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The Iron Giant

The Iron Giant is a 1999 Warner Bros. animated film that centers on a young boy named Hogarth Hughes who discovers and befriends a giant robot.
 * Directed and written by Brad Bird, based on the 1968 novel The Iron Man by Ted Hughes.

Some secrets are too huge to hide.taglines

Hogarth William Hughes

 * I believe you. What if it is Sputnik, or a flying saucer from Mars? I bet we could find it.
 * [after seeing Giant; calmly] So, I guess you're not gonna hurt me, huh? [Giant holds his hand out as Hogarth cringes and gasps, thinking Giant is gonna pound him, but but he reveals the shut-off switch that lands on the ground; shocked] The Shut-Off switch. [to Giant] You saw me save you. [Giant looks at him innocently] So... where are you from? You came from the sky, right? From up there? [Giant looks up] Don't you remember anything? Hmm, maybe it's that bump from your head. [Giant places his finger on his head, feeling the dent] Do you talk? You know words? "Blah, blah, blah," like that? Can you do that? Blah, Blah, Blah?
 * Wig out. It means crazy. You know like, uh- [makes a crazy face and babbles; Giant mimics him] No, no! Don't do that! That's the kind of stuff that makes them shoot at you.
 * So she says, "Uh-uh. You don't have a challenge. You need a challenge." So now I'm challenged, all right. I'm challenged to hold on to my lunch money because of all the big mooses who want to pound me, because I'm a shrimpy dork who thinks he's smarter than them. But I don't think I'm smarter, I just do the stupid homework. If everyone else just did the stupid homework, they could move up a grade and get pounded too. Is there any more coffee?
 * [he has just had espresso with Dean, and is not used to its effects] So, she moved me up a grade because I wasn't fitting in, so now I'm even more not fitting in. I was getting good grades, you know, like all A's. So my mom says, "You need stimulation" and I go, "No, I'm stimulated enough right now."

Kent James Mansley

 * Two nights ago, at approximately 1900 hours (7:00 P.M.), S.A.T com radar detected an unidentified flying object entering Earth's atmosphere, losing contact with it two-and-a-half miles off the coast of Rockwell. Some assumed it was a large meteor, or a downed satellite, but my office in Washington received a call from someone reporting an actual encounter with the object. This is no meteor, gentlemen, this is something much more serious.
 * Hey, mind if I ask you a few questions there, buckaroo? Now, why would you tell your mom about a giant robot, slugger? So, what'd you see at the power station, huh, tiger? Tell anyone else about this, buddy? How big is this thing, Ranger? Been in the forest lately, Junior? Hey, where you goin'? Champ? Slugger? Hey, Cowboy, where you goin'? Where you goin'?
 * Yes, sir.

Annie Hughes

 * Would you say grace, please?
 * Aww, now I do.
 * [still talking with Dean] Hmm, I see why Hogarth sneaks out here.

Dean McCoppin

 * Sorry, kid. I didn't really see anything. But if we don't stick up for the kooks, who will?
 * That's for sure.
 * You mean, you know about that?

General Rogard

 * [sternly] Step outside, Mansley.
 * Go to Code Red! Repeat, Code Red!

Earl Stutz

 * I'm telling the truth, dang it! It came from outer space. I saw it! And it was headed toward land. I called the government in Washington. Maybe it was a sputnik, or... or an invader from Mars. That's what it is, an invader from Mars! It was a spaceship of some kind. An unidentified flying object...

Dialogue

 * [First lines; The movie begins with Sputnik 1 orbits from the distance to the right and to the left towards the viewer as the camera pans to reveal the planet Earth and the sunrise, in Earth 1957, the storm is brewing around the side of North America, the sputnik orbits away and the camera pans past the moon and a bright dot is seen in the distance. It zooms in rapidly past the viewer to reveal itself as a comet and the camera pans back to planet earth where the comet is heading towards the eye of the storm. The camera zooms in towards the storm, and the flash transitions the scene to an ocean waving rapidly, somewhere off the coast of Maine. Suddenly, a boat appears in the ocean.]
 * Earl Stutz: Mayday! Mayday! [the scene changes to Earl piloting his boat] This is The Trawler Annabelle. I've lost my bearings, and I'm taking on water. My last good reading is 44 degrees north, 68 degrees-- [he begins to notice the comet crashing landing in the distance]
 * Radio Voice: Portland Station to Annabelle. What is your position?
 * Earl Stutz: [grabbing the radio to reply] I don't know exactly, Portland. Off the coast somewhere near Rockwell! Wait. [he notices a lightbeam in the distance] The lighthouse! I see it!
 * [The lightbeam turns around and another lightbeam appears, Earl's relived look fades away. The boat then crashes into the metallic structure, causing the hull to break apart and Earl to fall through the window and on deck. Earl looks up and gasps and as the camera pans upwards to reveal the silhouette of a giant robot with glowing white eyes. Earl slowly backs away, but the waves engulf him and wash him off the boat. Earl begins to swim up the surface as the boat sinks, the waves crash into the rocky cliff and they drain away to reveal Earl had made it on one of the rocks. He looks up as the camera pans up several rocky features to see an actual lighthouse, its lightbeam engulfs the screen.]

 * Annie: Over here, honey!
 * Hogarth Hughes: Hey, Mom, you won't believe our good luck. Guess what I found?
 * Annie: Hogarth, we've been through this before. No pets.
 * Hogarth Hughes: But he's not a pet, mom. He's a friend.
 * Annie: Hogarth, we've got to rent a room this year if we're gonna make ends meet, and no one wants to live in a place with shredded upholstery.
 * Hogarth Hughes: You'll never know he's there. I'll keep him in a cage.
 * Annie: Until you feel sorry for him and set him free in the house. You remember the raccoon, Hogarth? [shudders] I remember the raccoon.

 * Man: Unidentified? Knowing you, Earl, I'd say it was either whiskey or beer.
 * [others laugh]
 * Dean: Hey! I saw it too.
 * Man: I rest my case.
 * [others laugh]

 * Hogarth Hughes: Hello, this is Hogarth Hughes speaking. Who's calling please?
 * Annie Hughes: [over phone] Hogarth, honey, I'm really sorry, but... [she's cut off when a waitress comes out of the kitchen] Oh! [to the waitress, sarcastically] Thank you. [to Hogarth, on phone] ...I need to work late tonight. There's some cold chicken in the icebox. You can have that and some carrots.
 * Hogarth Hughes: I'm way ahead of you, Mom. [opens a bread box to reveal bread and Twinkies]
 * Annie Hughes: [over phone] Good, I'll make it up to you, okay?
 * Hogarth Hughes: Okay.
 * Annie Hughes: [over phone] I love you, honey.
 * Hogarth Hughes: Me, too. [almost hangs up]
 * Annie Hughes: [over phone] Oh, and Hogarth, no scary movies, no late snacks, in bed by 8:00. Got it?
 * Hogarth Hughes: Come on, Mom. It's me, remember?
 * [Later that night, Hogarth is watching a black and white movie on TV. The clock reads "8:05"]
 * Man: Why, the porpoise can communicate telepathically, Miss Mullon. [Hogarth fills the Twinkie with Whipped Cream and eats it] If we can transplant at least 15% of their brain matter into ours, we may be able to...read minds. [glass shatters, and the camera reveals that a brain is on the floor] Darn. A perfectly good brain wasted. [to Miss Mullon; leaving the Lab] I think you've seen enough. How about a nightcap? Let's say my place.
 * Hogarth Hughes: [annoyed] Oh, jeez.
 * Miss Mullon: I was thinking the same thing. [giggles] Mind reader.
 * Man: [realizing] Darn. I seem to have left my keys in the lab. [Hogarth eats popcorn, and a man goes back to the Lab to get his keys he tries to turn on his light, but the light switch is not working] Hmm.
 * [the Brain moves slowly on the floor]
 * Hogarth Hughes: [mouthful] You're gonna get it.
 * [The man picks up his keys and hears shattering noises as Hogarth hears something]
 * Man: Who's there?
 * [Hogarth goes upstairs and carries his toy gun]
 * Man: [frightened] No. No! NO!!!
 * [Hogarth runs downstairs and sees the Brain Monster attack the man on TV, but the screen quickly turns to static]
 * Hogarth Hughes: [annoyed] Oh, come on! [bangs the TV trying to make it work but with no effect] Stupid antenna.

