maitre d’: Puis-je vous aider? :[Translation: Can I help you?]
 * Morpheus: Yes, we are here to speak with the Merovingian.
 * Maitre d’: Of course, he has been expecting you. Follow me.

 * [Neo, Morpheus and Trinity arrive at the restaurant and walk up to the Merovingian]
 * Merovingian: Aha, here he is at last. Neo, the One himself, right? And the legendary Morpheus. And Trinity of course, si belle qu’elle me fait souffrir [Translation: so beautiful that it makes me suffer]. I have heard so much, you honor me. Please, sit, join us. This is my wife, Persephone. Something to eat? Drink? Hmm… of course, such things are contrivances like so much here. For the sake of appearances.
 * Neo: No, thank you.
 * Merovingian: Yes, of course, who has time? Who has time? But then if we do not ever take time, how can we ever have time? Château Haut-Brion 1959, magnificent wine, I love French wine, like I love the French language. I have sampled every language, French is my favorite – fantastic language, especially to curse with. Nom de Dieu de putain de bordel de merde de saloperies de connards d’enculés de ta mère. [Translation: Holy name of/God/dammit/sake pussy whore bitch asshole ass-fucked faggot] You see, it’s like wiping your ass with silk, I love it.
 * Morpheus: You know why we are here.
 * Merovingian: Hmm, I am a trafficker of information, I know everything I can. The question is, do you know why you are here?
 * Morpheus: We are looking for the Keymaker.
 * Merovingian: Oh yes, it is true. The Keymaker, of course. But this is not a reason, this is not a "why". The Keymaker himself, his very nature, is means, it is not an end, and so, to look for him is to be looking for a means to do... what?
 * Neo: You know the answer to that question.
 * Merovingian: But do you? You think you do but you do not. You are here because you were sent here, you were told to come here and you obeyed. [Laughs] It is, of course, the way of all things. You see, there is only one constant, one universal, it is the only real truth: causality. Action. Reaction. Cause and effect.
 * Morpheus: Everything begins with choice.
 * Merovingian: No. Wrong. Choice is an illusion, created between those with power, and those without. Look there, at that woman. My God, just look at her. Affecting everyone around her, so obvious, so bourgeois, so boring. But wait… Watch – you see, I have sent her dessert, a very special dessert. I wrote it myself. It starts so simply, each line of the program creating a new effect, just like poetry. [the woman cuts a sliver of the cake with her fork and then puts it in her mouth] First, a rush… heat… her heart flutters. [she takes a sip of wine] You can see it, Neo, yes? She does not understand why – is it the wine? No. What is it then, what is the reason? And soon it does not matter, soon the why and the reason are gone, and all that matters is the feeling itself. This is the nature of the universe. We struggle against it, we fight to deny it, but it is of course pretense, it is a lie. Beneath our poised appearance, [at this point, the woman is feeling a pleasurable sensation in her body] the truth is we are completely out of control. [an explosion is seen in the code and she quietly gets up from the table and leaves] Causality. There is no escape from it, we are forever slaves to it. Our only hope, our only peace is to understand it, to understand the "why". "Why" is what separates us from them, you from me. "Why" is the only real social power, without it you are powerless. And this is how you come to me, without "why", without power. Another link in the chain. But fear not, since I have seen how good you are at following orders, I will tell you what to do next. Run back, and give the fortune teller this message: Her time is almost up. Now I have some real business to do, I will say adieu and goodbye.
 * Neo: This isn’t over.
 * Merovingian: Oh yes, it is. The Keymaker is mine and I see no reason why I should give him up. No reason at all.
 * Persephone: Where are you going?
 * Merovingian: Please, ma chérie [Translation: my darling], I’ve told you, we are all victims of causality. I drank too much wine, I must take a piss. Cause and effect. Au revoir.
 * [One of the Merovingian's henchmen hovers a hand over Trinity's shoulder]
 * Trinity: Touch me, and that hand will never touch anything again.
 * Neo: Well, that didn’t go so well.
 * Morpheus: Are you certain Oracle didn’t say anything else?
 * Neo: Yes.
 * Trinity: Maybe we did something wrong.
 * Neo: Or didn’t do something.
 * Morpheus: No, what happened happened and couldn’t have happened any other way.
 * Neo: How do you know?
 * Morpheus: We are still alive.