 * Kent Mansley: [first words] Kent Mansley, United States Government, Unexplained Phenomena Department.
 * Marv: Marv Loach. I--
 * Kent Mansley: What happened here?
 * Marv: Not sure. Sometimes, the line'll snap if the weather is bad, sure. [Marv Loach and Kent Mansley walk through the wreckage of the power station where Kent makes a report] But for a whole tower to get twisted up like that, whoa! It's got me beat. It's almost like it was bitten off. By some Enormous Beast.
 * Kent Mansley: [writing the notes down] "Enormous Beast." Yeah. What do you think? Escaped gorilla?
 * Marv: Uh, what department is that again?
 * Kent Mansley: Frankly, I'm not at liberty to reveal the particulars of the agency I work for, and all that that implies.
 * Marv: [whispers] You mean, uh, National Security?
 * Kent Mansley: [chuckles] Let's put it this way. Every once in a while, things happen that just can't be rationalized in a conventional way. People want to know that their government has a response. I am that response. So, were there any witnesses?
 * Marv: Well, sir, if you'll just follow me. [Kent follows Marv to his truck. Marv opens his truck and takes out what's left of Hogarth's BB Gun.] We did find this. [Kent examines the damaged BB Gun] United States Government, huh? Guess that means something big's happenin' here, eh?
 * Kent Mansley: No, Marv. Big things happen in big places. And the sooner I fill out my report, the sooner I can get back to them. [he walks away with the BB Gun; to himself] Enormous beast, yeah. [he chuckles as he enters his car] Biggest thing in this town is probably the homecoming queen. [Kent notices his broken car; alarmed] OH, MY GOD!
 * [Kent jumps out, terrified, and his fedora falls off. He then quickly runs back to the power station. Afterwards, Giant's arm emerges from the trees. Kent is escorting Marv to his car.]
 * Kent Mansley: Come on, Marv, come on. I need a witness.
 * Marv: Okay, I'm comin', I'm comin'.
 * Kent Mansley: It's around the corner. Come on, pick up the pace here.
 * Marv: Don't pull so hard, Mr. Manley, easy on the work shirt.
 * Kent Mansley: [panicking] You've never seen anything like it. It's like a big, big chomp out of the side of the car.
 * Marv: Take it easy.
 * Kent Mansley: It's like a bite out of a ham sandwich, like a-- [he becomes shocked to see his car is gone, and his fedora and the BB gun remains; gasps in shock]
 * Marv: [confused] What, um-- What are we looking at here, Mr. Manley?
 * Kent Mansley: Something big, Marv. [he picks up the damaged BB gun] Something big.

 * Hogarth Hughes: [calmly] So, I guess you're not gonna hurt me, huh? [The giant robot holds his hand out as Hogarth cringes and gasps. He reveals the shut off switch.] [surprised] The shutoff switch. [To Giant] You saw me save you. [the Giant looks at him innocently] So... where are you from? [the Giant doesn't answer him] You came from the sky, right? From up there? [Giant looks up] Don't you remember anything? Hmm. Maybe it's that bump on your head. [Giant places his finger on the Head, feels the dent] Do you talk? You know words? "Blah, Blah, Blah," like that? Can you do that? Blah, Blah, Blah?
 * Giant: [in a rusty voice] Blah, blah, blah.
 * Hogarth Hughes: [cringes] Well... you get the idea anyway. [picks up a rock] See this? This is called a rock. Rock.
 * Giant: Rock!
 * Hogarth Hughes: Good.
 * Giant: [picks up a boulder] Rock?
 * Hogarth Hughes: Yes!
 * Giant: [picks up a tree] Rock!
 * Hogarth Hughes: No, no. That is a tree. [points to boulder] Rock... [points to tree] ...tree. Get it?
 * Giant: [looks at boulder] Rock. [looks at tree] Tree.
 * Hogarth Hughes: That's right! [to himself] Wow, my own giant robot, I am now the luckiest kid in America! This is unbelievable. This is the greatest discovery since, I don't know, television or something. I gotta tell someone. I should call some-- No. They'll panic. [to Giant] People will always wig out and start shooting when they see something big like you.
 * Giant: [confused] Hmm?
 * Hogarth Hughes: Oh. "Wig out". It means, "crazy". You know, like, uh-- [makes a face as he babbles; Giant mimics him] No, no! Don't do that! That's the kind of stuff that makes them shoot at you.

 * [Hogarth sees the Giant's hand in the kitchen]
 * Hogarth Hughes: Oh, my God. Um, uh... oh, my God! We... thank you for the... er, food that mom has put in front of us and stop!... uh, the Devil... from doing bad things? And er, get out of here!... Uh, Satan? Go! Go so... that we may live in peace. Amen.
 * Annie: Amen. That was... hmm, really unusual, Hogarth.
 * Hogarth Hughes: [speaking quickly] Forgot to wash my hands!
 * Annie: [as Hogarth races out of the room] What--? Okay.

 * [Hogarth opens the door and sees Kent Mansley.]
 * Kent Mansley: Hey there, Scout, Kent Mansley, I work for the government. [Hogarth quickly closes the door and he gasps]
 * Annie: Hogarth? [Kent bangs the door and rings the doorbell] Hogarth? [Hogarth opens the door]
 * Kent Mansley: Hey there, Scout, Kent Mansley... [smile disappears] work for the government. Your parents home?
 * Hogarth Hughes: We're eating.
 * Kent Mansley: Mmm, boy.
 * Annie: Who's there, honey?
 * Kent Mansley: [stares at Annie's chest; huskily] Well, hello there. [clears throat and regains composure] Do you have a telephone I could use?
 * Annie: Yes, there's one in the kitchen.
 * Kent Mansley: Well, thank you. Thank you very much. [to Hogarth] Here. [puts his fedora on Hogarth's head] Pretend you're a gangster. [chuckles]
 * [Kent calls General Rogard's home phone number.]

 * [The general picks up while watching a western on TV.]
 * General Rogard: [annoyed] Damn it, Mansley, you called me at home for this?
 * Kent Mansley: You don't understand, sir. It-it-it-- It ate my car!
 * General Rogard: And you saw this happen?
 * Kent Mansley: No, I didn't actually see it. It went off into the... woods.
 * General Rogard: So, you don't have any evidence.
 * Kent Mansley: But-But sir, I've got an eyewitness!
 * General Rogard: An eyewitness with a concussion.
 * Kent Mansley: [shouts] This thing i--! [covers his mouth and lowers his voice] This thing is a menace. It-It-It-It tore up a power station and-- [phone falls, and he picks up] --and caused a train wreck!
 * General Rogard: What did? Tell me again, Mansley, and this time, listen to yourself.
 * Kent Mansley: [sighs; wearily] A giant metal monster. [Rogard guffaws on the other end. Kent sees a kitchen mitt that seems to mock him.] Please, sir. I've got a feeling about this one. [flips the oven mitt]
 * General Rogard: That's lovely, Kent. But let me try to explain how this works: If you told me you'd found, say, um, a giant footprint, I might send over an expert to make a plaster cast of it. Hell, you get me a photograph of this thing, and I could probably get some troops over there! But you tell me you've got a feeling.
 * Kent Mansley: All right, then fine. You want evidence? I'll get you evidence, and when I do, I'm gonna want a memo distributed.
 * General Rogard: [sarcastically] That sounds swell, Kent.
 * Kent Mansley: I'm gonna want that memo carbon-copied, and redistributed, [Rogard hangs up.] and-- [Kent stops, and tries to hang up the phone, which falls off the receiver, twice; he gets angry, yelling incoherently and bangs the phone against the receiver several times, then composes himself.] Hi. Thanks for the use of your phone. [goes outside the door and puts his fedora back on.] Well, thank you for the use of your phone, Mrs.--?
 * Annie: Hughes. Annie Hughes. And this is my son, Hogarth.
 * Kent Mansley: Thank you, Annie. Hobart.
 * Hogarth Hughes: It's Hogarth! [to himself] Jerk. [grumbles irritably]
 * Kent Mansley: [starts car] "Hogarth"? What an embarrassing name. Might as well call him Zeppo or something. What kind of a sick person would name their kid Hogar--? [stops and looks over to Hogarth's smashed B-B gun which says, "Hog Hug," instead of "Hogarth Hughes."] "Hog Hug". "HOG HUG"?! [realizes] HOGARTH HUGHES!

 * Annie: Hogarth? What is going on up there? Are you alright?
 * Hogarth Hughes: [grunting] I'm...fine!
 * Kent Mansley: You know, this sort of thing is why it's so important to really chew your food.
 * [Annie turns and gives Kent a disgusted/annoyed "Really?" look. Hogarth pushes the Giant's hand out of the window, and it lands on the ground with a thud.]
 * Annie: Hogarth? [Hogarth zips down his pants] Hogarth? [opens the door]
 * Hogarth Hughes: Mom! [Annie exclaims seeing Hogarth sitting on the toilet] A little privacy?!
 * Annie: Sorry. [as she closes the door, it hits Kent, who yells in pain; to Kent] Sorry.
 * Kent Mansley: [rubbing where the door hit him] Ow.
 * Annie: Oh, Lord, he's been acting strange lately.
 * Kent Mansley: That hurt.
 * [Hogarth sighs in relief then he stands up and zips up his pants. He sees the giant's hand go into the shed. Kent leaves the house and goes to his car as he puts his fedora back on]
 * Kent Mansley: Thank you again, Annie. Good night, Hogarth. I'm sure we'll see each other again... [gets in his car] ...real soon. [starts the car and drives away then Hogarth and Annie go back inside the house.]

 * Dean: You'd be surprised how many people wanna steal scrap. But, man, once I turn it into art, I can't give it away. I mean, what am I, a junkman who sells art, or, or an artist that sells junk? You tell me.
 * Hogarth Hughes: I like it, I think. Listen you're not gonna call my mom, are you? She doesn't know I'm out.
 * Dean: Don't worry, kid. Look, it's not my style to report a guy to the authorities. [The Giant waves to Hogarth before he closes the shade.] I'm gonna have some coffee. What do you want, some milk, or what? Milk?
 * Hogarth Hughes: Coffee's fine. [Dean gives him a dumbfounded "Really?" look; scoffs] Yeah, I drink it. I'm hip.
 * Dean: [skeptically] I don't know. This is espresso, you know? It's like coffee-zilla.
 * Hogarth Hughes: I said, I'm hip. [Dean shrugs as he starts to make coffee. A bit later, Hogarth speaks rapidly under the effects of espresso] So, she moved me up a grade because I wasn't fitting in, so now I'm even more not fitting in. I was getting good grades, you know? Like, all A's. So, my mom said, "You need stimulation," and I go, "No, I'm not stimulated enough right now!"
 * Dean: That's for sure.
 * Hogarth Hughes: [continuing] So, she goes "Uh-uh. You need a challenge. You don't have a challenge." So now I'm challenged, all right. I'm challenged to hold on to my lunch money, because all of the big mooses who wanna pound me because I'm the shrimpy dork who thinks I'm smarter than them. But I don't think I'm smarter, I just do stupid homework! If everyone else just did the stupid homework, they could move up a grade and get pounded too. Is there anymore coffee?
 * Dean: Look, it's really none of my business, kid, but who cares what those creeps think, you know? They don't decide who you are, you do. You are who you choose to be. [a crashing sound is heard from outside; shocked] Did you hear that?
 * Hogarth Hughes: No, wait. Stop! [Dean comes out of his home with a crowbar in his hand, he looks around. Then, he turns around and suddenly caught sight of Giant on the other side of his warehouse.] It's okay.
 * Dean: [alarmed] My God...
 * Hogarth Hughes: He isn't gonna--
 * Dean: [panicking; grabs Hogarth] RUN, KID! RUN! [they run off, Dean's voice attracts Giant's attention, and he jumps up angrily. The Giant lands in front of them, they run the opposite way]
 * Hogarth Hughes: It's okay, he isn't-- [he gets cut off when Giant slams his hand in their way. They turn around and they trip] It's okay, he isn't gonna hurt me.
 * [Suddenly, Giant grabs hold of Dean by the collar of his night robe]
 * Dean: Whoa! Hey, hey! [he gasps when the Giant raises him high]
 * Hogarth Hughes: Don't squash him! No, don't! Do not... [Giant narrows his eyes at Dean, then he looks at Hogarth, confused] [softly] ...squash him. His name is Dean. We like Dean. [Giant draws his attention back to Dean, but he doesn't narrow his eyes]
 * Giant: Dean. [Dean gasps, and cowers in fear]
 * Dean: [sees Giant eating some metal junk and shakes with fear as he is about to take a sip of his coffee] So...where'd, uh- Where'd he come from?
 * Hogarth Hughes: He doesn't remember. He's like a... little kid.
 * Dean: Little. Yeah. [starts chuckling, then stops] Wait a minute. You can talk to him?
 * Hogarth Hughes: Kinda. He can't say a lot of words yet, but he can understand things pretty good.
 * Dean: Oh, yeah, I see.
 * [Hogarth and Dean start chuckling as the Giant is still eating some metal junk, then they stop]
 * Hogarth Hughes: He needs food and shelter.
 * [Dean gets up from his chair, pours his coffee onto the ground, and walks back into his office and shuts the door. 37 minutes later, Hogarth is still pleading to Dean to let Giant stay in the junkyard, but to no avail.]
 * Hogarth Hughes: You got plenty of room here; this place is perfect!
 * Dean McCoppin: Go away.
 * Hogarth Hughes: I can have him push the door down. You know I can!
 * Dean McCoppin: [opens the door] Hogarth, I-I-I can't hide it here!
 * Hogarth Hughes: Him. Not it.
 * Dean McCoppin: Whatever. You don't even know where he came from, or what the hell he is!
 * Hogarth Hughes: He's my friend.
 * Dean McCoppin: Yeah, yeah. What am I? Am I your friend? [starts walking back into his office] Bring some Franken-bot with out-of-state plates over here and make me change my tune. I don't like that jazz. [lays down on his couch] God, I'm tired.
 * Hogarth Hughes: So, he can stay?
 * Dean McCoppin: Tonight. Tomorrow- I-I don't know about tomorrow.
 * [Hogarth closes the door and breathes a sigh of relief]