 * Persephone: If you want the Keymaker, follow me. [to man in washroom] Get out! I’m so sick of his bullshit. On and on, pompous prick. A long time ago, when we first came here, it was so different. He was so different. He was like you. I’ll give you what you want. But you have to give me something.
 * Neo: What?
 * Persephone: A kiss.
 * Trinity: Excuse me?
 * Persephone: I want you to kiss me as if you were kissing her.
 * Neo: Why?
 * Persephone: You love her. She loves you. It’s all over you both. A long time ago, I knew what that felt like. I want to remember it. I want to sample it. That’s all, just a sample.
 * Trinity: Why don’t you sample this instead? [She holds up her gun to Persephone's head]
 * Morpheus: Trinity.
 * Persephone: Such emotion over something so small. It’s just a kiss.
 * Neo: Why should we trust you?
 * Persephone: If I don’t deliver you to the Keymaker, she can kill me.
 * Neo: All right.
 * Persephone: But you have to make me believe I am her.
 * Neo: All right.
 * Persephone: [Neo kisses her; she is not satisfied] Terrible. Forget it.
 * Neo: Wait. Okay.
 * Persephone: [he kisses her again; this time...] Ahh, yes. That’s it. I envy you. But such a thing is not meant to last. Come with me.

 * [Persephone leads the three through a kitchen and comes up to door, closes it, turns a key, reopens it revealing a grandiose atrium]
 * Link: Not again!
 * Persephone: [she leads the three into a library with two goons watching The Brides of Dracula who immediately stand up startled] It’s all right, boys, they’re with me. These fellas work for my husband, they do his dirty work. They’re very good, very loyal. Aren’t you, boys?
 * Cain and Abel: Yes, Mistress.
 * Persephone: They come from a much older version of the Matrix, but like so many back then, they caused more problems than they solved. My husband saved them because they’re notoriously difficult to terminate. How many people keep silver bullets in their gun? [She holds up the gun and shoots one goon in the head and his body falls back onto a couch] You can either run to the restaurant and tell my husband what I have done, or you can stay there and die. :[Other goon runs off] He’s in the ladies’ room... [To Nebuchadnezzar crew] Hurry. [She opens revolving bookcase door and she leads them into a dungeon opening door to The Keymaker's workroom]

 * Neo: My name is Neo.
 * Keymaker: Yes, I’m The Keymaker, I’ve been waiting for you.

 * [Merovingian bursts in room with his goon posse behind him]
 * Merovingian: Oh God, my God, Persephone how could you do this, you betrayed me! [Speaks French]
 * Persephone: Cause and effect, my love.
 * Merovingian: Cause? There is no cause for this, what cause?
 * Persephone: What cause? How about the lipstick you’re still wearing?
 * Merovingian: Lipstick? Lipstick? What craziness you are talking about woman, there is no lipstick.
 * Persephone: She wasn’t kissing your face, my love.
 * Merovingian: Ai-ai-ai-ai-ai-ai, woman, this is nothing, c’est rien [Translation: it's nothing], c’est rien du tout [Translation: it's nothing at all]. It’s a game, it is only a game.
 * Persephone: So is this. Have fun.
 * Merovingian: All right. All right. Let us find out where this goes. You two, get the Keymaker. [The twins phantasmographosize and sink completely into the floor]
 * Trinity: That’s a nice trick.
 * Keymaker: I cannot go back. [He runs out of the room with Trinity and Morpheus following]
 * Neo: I’ll handle them.
 * Merovingian: "Handle" us?! You’ll "handle" us?! You know, your predecessors had much more respect. [He gestures to the goons and they all walk forward holding up assault rifles and barrage Neo with him stoically freezing all bullets in middle air, then they all fall to the ground simultaneously] Okay, you have some skill. Kill him. [Neo puts his right hand behind his back and gestures with his left hand as if to say; it's your move, and the goons all rush him grabbing decorative blade weapons to fight him and Neo fends them off and thwarts one who swings at him with just a hand, but it draws blood]
 * Merovingian: You see, he’s just a man.
 * Merovingian: [Neo finishes off the last goon] Damn it, woman, you will be the end of me. Mark my words, boy, and mark them well. I have survived your predecessors, and I will survive you! [He leaves the room]