 * Hogarth Hughes: [exasperated] I'M GOING OUT! [takes his jacket]
 * Annie: Well, why don't you take Mr. Mansley with you, show him the sights?
 * Hogarth Hughes: Oh, Mom, the sights?
 * Kent Mansley: [puts his fedora on] Hey, I'd love that. Give us a chance to get acquainted, swap some stories. Huh, chief?
 * [scene changes to Dean talking to Giant]
 * Dean: There are two kinds of metal in this yard: Scrap and art. If you gotta eat one of them, eat the scrap. What you currently have IN YOUR MOUTH IS ART!
 * Giant: [takes the Art Scrap out of his mouth] Hmm. Art?
 * [Dean looks at him, annoyed. Giant mashes up the Scrap some more, trying to repair it.]
 * Dean: Forget it. Forget it. [Giant puts down the damaged Art Scrap on the ground.] It's gone. It's-- [Dean notices the readjustment of the Art Scrap and is amazed] Hmm. That's not bad.

 * [Inside the pharmacy, Hogarth and Kent having root beer floats.]
 * Hogarth Hughes: First, you take a Chocolate Bar. Any bar will do.
 * Kent Mansley: Oh.
 * Hogarth Hughes: Do you mind if I, uh--?
 * Kent Mansley: No, knock yourself out, skipper.
 * Hogarth Hughes: [crumbles up choco-lax] You crumble up the chocolate into little pieces, [stirs the Ice Cream] then you kind of stir it into the ice cream. See?
 * Kent Mansley: Yes, I see. What do you call this, again?
 * Hogarth Hughes: Landslide. It's new. Very new. [tosses choco-lax wrapper in a garbage can without Kent noticing]
 * Kent Mansley: Mmm. Landslide. Topnotch. Mmm. [Hogarth makes a landslide with a regular chocolate bar.] You know, Hogarth. We live in a strange and wondrous time. The Atomic Age. But there's a dark side to progress, Hogarth. Ever hear of Sputnik?
 * Hogarth Hughes: Yeah, it's the first satellite in space.
 * Kent Mansley: Foreign satellite, Hogarth, and all that that implies. Even now, it orbits overhead... Boop! Boop! ...watching us. We can't see it, but it's there. Much like that giant thing in the woods. We don't know what it is or what it can do. I don't feel safe, Hogarth. Do you?
 * Hogarth Hughes: [puzzled and confused] What are you talking about?
 * Kent Mansley: What am I talking about? [angrily] What am I TALKING ABOUT?! [his yelling causes everyone to turn and stare at Kent as the music in the pharmacy stops playing. Kent slowly begins to corner Hogarth] I'M TALKING ABOUT YOUR GOLDARNED SECURITY, HOGARTH! While you're snoozing in your little jammies, back in Washington, we're wide awake and worried. Why? Because everyone wants what we have, Hogarth; Everyone! You think this metal man is fun. But who built it? The Russians? The Chinese? The Martians? Canadians?! I DON'T CARE! All I know is we didn't build it, and that's reason enough to assume the worst and blow it to Kingdom Come! Now, you are going to tell me about this thing, you are going to lead me to it, and we are going to destroy it before it destroys us!! [Kent's stomach suddenly begins to gurgle, causing his glare to fade away and his eyes to widen] Just hold that thought and stay right there! Uh-oh! [rushes to the bathroom, and the camera quickly pans to reveal Hogarth left the Pharmacy]

 * Dean: [sets up his chair] This can't last forever, Hogarth. We gotta tell somebody about him.
 * Hogarth Hughes: Ah, you worry too much. [climbs up the rock boulder] Hey, Dean! Watch this!
 * Dean: [sits down on his chair] All right, we're watchin', we're watchin'.
 * Hogarth Hughes: This one's for professionals only! [jumps in the lake] Banzai! [Giant looks down at Hogarth in the lake. Hogarth emerges from the water, shivering] C-C-Come on in! Th-Th-The water's great!
 * Dean: [chuckles] No, thanks.
 * Hogarth Hughes: You -wweenie! [to Giant] Come on in! It's really, really refreshing. [Giant walks away] What? You too? You... big baby! [hears running footsteps approaching and Dean also hears the footsteps while reading the newspaper.]
 * Giant: [jumps] BANZAI! [lands in the water and does a giant splash. Dean, who is reading his newspaper, notices the wave approaches, he hides behind his newspaper. The wave lands on the road and Dean gets all wet. Hogarth is hanging from a tree as he laughs.]
 * Hogarth Hughes: Whoo!
 * [Dean is on the washed road as a truck approaches him.]
 * Truck Driver: Hey!
 * Dean: Yeah?
 * Truck Driver: You're right in the middle of the road!
 * Dean: Yeah?
 * Truck Driver: All right. [drives away]
 * Dean: I think that's enough fun for one day.

 * [Kent is in the bathroom with red lighting at Hogarth's house. He hangs the drying photos from Hogarth's camera. As one photo starts clearing up, he hears knocking.]
 * Annie: Are you okay in there, Mr. Mansley? I'm back with that toilet paper you needed.
 * Kent Mansley: [chuckles] Thanks! I think I'm feeling better now. Much. [sees the photo of Hogarth and Giant] Much better.

 * [Hogarth and Giant are in the woods. Giant sighs happily at the beauty of the vast forest.]
 * Hogarth Hughes: It's beautiful! [gasps and sees a deer] Hey, look. [quietly] It's a deer.
 * Iron Giant: Deer?
 * Hogarth Hughes: Shh. Let's get closer.
 * [The Giant walks and points at the deer. The deer sees the Giant and Hogarth. The Giant kneels down holding out his finger Hogarth and Giant smiles as the deer curiously sniffs Giant's finger. Then the deer hears a twig snap, and it leaves.]
 * Hogarth Hughes: Hmm, well, I guess he decided to--
 * [Suddenly, a gunshot is heard, and birds fly past them, the Giant is surprised, and sees the Hunters kneeling over the deer they just shot as they turn to see the Giant.]
 * Hunter: [alarmed] It's the monster! [they both drop their guns and run into the woods]
 * Hogarth Hughes: [shocked] Oh, no. [The Giant sees the deer is dead, and slowly reaches his finger down, touching it, to no avail] It's dead.
 * Iron Giant: [sadly] Dead? [he tries to pick up the dead deer]
 * Hogarth Hughes: Don't do that!
 * Iron Giant: [lets go of the dead deer; to Hogarth, confused] W-Why?
 * Hogarth Hughes: It's dead. Understand? They... shot it, with that gun. [Giant sees the gun his eyes narrow and turn red] Hey, what's wrong?
 * Iron Giant: [snaps out of it] Gun.
 * Hogarth Hughes: Yes. Guns kill.
 * Iron Giant: Guns kill.