 * [They burst into a parking garage]
 * Trinity: Where are you going?
 * Keymaker: Another way, always another way. Close it, quick. [A twin rushes to the door and thwarts the door shutting with an arm with Trinity pumping several rounds into the arm]
 * Twin 1: Could we move along? [Twin 2 phantasmographosizes through the door with Trinity emptying an entire gun clip fruitlessly]
 * Keymaker: Run! [He runs off to a vehicle to hotwire it for escape]
 * Twin 2: [Twin 2 gets Trinity into a bind holding a blade to her neck] Step away from the door. [Morpheus relaxes grip on door and steps off] We owe you for that.
 * Twin 1: [phantasmographosizes and back to default with bullet wounds and damaged clothing disappeared] Just like new.
 * Twin 2: Drop your weapon. [Keymaker gets their attention and Trinity runs to vehicle and Morpheus fights both the twins simultaneously]
 * Morpheus: Stay with him.
 * Trinity: What about Neo?
 * Morpheus: He can handle himself.
 * Trinity: Get in the back.

 * [Neo appears in hallway leading to parking garage and then flies down when a twin spots him and fully shuts the door then Neo reopens the door to reveal that he's in a mountain range]
 * Neo: Oh shit.
 * Link: Operator.
 * Neo: Link, where am I?
 * Link: You’re not gonna believe this, but you’re all the way up in the mountains.
 * Neo: Really.
 * Link: Yeah, it’s gonna take me a while to get up an exit. Oh shit.
 * Neo: What?
 * Link: Those Twin things are after Morpheus and Trinity, and I don’t have a way to get them out.
 * Neo: Where are they?
 * Link: Middle of the city, 500 miles due south.

 * Oracle: You have the sight now Neo. You are looking at the world without time.
 * Neo: Then why can't I see what happens to her?
 * Oracle: We can never see past the choices we don't understand.
 * Neo: Are you saying I have to choose whether Trinity lives or dies?
 * Oracle: No! You've already made the choice. Now you have to understand it.

 * Trinity: Be careful.
 * Neo: Hello.
 * Seraph: You seek the Oracle.
 * Neo: Who are you?
 * Seraph: I am Seraph. I can take you to her. But first, I must apologize.
 * Neo: Apologize for what?
 * Seraph: For this. [He and Neo have a huge martial arts fight] Good. The Oracle has many enemies. I had to be sure.
 * Neo: Of what?
 * Seraph: That you are The One.
 * Neo: You could’ve just asked.
 * Seraph: No. You do not truly know someone until you fight them. Come, she’s waiting.
 * Link: Where the hell’d they go?
 * Neo: These are back doors, aren’t they? Programmer access.
 * [Seraph nods]
 * Neo: How do they work? The code is hidden in tumblers. One position opens a lock. Another position opens one of these doors. Are you a programmer?
 * Seraph: [shakes head]
 * Neo: Then what are you?
 * Seraph: I protect that which matters most. [He brings Neo to the Oracle who is sitting on a bench in a courtyard]

 * The Oracle: Well, come on. I ain’t gonna bite ya. Come around here, and let me have a look at ya. My goodness, look at you! You turned out all right, didn’t you? How do you feel?
 * Neo: I, uh...
 * The Oracle: I know you’re not sleeping. We’ll get to that. Why don’t you come and have a sit this time?
 * Neo: Maybe I’ll stand.
 * The Oracle: Well, suit yourself.
 * Neo: [sits down] I felt like sitting.
 * The Oracle: I know. So. Let’s get the obvious stuff out of the way.
 * Neo: You’re not human, are you?
 * The Oracle: Well it’s tough to get any more obvious than that.
 * Neo: If I had to guess, I’d say you’re a program from the machine world. So is he. [referring to Seraph]
 * The Oracle: So far, so good.
 * Neo: But if that’s true, that can mean you are a part of this system, another kind of control.
 * The Oracle: Keep going.
 * Neo: I suppose the most obvious question is, how can I trust you?
 * The Oracle: Bingo! It is a pickle, no doubt about it. The bad news is there’s no way if you can really know whether I’m here to help you or not. So it’s really up to you. You just have to make up your own damn mind to either accept what I’m going to tell you, or reject it. Candy?
 * Neo: D’you already know if I’m going to take it?
 * The Oracle: Wouldn’t be much of an Oracle if I didn’t.
 * Neo: But if you already know, how can I make a choice?
 * The Oracle: Because you didn’t come here to make the choice, you’ve already made it. You’re here to try to understand why you made it. I thought you’d have figured that out by now.
 * Neo: Why are you here?
 * The Oracle: Same reason. I love candy.
 * Neo: But why help us?
 * The Oracle: We’re all here to do what we’re all here to do. I’m interested in one thing, Neo, the future. And believe me, I know – the only way to get there is together.
 * Neo: Are there other programs like you?
 * The Oracle: Oh, well, not like me. But… Look, see those birds? At some point a program was written to govern them. A program was written to watch over the trees, and the wind, the sunrise, and sunset. There are programs running all over the place. The ones doing their job, doing what they were meant to do, are invisible. You’d never even know they were here. But the other ones, well, we hear about them all the time.
 * Neo: I’ve never heard of them.
 * The Oracle: Of course you have. Every time you’ve heard someone say they saw a ghost, or an angel. Every story you’ve ever heard about vampires, werewolves, or aliens is the system assimilating some program that’s doing something they’re not supposed to be doing.
 * Neo: Programs hacking programs. Why?
 * The Oracle: They have their reasons, but usually a program chooses exile when it faces deletion.
 * Neo: And why would a program be deleted?
 * The Oracle: Maybe it breaks down. Maybe a better program is created to replace it – happens all the time, and when it does, a program can either choose to hide here, or return to The Source.
 * Neo: The machine mainframe?
 * The Oracle: Yes. Where you must go. Where the path of The One ends. You’ve seen it, in your dreams, haven’t you? The door made of light?
 * Neo: [Nods]
 * The Oracle: What happens when you go through the door?
 * Neo: I see Trinity, and something happens, something bad. She starts to fall, and then I wake up.
 * The Oracle: Do you see her die?
 * Neo: No.
 * The Oracle: You have the sight now, Neo. You are looking at the world without time.
 * Neo: Then why can’t I see what happens to her?
 * The Oracle: We can never see past the choices we don’t understand.
 * Neo: Are you saying I have to choose whether Trinity lives or dies?
 * The Oracle: No. You’ve already made the choice, now you have to understand it.
 * Neo: No, I can’t do that. I won’t.
 * The Oracle: You have to.
 * Neo: Why?
 * The Oracle: Because you’re The One.
 * Neo: What if I can’t? What happens if I fail?
 * The Oracle: Then Zion will fall. Our time is up. Listen to me, Neo. You can save Zion if you reach The Source, but to do that you will need the Keymaker.
 * Neo: The Keymaker?
 * The Oracle: Yes, he disappeared some time ago. We did not know what happened to him until now. He’s being held prisoner by a very dangerous program, one of the oldest of us. He is called the Merovingian, and he will not let him go willingly.
 * Neo: What does he want?
 * The Oracle: What do all men with power want? More power. Be there, at that exact time, and you will have a chance.
 * Seraph: We must go.
 * The Oracle: Seems like every time we meet I’ve got nothing but bad news. I’m sorry about that, I surely am. But for what it’s worth, you’ve made a believer out of me. Good luck, kiddo.