 * [Later that night, Giant and Hogarth are at Dean's junkyard. Giant feels very sad about the deer. Hogarth walks up to him.]
 * Hogarth Hughes: I know you feel bad about the deer. But's it not your fault. Things die. It's part of life. It's bad to kill. But it's not bad to die.
 * Iron Giant: You die?
 * Hogarth Hughes: Well... yes, someday.
 * Iron Giant: I die?
 * Hogarth Hughes: I don't know. You're made of metal. But you have feelings, and you think about things, and that means you have a soul. And souls don't die.
 * Iron Giant: Soul?
 * Hogarth Hughes: Mom says it's something inside of all good things. And that it goes on forever and ever. [pats Giant's face and walks away. Giant lies on the scraps, and he looks up at the midnight.]
 * Iron Giant: Souls don't die.

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 * [Hogarth goes to barn putting his bicycle away and the Shadow Figure of Kent]
 * Kent Mansley: You're late for dinner, Hogarth. [Frightened, Hogarth runs to the door, but Kent blocks him and locks the door, trapping Hogarth.] Your mom's worked late tonight, Hogarth, so it's just us guys. And we're gonna have a little chat. [shoves Hogarth into a chair] Sit down! [turns on a lamp] How's that? A little too bright? Good. [chuckles] Forgive me, Hogarth, I wanted you to learn something.
 * Hogarth Hughes: What can I learn from you?
 * Kent Mansley: You can learn this, Hogarth, that I can do anything I want whenever I want if I feel it's in the people's best interest. The Giant Metal Man. Where is it?
 * Hogarth Hughes: I don't know what you're talking about.
 * Kent Mansley: You don't? Well...
 * [Kent lays pictures in front of Hogarth; first the one is of a piece of metal that Hogarth lured the Giant with] Does this ring a bell? [Hogarth doesn't answer] No, how 'bout this?
 * [Kent lays another picture which Hogarth accidentally took of himself with the Giant behind him] You have been careless, Hogarth.
 * Hogarth Hughes: It doesn't prove anything.
 * Kent Mansley: It's enough to get the army here with one phone call.
 * Hogarth Hughes: Then what's stopping you?
 * Kent Mansley:[pushes the shoves the lamp off the Table] [angrily] WHERE'S THE GIANT?! [grabs Hogarth by the jaw] You can't protect him, Hogarth, any more than you can...protect your mother.
 * Hogarth Hughes: My mom?
 * Kent Mansley: [lets go of Hogarth's jaw and sighs] It's difficult to raise a boy all alone. We can make it more difficult. In fact, we can make it so difficult it would be irresponsible for us to leave you in her care, and all that implies. You'll be taken away from her, Hogarth.
 * Hogarth Hughes: You can't do that!
 * Kent Mansley: Oh, we can, and we will.
 * Hogarth Hughes: [lowers his head; defeated] He's in the junkyard. McCoppin's Scrap, off Culver Road.
 * Kent Mansley: Ah, the junkyard. Of course! Food for the metal-eater. I wouldn't worry about this, Hogarth. It isn't really happening. This is only... a bad dream.
 * [Kent shoves a chloroform rag on Hogarth's mouth as he moans. leaving him unconscious as faded things appear around his room, and the scene switches to Hogarth in bed hearing voices then he wakes up hearing Kent talking on the phone.]
 * Kent Mansley: [on phone] Yes, sir. This thing is real, sir. I not only have incontrovertible evidence, General. I know where it's hidden. I don't know who built it, but it's here. It's massive and we're running out of time.
 * [Hogarth wakes up in the bed and he listens to Kent talk on a lifer]
 * Kent Mansley: There's no doubt we should act. The only question, sir, is, "Can you afford not to?" Excellent, sir. You won't regret it. Thank you, sir. [hangs up telephone]
 * [Hogarth hides behind his bedroom door, and he tries to escape but he is blocked by Kent]
 * Kent Mansley: The army arrives in the morning, Hogarth, don't get cute.
 * [Hogarth glares angrily at him as he slowly backs away into his room then he closed the door]
 * Hogarth Hughes: [quietly] I gotta warn Dean.
 * [Hogarth runs to his bedroom window he tried to open it then he sees his window is nailed shut. Kent opens the door glaring at him and Hogarth glares back]
 * Kent Mansley: I'll be watching you. [He sits down on Annie's bed with a cocky smile. Hogarth continues glaring at him as he goes into his bed. He puts on his army helmet; he folds his arms and puts on his goggles to hide his eyes from Kent. Kent smiles evilly as Hogarth glares angrily at him. They stare at each other for hours. Kent grows tired and Hogarth appears to fall asleep. Kent smiles at this and looks at his watch. The next morning, he wakes up and looks at Hogarth's bed. He smiles when he thinks Hogarth is still asleep Suddenly, he walks past.]
 * Hogarth Hughes: [walks by] Morning, Kent.
 * [Kent gasps and walks into Hogarth's bedroom. He pulls the bed sheets only to see pillows and the helmet, which falls to the floor. While Kent fell asleep, Hogarth (who had faked sleeping under his goggles) got out of bed and called Dean to warn him. Annie enters the room.]
 * Annie Hughes: [comes in] For some reason, the army is in our front yard, Mr. Mansley.
 * Kent Mansley: [smiles] Please call me Kent.

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 * [Hogarth watches General Rogard yelling berating Kent over a dumb investigation outside the window while he smiles smugly]
 * General Rogard: [angrily] DO YOU REALIZE HOW MUCH HARDWARE I BROUGHT OUT HERE?! YOU JUST BLEW MILLIONS OF UNCLE SAM'S DOLLARS OUT OF YOUR BUTT!!!
 * Annie: [talking to Dean] I gotta admit, I'm relieved that this is what Hogarth was talking about. I mean, I was beginning to think it was real. I mean, don't get me wrong. I like it. But um, do you need all this stuff on the surface?
 * Dean: Well, um, no, actually.
 * Annie: Well, just sort of-- It seems kind of slapped on. You know, not as thought-out as this other piece.
 * Dean: You like that one?
 * Annie: Yeah.
 * General Rogard: [still berating Kent] You'll be chief inspector of Subway toilets by the time I'm finished with you! [gets in the jeep] Now pack up. I'll expect you back in Washington to clear out your office. [signals the soldier to drive away, pointing to the road]
 * Kent Mansley: [softly defeated] Yes, sir.