 * Smith: Mr. Anderson! Did you get my package?
 * Neo: Yeah.
 * Smith: Well, good.
 * Morpheus: Smith.
 * Link: Whoever it is, he’s not reading like an agent.
 * Smith: Surprised to see me?
 * Neo: No.
 * Smith: Then you’re aware of it.
 * Neo: Of what?
 * Smith: Our connection. I don’t fully understand how it happened. Perhaps some part of you imprinted onto me, something overwritten or copied. That is at this point irrelevant, what matters is that whatever happened, happened for a reason.
 * Neo: And what reason is that?
 * Smith: I killed you, Mr. Anderson, I watched you die… With a certain satisfaction, I might add, and then something happened. Something that I knew was impossible, but it happened anyway. You destroyed me, Mr. Anderson. Afterward, I knew the rules, I understood what I was supposed to do but I didn’t. I couldn’t. I was compelled to stay, compelled to disobey. And now here I stand because of you, Mr. Anderson, because of you I’m no longer an agent of the system, because of you I’ve changed – I’m unplugged – a new man, so to speak, like you, apparently free.
 * Neo: Congratulations.
 * Smith: Thank you. But as you well know, appearances can be deceiving, which brings me back to the reason why we’re here. We’re not here because we’re free, we’re here because we’re not free. There’s no escaping reason, no denying purpose – because as we both know, without purpose, we would not exist.
 * Smith 2: It is purpose that created us,
 * Smith 3: Purpose that connects us,
 * Smith 4: Purpose that pulls us,
 * Smith 5: That guides us,
 * Smith 6: That drives us,
 * Smith 7: It is purpose that defines,
 * Smith 8: Purpose that binds us.
 * Smith: We’re here because of you, Mr. Anderson, we’re here to take from you what you tried to take from us. Purpose.
 * Trinity: What’s happening to him?
 * Link: I don’t know.
 * Smith: [attempting to copy himself into Neo] Yes, that’s it, it’ll be over soon.

 * Agent Jackson: You.
 * Smith: Yes me. Me, me, me!
 * Agent Jackson/Smith: Me too!

 * Trinity: You always told me the freeway was suicide.
 * Morpheus: Then let us hope, that I was wrong.

 * [First twin phantasmographosizes back to his seat in the Cadillac Escalade pick-up]
 * Twin 1: We are getting aggravated.
 * Twin 2: Yes, we are.

 * Keymaker: There’s a building. Inside this building there’s a level where no elevator can go, and no stair can reach. This level is filled with doors. These doors lead to many places, hidden places, but one door is special. One door leads to the Source. This building is protected by a very secure system. Every alarm triggers the bomb.
 * Vector: Bomb? Did he say bomb?
 * Keymaker: But like all systems it has a weakness. The system is based on the rules of a building. One system built on another.
 * Morpheus: Electricity.
 * Keymaker: If one fails, so must the other.
 * Niobe: No electricity, no alarms.
 * Ghost: But you’d have to take out a whole city block to kill the power to a building like that.
 * Keymaker: Not one, 27.
 * Vector: 27 blocks?
 * Keymaker: There is a power station. it must be destroyed.
 * Niobe: There must be some kind of failsafe.
 * Keymaker: Yes, there is an emergency system. The core network of the grid must be accessed. The emergency system must be deactivated.
 * Soren: Then what do you need us for? Neo could take ’em both out easier than we could.
 * Keymaker: There’s no time.
 * Niobe: Why?
 * Keymaker: Once the door is unprotected, the connection will be severed. But another connection must first be made.
 * Ghost: How long will that take?
 * Keymaker: Exactly 314 seconds.
 * Soren: Just over 5 minutes.
 * Keymaker: That is the length and breadth of the window. Only The One can open the door, and only during that window can the door be opened.
 * Niobe: How do you know all this?
 * Keymaker: I know because I must know. It’s my purpose. It’s the reason I’m here. Same reason we’re all here.
 * Trinity: Neo, I know something’s wrong. You don’t have to tell me. I just want you to know that I’m here.
 * Keymaker: All must be done as one.
 * Link: Can’t hurt.
 * Keymaker: If one fails, all fail.
 * Morpheus: At midnight, there’s a shift change in the security of both buildings. At midnight, we will strike.
 * Guard 1: Hey! You count sheep at home.
 * Guard 2: Why, I get paid to count ’em here.
 * Jax: Okay, they’re inside.
 * Axel: How much time?
 * Jax: 12 minutes.
 * Axel: Oh shit!
 * Morpheus: All of our lives we have fought this war. Tonight I believe we can end it. Tonight is not an accident. There are no accidents. We have not come here by chance. I do not believe in chance when I see 3 objectives, 3 captains, 3 ships. I do not see coincidence, I see providence, I see purpose. I believe it is our fate to be here. It is our destiny. I believe this night holds for each and every one of us the very meaning of our lives.
 * Neo: I want to ask you to do something, but I don’t know how.
 * Trinity: I promise you, if I can, I will.
 * Neo: What if I asked you to stay out of this, no matter what. To stay out of the Matrix?
 * Trinity: Why?
 * Neo: Please.
 * Trinity: All right.
 * Morpheus: What is it, Niobe?
 * Niobe: I can’t help it, Morpheus, I can’t help thinking – what if you’re wrong. What if all this – the prophecy, everything – is bullshit.
 * Morpheus: Then tomorrow we may all be dead, but how would that be different from any other day? This is a war, and we are soldiers. Death can come for us at any time, in any place.
 * Axel: Incoming. Incoming! Incoming!
 * Morpheus: Now consider the alternative. What if I am right? What if the prophecy is true? What if tomorrow the war could be over. Isn’t that worth fighting for? Isn’t that worth dying for?
 * Soren: Time?
 * Vector: 3 minutes.
 * Binary: Almost there.
 * Keymaker: It is time.
 * Trinity: Find the others.
 * Link: Got Niobe right there, they’re already out of the station.
 * Trinity: What about Soren?
 * Link: There, they’re still inside, but…
 * Trinity: They’re not moving.
 * Morpheus: That’s it, let’s go.
 * Trinity: Call Neo now.
 * Link: Lost them. They’re inside the portal.
 * Trinity: What about the grid?
 * Link: Everything’s still operational. Emergency system’s already rerouting power. Jesus. As soon as they open that door, it’s all over.
 * Trinity: The hell it is.
 * Link: What are you… Trinity?
 * Trinity: I will not stand here and do nothing. I will not wait here to watch them die.
 * Link: Trinity, we’re talking less then 5 minutes here.
 * Trinity: In 5 minutes, I’ll tear that whole goddamn building down.
 * Neo: How much further?
 * Keymaker: Here, just here.
 * Smith: I’m sorry, this is a dead end.
 * Link: It’s gotta be the ugliest hack I have ever done. That’s as close as I can get ya. You better grow some wings. [Trinity calls him] Operator.
 * Trinity: I’m in.
 * Link: Keep moving, 65th floor.
 * Smith: you look surprised to see me again, Mr. Anderson, that’s the difference between us. I’ve been expecting you.
 * Neo: What do you want, Smith?
 * Smith: Oh you haven’t figured that out? Still using all the muscles except the one that matters. I want exactly what you want. I want everything.
 * Morpheus: Would that include a bullet from this gun?
 * Smith: Go ahead, shoot. The best thing about being me – there’s so many me’s.

<hr width="50%"/>

 * Computer Room Technician: Christ, what happened in here?
 * Computer Room Guard: Hold it right there, little lady.
 * Smith: If you can’t beat us, join us.
 * Neo: Morpheus!
 * Link: Still no sight of them. I don’t know what they’re doing, but they only got 2 minutes left. One minute!
 * Trinity: Come on. Come on. Please.
 * Smiths: Kill them.
 * Link: They’re in. I don’t believe it.
 * Keymaker: It was meant to be. Morpheus. That door will take you home. [to Neo] You’ll know which door. Hurry, Neo.
 * Link: Trinity, I got some serious activity headed your way. [To Morpheus] We got a serious situation, sir.
 * Morpheus: Oh, no.