<hr width="50%"/>
 * Dean: Get back! [the Giant looks at Dean in confusion] I said "Get back!" I mean it!
 * Giant: No. Stop. Why?
 * Hogarth Hughes: It was an accident; He's our friend.
 * Dean: [to Hogarth] He's a piece of hardware, Hogarth. Why do you think the army was here? He's a weapon. A big gun that, that walks!
 * Giant: I... I... I not gun.
 * Dean: Yeah, what's that? Huh? [points at a hole, by the Giant's Eye Gun, in a school bus] You almost did that to Hogarth!
 * Giant: [sees hole in bus; shocked] No. [he runs away as it begins to snow]
 * Hogarth Hughes: Come back! [runs to follow Giant]
 * Dean: Hogarth. Hey, stop!
 * Hogarth Hughes: Giant! Come back!
 * Dean: [picks up Hogarth's toy gun; realizing] It was defensive. He reacted to the gun. [As Hogarth continues running down the road, Dean arrives on his motorcycle to catch up to him.] You're not gonna get there fast enough on foot. [Hogarth smiles, and he hops on Dean's motorcycle]

<hr width="50%"/>
 * Boy 1: See, I told you it was a big hoax. Dad said-- [a second boy gasps upon seeing the Giant]
 * Boy 2: Give me the binoculars.
 * Boy 1: What? What?
 * Boy 2: [looks through the binoculars] Hey, there it is. I see it! [the Giant walks away] It's big. It's walking away.
 * Boy 1: [takes the binoculars] Give me those.
 * Boy 2: Over there. See it? See it?
 * Boy 1: [surprised] The monster! Holy cow!
 * [The balcony railing breaks, and the boys fall. Their binoculars catch onto a flagpole. As they both hang on for their lives, the wood pieces fall onto the street and almost hit a civilian.]
 * Man: Watch it!
 * Boy 2: [scared] HELP! SOMEBODY HELP ME! [The Giant hears their cries for help] I DON'T WANNA FALL! [the crowd from below runs at the incident as Annie Hughes at the Diner sees what's going on]
 * Boy 1: I'M SLIPPING! I CAN'T HOLD ON MUCH LONGER!
 * [The crowd gasps as the Giant arrives at the scene of the disaster. He slides across the ground as the boys fall off the flagpole. Fortunately, they land safely in his hand. The crowd is surprised upon seeing the Giant saving the boys' lives. They run to their dad.]
 * Boy 1: Dad!
 * Boy 2: Daddy! [They both hug their father, and he smiles at the Giant]
 * Man: He saved those boys.
 * Woman: It's friendly.
 * [cut to Dean and Hogarth riding on the motorcycle looking for the Giant. As the convoy drives by, we see Kent in his car, upset over being fired by Rogard. He looks back at Dean and Hogarth heading towards the town where the Giant is. Kent gasps.]
 * Kent Mansley: What?! [He looks at the Giant again] What?! [He bumps into the truck in front of him. Suddenly, the truck behind him runs into him, destroying his car. He gets out of his car and yells at the soldiers, lying about the Giant "attacking" the town.] Stop! Look! Look behind you! The giant, it's attacking! It's stomping the town! I was right! [General Rogard turns and sees the Giant]
 * General Rogard: [alarmed] Sweet Mother of God.
 * Kent Mansley: Look, damn you!

<hr width="50%"/>
 * Dean: [to Kent as he approaches him] Kent, he only reacts defensively. If you don't shoot, he's harmless. You gotta tell the general!
 * Kent Mansley: This is all your fault, beatnik. If you hadn't--
 * Dean: [interrupting] Would you shut up and listen?! You gotta make them stop! The Giant's got the kid with him!
 * Kent Mansley: I'll take care of it.

<hr width="50%"/>
 * General Rogard: [takes radio from a soldier frozen with fear] All battleships fire at the robot! Now! NOW, DAMN IT, NOW!
 * [The battleships offshore fire on the Giant, drawing its' attention away from the army and it begins marching toward the shore to confront the new threat]
 * General Rogard: Nothing can stop this thing; We've hit it with everything we've got!
 * Kent Mansley: Not everything, General; the bomb. [Rogard removes his glasses and stares in shock] The Nautilus has first-strike capability and is not far offshore.
 * General Rogard: You scare me, Mansley. You want us to bomb ourselves in order to kill it?!
 * Kent Mansley: General, the Giant seems to follow whatever attacks it. We can lure it away from the town, then destroy it.
 * General Rogard: [to one of his soldiers] Radio the Nautilus. Tell them to target the robot and await my command.