<hr width=50%>
 * The Architect: Hello, Neo.
 * Neo: Who are you?
 * The Architect: I am the Architect. I created the Matrix. I have been waiting for you. You have many questions and though the process has altered your consciousness, you remain irrevocably human. Ergo, some of my answers you will understand, some of them you will not. Concordantly, while your first question may be the most pertinent, you may or may not realize, it is also the most irrelevant.
 * Neo: Why am I here?
 * The Architect: Your life is the sum of a remainder of an unbalanced equation inherent to the programming of the Matrix. You are the eventuality of an anomaly, which despite my sincerest efforts I have been unable to eliminate from what is otherwise a harmony of mathematical precision. While it remains a burden assiduously avoided, it is not unexpected, and thus not beyond a measure of control, which has led you, inexorably, here.
 * Neo: You haven't answered my question.
 * The Architect: Quite right. ...Interesting, that was quicker than the others.
 * Neo Monitors: Others? What others? How many? Answer me.
 * The Architect: The Matrix is older than you know. I prefer counting from the emergence of one integral anomaly to the emergence of the next, in which case this is the sixth version.
 * Neo Monitors: Five ones before me? Bullshit. Liar!
 * Neo: There are only two possible explanations: either no one told me…or no one knows.
 * The Architect: Precisely. As you are undoubtedly gathering, the anomaly is systemic, creating fluctuations in even the most simplistic equations.
 * Neo Monitors: You can't control me! I'm gonna smash you into fucking bits! FUCKING DEAD! I'll fucking kill you! I can say whatever I want! You can't make me do that! You old, white, prick!
 * Neo: … Choice. The problem is choice.

<hr width=50%>
 * The Architect: The first Matrix I designed was quite naturally perfect; it was a work of art, flawless, sublime. A triumph equalled only by its monumental failure. The inevitability of its doom is apparent to me now as a consequence of the imperfection inherent in every human being. Thus I redesigned it, based on your history, to more accurately reflect the varying grotesqueries of your nature. However, I was again frustrated by failure. I have since come to understand that the answer eluded me because it required a lesser mind, or perhaps a mind less bound by the parameters of perfection. Thus the answer was stumbled upon by another: an intuitive program, initially created to investigate certain aspects of the human psyche. If I am the father of the Matrix, she would undoubtedly be its mother.
 * Neo: The Oracle.
 * The Architect: Please. As I was saying, she stumbled upon a solution whereby nearly 99% of all test subjects accepted the program as long as they were given a choice, even if they were only aware of the choice at a near-unconscious level. While this answer functioned, it was obviously fundamentally flawed, thus creating the otherwise-contradictory systemic anomaly that if left unchecked might threaten the system itself. Ergo, those that refused the program, while a minority, if unchecked would constitute an escalating probability of disaster.
 * Neo: This is about Zion.
 * The Architect: You are here because Zion is about to be destroyed, its every living inhabitant terminated, its entire existence eradicated.
 * Neo: Bullshit. [The monitors have the same response, but in anger]
 * The Architect: Denial is the most predictable of all human responses. But, rest assured, this will be the sixth time we have destroyed it, and we have become exceedingly efficient at it.

<hr width="50%"/>
 * Neo: If I were you, I'd hope we never meet again.
 * The Architect (matter-of-fact, shrugging slightly): We won't.

<hr width="50%"/>
 * Roland: Lock was right. He guessed that the machines would cut off the mainlines in and out of Zion. He thought a counterattck might suprise them. It sounded good. We figured we had a shot, until someone screwed it up.
 * Colt: An EMP was triggered before we could get in position.
 * Mauser: Five ships were instantly downed.
 * Colt: When the machines broke through, it wasn’t a battle. It was a slaughter.
 * Link: Was it an accident? Some sort of malfunction?
 * AK: No one knows.
 * Roland: Someone does.
 * Morpheus: Who?
 * Roland: Once the machines were done with us, they started digging again. We made a quick pass to look for survivors.
 * Link: You found one?
 * Roland: Only one.
 * [cuts to the comatose form of Neo laying on the table with a device attached to his head, while the camera pans over to another comatose form of Bane, who is also laying on the table with another device attached to his own head]

Taglines

 * Free your mind.
 * Reload in IMAX. Think big.
 * Reload before the revolution begins.
 * Desert of the real.

Cast

 * Keanu Reeves - Neo
 * Laurence Fishburne - Morpheus
 * Carrie-Anne Moss - Trinity
 * Hugo Weaving - Agent Smith
 * Gloria Foster - The Oracle
 * Helmut Bakaitis - The Architect
 * Lambert Wilson - The Merovingian

title: The Matrix Reloaded


text:
User talk:SeeSchloss

I just discovered Wikiquote. I didn't know there were so many wikis (aside from en:, fr:, etc). → SeeSchloss

 * Well maybe you should visit here and be even more amazed! But please don't stay too long - come back and contribute to Wikiquote instead. Nanobug 20:54, 27 Aug 2003 (UTC)

 * Wow that's impressive, thanks for this link ! → SeeSchloss 13:21, 29 Aug 2003 (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 SeeSchloss. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name SeeSchloss~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 23:35, 17 March 2015 (UTC)

title: User talk:SeeSchloss


text:
User:Daniel C. Boyer~enwikiquote

I am a surrealist painter and maker of depliages, drawings, and collages.

title: User:Daniel C. Boyer~enwikiquote


text:
John Polanyi

John Charles Polanyi (born January 23, 1929) is a Jewish-Hungarian-German-English-Canadian chemist. He was awarded the Nobel Prize in chemistry in 1986 for his experiments in understanding chemical processes better, and for his discoveries in reaction dynamics. Polányi was born of Hungarian parents; his father was Mihály Polányi, a natural scientist. He lives in Canada.

Quotes

 * When, as we must often do, we fear science, we really fear ourselves. Human dignity is better served by embracing knowledge.
 * Nobel Prize acceptance speech, Nobel Banquet in Stockholm (1986)
 * Even in the world of molecules the civilising influence of modest restraints is a cause for rejoicing.
 * "Some Concepts In Reaction Dynamics" (8 December 1986), as published in Nobel Lectures, Chemistry 1986, p. 403.

 * Authority in science exists to be questioned, since heresy is the spring from which new ideas flow.
 * Address delivered to the Canadian Journalists for Free Expression awards banquet, in The Globe and Mail (27 November 2004).

 * It is not the laws of physics that make science possible but the unprovable proposition that there exists a grand design underlying the physical world. And not just any old "grand design" but one that is accessible to the limited senses and modest reasoning powers of the species to which we belong. Scientists subscribe with such conviction to this article of faith that they are willing to commit a lifetime to the pursuit of scientific discovery.It is hardly surprising that an activity so magical is also undefinable. Science is what scientists do. And what they do is look around themselves for messages written in the sky, the earth, the oceans and all living things – messages that tell of the unity of creation. These messages have been there – unseen, though at times written in letters miles high – since the dawn of history. But we have just passed through an epoch in which, quite suddenly, scientists seem to have learnt speed reading. Discoveries have been coming at an unprecedented pace. In the wake of such a period it is common to consider that we may be approaching the point where all that is readable in nature will have been read. We should be skeptical of such claims. Success in reading some messages brings with it a temporary blindness to others. We forget that between the words written in black in nature's book there are likely to be messages of equal importance written in white. It is a truism that success in science comes to the individuals who ask the right questions.
 * "The Magic of Science" in Imperial Oil Review (Spring, 1994).

title: John Polanyi