<hr width="50%"/>
 * Nautilus Pilot: This is Nautilus. What's the Giant's current position?
 * Soldier: [through radio] 67.71972 degrees west by 44.50177 degrees north.
 * Nautilus Pilot: Locked and loaded.
 * Annie: [caressing Hogarth] Oh, my baby, I'm so sorry.
 * Hogarth Hughes: [regains consciousness; to Dean] Stop the car.
 * Annie: [surprised] Hogarth! Oh, my God! Honey, you're all right!
 * Hogarth Hughes: Get back! We've gotta help him!
 * Dean: Are you crazy, kid? You're lucky to be alive. We're taking you to a hospital. [sees the Army; stops truck.]
 * Soldier: Everyone, out of the car! We are to evacuate the area. [pulling Dean of out the truck]
 * Dean: What are you talking about? We gotta get this boy to a hospital.
 * Soldier: What boy?
 * Dean: [sees the truck is empty; shocked] Hogarth!
 * [Hogarth runs up to Giant as Dean and Annie look on.]
 * Annie: [worried] Hogarth, no!
 * [Giant targets the battleship as Hogarth arrives to stop him.]
 * Hogarth Hughes: Hey! No! STOP!
 * [Giant turns to Hogarth and he shoots to sky, narrowly missing the battleship, as the army reacts in shock. Kent looks at General Rogard.]
 * General Rogard: [to Nautilus, through radio] This is General Rogard. Ready the attack and prepare to retreat to the fallback position.
 * Annie: No! No! Stop! My son is out there!
 * [camera cuts to Hogarth as Giant points his weapon at him.]
 * Hogarth Hughes: No, wait! It's me, Hogarth, remember? It's bad to kill. Guns kill. And you don't have to Be a Gun. You are what you choose to be. You Choose. [cringes, as braces for impact] Choose.
 * Giant: [his eyes return to normal] Hogarth. [returns to his normal form, feeling regretful, as he moans.]
 * Hogarth Hughes: It's okay, It's okay. We gotta show them you're good.
 * [Giant turns around, and the camera cuts to inside the Nautilus submarine.]
 * Nautilus Sailor: Nautilus to Rogard. Missile armed and ready.
 * General Rogard: What are you saying? He's friendly?
 * Dean: Yes! Attacking him is triggering a defense mechanism.
 * Kent: Don't listen, General! Destroy the monster while we still have the chance!
 * [soldiers arm their rifles, after hearing the Giant's footsteps]
 * Dean: General, you shoot now, and the whole thing starts all over again!
 * Kent Mansley: Stop it now, General; Our future's at stake!
 * Soldier: Orders, sir?
 * Dean: Which is why you have got to stop, General!
 * Rick: [alarmed] It's getting closer! Orders, sir?!
 * Hogarth Hughes: Don't shoot! Don't shoot!
 * Annie: Hogarth!
 * General Rogard: Hold your fire! The boy's alive?
 * Kent Mansley: It's a trick; Launch the missile!
 * General Rogard: Are you mad, Mansley? All units, stand down! Rogard to Nautilus. Come in, Nautilus.
 * [Giant angrily stares at Kent for knocking Hogarth unconscious, and Kent is alarmed]
 * Nautilus Sailor: [through radio] This is Nautilus, standing by.
 * Kent Mansley: [snatches radio; screaming] LAUNCH THE MISSILE NOW!
 * [Nautilus captain pushes the red button, launching the missile up to the sky.]
 * General Rogard: [grabs Kent by his trench coat] [angrily] That missile is TARGETED TO THE GIANT'S CURRENT POSITION! WHERE'S THE GIANT, MANSLEY?!''
 * Kent Mansley: [sees the Giant holding Hogarth in his hands standing behind him] Wha-? Ohhhh....W-W-We can duck and cover! There's a fallout shelter right there. If we hur--
 * General Rogard: There's no way to survive this, YOU IDIOT!
 * Kent Mansley: [shocked] You mean... we're all going to--?
 * General Rogard: To die, Mansley. For our country.
 * Kent Mansley: [his last words; alarmed] Screw our country, I WANNA LIVE! [shoves a soldier out of a jeep and starts to drive away, but the Giant blocks the jeep with his hand, preventing him from escaping.]
 * General Rogard: Hold him, men. [soldiers aim their rifles at Kent.] Make sure he stays here, like a good soldier.
 * [an air raid siren goes off and the crowd gets worried and scared. Giant puts Hogarth down then he walks up to Annie and hugs her.]
 * Hogarth Hughes: [shocked] Oh, no! [looks to where the missile is heading.]
 * Giant: Hmm.
 * Hogarth Hughes: It's the missile. When it comes down, everyone will die. [Annie places her hand on Hogarth's shoulder.]
 * Man: There it is! [the crowd sees the missile up in the sky as Giant looks at it then he looks to crowd knowing that the missile will kill everyone, and bravely looks at the missile.]
 * Annie: Shouldn't we get to a shelter?
 * Dean: [shaking his head] It wouldn't matter.
 * Giant: I fix. [Hogarth feels surprised, and he walks up to Giant.]
 * Hogarth Hughes: Giant? [Giant kneels down and gently places his finger at him.]
 * Giant: Hogarth. You stay. I go. [gently lifts Hogarth's chin, and sadly waves his other finger] No following. [backs slowly]
 * Hogarth Hughes: [softly] I love you.
 * [The Giant takes off as Hogarth looks on and Annie comforts him. As the missile starts to descend, the Giant flies up into outer space, aiming himself towards it, to save the town.]
 * Hogarth Hughes: [through memory] You are who you choose to be.
 * Giant: [last word; heroically] Superman.
 * [The Giant closes his eyes and flies straight into the missile, which explodes in a massive atomic fireball, as Annie, Dean and Hogarth shield their eyes from the blinding light. The townspeople and soldiers cheer as Rogard solemnly removes his helmet in respect for the Giant's sacrifice]
 * General Rogard: [solemnly] Let's go home.

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 * [last line]
 * Hogarth Hughes: See you later.
 * [The jawbolt rolls away as the camera pans up to the sky then the camera changes to Langjokull Glacier, Iceland. Giant's parts go toward Giant as the camera pans to the Giant's face. He opens his eyes and smiles, then the movie cuts to black, and then the credits roll.]

Taglines

 * Some secrets are too huge to hide.

 * The story of a boy and a giant from another world who became a hero on this one!

 * Something humongous is among us.

 * It came from outer space!

Cast

 * Eli Marienthal - Hogarth William Hughes
 * Vin Diesel - The Iron Giant
 * Harry Connick, Jr. - Dean McCoppin
 * Christopher McDonald - Kent James Mansley
 * Jennifer Aniston - Annie Hughes
 * Cloris Leachman - Mrs. Tensedge
 * James Gammon - Foreman Marv Loach/Floyd Turbeaux
 * John Mahoney - General Shannon Rogard
 * M. Emmet Walsh - Earl Stutz

title: The Iron Giant


text:
Little Richard

Richard Wayne Penniman (5 December 1932 - 9 May 2020), known by the stage name Little Richard, was an American singer, songwriter and pianist, whose hits in the mid-1950s were defining moments in the development of rock and roll. His songs combined childishly amusing lyrics with sexually suggestive content and his flamboyant style and music influenced many artists of various genres, including helping to inspire and develop other genres such as soul music and funk.

Quotes

 * I call my music the healing music … It makes the blind feel that they can see, the lame feel that they can walk, the deaf and dumb that they can hear and talk.
 * Pop Chronicles: Show 5 - Hail, Hail, Rock 'n' Roll: The rock revolution gets underway. (Part 1), interview recorded 1.2.1968

 * The average person, when they see a black man, they would say "Man, he got soul cos' his color." But I disagree with that. I think that God would be a very selfish God if He gave all the soul to one race. He lets his rain fall on the red flowers, the green flowers, the blue flowers; the good, the bad, no races, so He lets His blessings fall on all races. So I think that there are types of souls, like there are different types of cars. But they're all cars. You know, I think that, when a white guy sing[s], if he have soul, that don't mean that he had to copy no negro to get it. I believe if he feels, when one sings from the heart and it reaches another heart, that's soul.
 * Response to the question: "Can a white man sing soul music?." Pop Chronicles: Show 15 - The Soul Reformation I: A symposium on soul, interview recorded 1.2.1968

 * The Beatles are just a phenomenon; everything that the people say they are, they are. They're great. ... Their music is just melodious.
 * Pop Chronicles: Interviews #71 - Little Richard, interview recorded 1.2.1968

 * I came from a family where my people didn't like rhythm and blues. Bing Crosby - "Pennies from Heaven" - Ella Fitzgerald, was all I heard.
 * As quoted in Yesterdays : Popular Song in America (1979), by Charles Hamm, p. 391
 * Studying Popular Music (1990/2002) by Richard Middleton

 * Well, you know I used to play piano for the church. You know that spiritual, 'Give Me that Old Time Religion', most churches just say, [sings] "Give me that old time religion" but I did, [sings] "Give me that old time, talkin' 'bout religion," you know I put that little thing in it you know, I always did have that thing but I didn't know what to do with the thing I had. So the style has always been with me... I always had my little thing I wanted to let the world hear, you know.
 * When asked what inspired him to write 'Tutti Frutti' amd where the style came from, in The Rolling Stone Interviews: 1967-1980 (1989) edited by Peter Herbst, p. 91

 * A lot of songs I sang to crowds to get their reaction. That's how I knew they'd hit.
 * As quoted in The Life and Times of Little Richard : The Authorized Biography (2003) by Charles White

 * His rhythm is the only one I can sing my songs to.
 * On Chuck Berry,

 * There's something I prefer not saying, I will say this. I'm a believer in the God of Abraham, Isaac and Jacob. I believe the seventh-day Sabbath is God's way. I believe we should eat kosher. I was invited to a party night before last. Rod Stewart's. I didn't go, because I open the Sabbath on Friday.
 * When John Waters asked him, Are you Jewish now?

 * Bob Dylan is my brother. I love him same as Bobby Darin [deceased] is my baby. I feel Bob Dylan is my blood brother. I believe if I didn't have a place to stay, Bob Dylan would buy me a house. He sat by my bed; he didn't move for hours. I was in pain that medicine couldn't stop. My tongue was cut out, leg all tore up, bladder punctured. I was supposed to be dead. Six feet under. God resurrected me; that's the reason I have to tell the world about it.
 * When John Waters met Little Richard

 * I appreciate being picked one of the top 100 performers, but who is number one and who is number two doesn't matter to me anymore. Because it won't be who I think it should be. The Rolling Stones started with me, but they're going to always be in front of me. The Beatles started with me — at the Star Club in Hamburg, Germany, before they ever made an album — but they're going to always be in front of me. James Brown, Jimi Hendrix — these people started with me. I fed them, I talked to them, and they're going to always be in front of me.
 * On Rolling Stone list on 100 Greatest Artists, 100 Greatest Artists | Little Richard | Rolling Stone

 * «I am the innovator. I am the creator. I am the emancipator. I am the architect of rock 'n' roll!»

Here's Little Richard (1957)
Tutti frutti, oh rutti''' Tutti frutti, woo! Tutti frutti, oh rutti Tutti frutti, oh rutti Tutti frutti, oh rutti Awop-bop-a-loo-mop alop-bom-bom!
 * '''Wop-bop-a-loo-mop alop-bom-bom!
 * "Tutti Frutti", co-written with Dorothy LaBostrie and Joe Lubin · Performance with lyrics
 * Variants:
 * A-wop-bop-a-loo-mop-a-lop-bam-boom!
 * Used only as the final exclamation in the original recording, this variant was used throughout the song as sung by Elvis Presley.
 * A-wop-bop-a-loo-mop-a-wop-bam-boom!
 * Commonly used paraphrase

I got a gal, named Sue, she knows just what to do. She rocks to the East, she rocks to the West, She is the gal that I love best. Tutti frutti, oh rutti.
 * I got a gal, named Sue, she knows just what to do,
 * "Tutti Frutti"

She's got everything that uncle John need. Oh baby, yes baby, woo baby, havin' me some fun tonight.
 * Well, long tall Sally, she's built for speed,
 * "Long Tall Sally", co-written with Enotris Johnson and Robert Blackwell · Performance from the film Don’t Knock the Rock (1956)

Little Richard (1958)
I asked my friends about her but all their lips was tight, Lucille, please come back where you belong, I've been good to you baby, please don't lead me along.
 * I woke up this mornin', Lucille was not in sight,
 * Lucille, co-written with Albert Collins

Quotes about Little Richard

 * I wanna introduce a man that started a kind of music that set the pace for a lot of what's happening today. Ladies and gentlemen, if you don't mind, here is my man, bless his little sweet heart, ladies and gentlemen, Mr. Little Richard!"
 * Ray Charles (1989),, Legends of Rock n Roll concert in Rome, Italy

 * He was the biggest of them all. And he knew it. ...he wanted everyone to call him 'King Richard'.... He had the biggest, flashiest and with all the best looking players. He also had the greatest parties in his hotel rooms. At least, that's what I was told. They wouldn't let me in, because I was underage." Etta also mentions her first meeting with James Brown, in Macon, Georgia, where this young Dancer/Boxer/Gospel Singer had befriended Little Richard. "He used to carry around an old tattered napkin with him, because Little Richard had written the words, 'Please, Please, Please' on it and James was determined to make a song out of it.
 * Etta James, Merlis, Bob $ Seay, David. (1997), from the foreword by Etta James. "Heart and Soul: A Celebration of Black Music Style in America, 1930-1975." New York: Stewart, Tubori and Chang, 1997

 * Little Richard is the Architect of Rock and Roll.
 * Wilson Pickett, as recalled by Wilson's brother Max Pickett at Wilson's funeral.

 * Thank you all very much, especially the rock 'n' rollers, an' Little Richard there [pointing to him] - it was all his fault really.
 * George Harrison (1988), accepting induction on behalf of the Beatles into the Rock and Roll Hall of Fame.

 * I was a little kid when I heard Little Richard. He was playing piano and singing that song," recalls Green before breaking into the opening lines of Richard's "Jenny, Jenny." Even then, he continues, "I knew he was a classic, one-of-a-kind. I never heard (anyone) with that kind of enthusiasm.
 * Al Green

 * Well I'd certainly have to have a tip of the hat to Little Richard. I'd say it's sort of a composite guy, because obviously I love Wilson Pickett, and there are a few guys who have that sort of high, edgy thing, Little Richard being the best and the most famous. Wilson even screamed in tune. My voice came out a certain way and I've learned to be that way.
 * John Fogerty (1988)

 * Little Richard - he was the first one that really got to me. Little Richard and, of course, Elvis Presley. I don't know if it was because of James Brown and Little Richard, I always preferred a high energy vocal, a hard full-force vocal. I liked Little Richard better than Elvis, and I liked James Brown better than the Beatles...but the Miracles were a heavy influence on me, too...[though] I always preferred the more energized vocals.
 * Bob Seger (1981)

 * The first Rock 'n' Roll record I listened to was 'The Girl Can't Help It,' by Little Richard.
 * Rod Stewart

 * James Brown, Ray Charles, Jackie Wilson, Chuck Berry and Little Richard - I think they had strong influences on a lot of people, because these were the guys who really got rock'n'roll going. I like to start with the origin of things, because once it gets along it changes. It's so interesting to see how it really was in the beginning.
 * Michael Jackson (http://www.guardian.co.uk/music/2009/jun/28/michael-jackson-interview)

 * Chuck Berry's "duck walk," Presley's bumps and grinds, Jerry Lee Lewis's wanton destruction of pianos, Little Richard's bizarre stage theatrics. As part of the counter-discourse of early rock 'n' roll, such practices not only assaulted high culture but also brought sexual display into the public realm, which is finally the same thing, for it is the body … That is excluded by the dominant course of mid-century modernism.
 * Bruce Tucker, The Power of Black Music: Interpreting Its History from Africa to the United States, p - 179

 * First putting the funk in the rock and roll beat.
 * James Brown, TriQuarterly 130, p-130

 * ...The idea of being gay was never, ever discussed in the black world at that time. It had to happen on such a low-key level – believe me, the idea of being found out was really scary. But Little Richard didn’t care and what I picked up from him early on, a black, gay man, was the freedom he took for himself. No one gave him that right. He just took it. He did just what he needed to do to be who he wanted to be...
 * Bootsy Collins on the sheer bravery of Little Richard always being himself in "Little Richard remembered by Bootsy Collins" in The Guardian (2020 Dec 15)

 * ...Little Richard had that confidence because of the toughness of his early life. He used to talk about how his dad [a deacon who ran a nightclub] used to treat him [his father disapproved of his sexuality and beat him] and how he kept his head up. He was torn between rock’n’roll and the gospel all his life and he talked about that too – it affected him a lot and it was a battle that couldn’t be won...
 * Bootsy Collins on Little Richard's upbringing and musical sensibilities in "Little Richard remembered by Bootsy Collins" in The Guardian (2020 Dec 15)

 * ...I loved him, man. He had to push, push, push for everything and I don’t think there was one popular entertainer– from Elvis onwards – who he didn’t affect. I really don’t think he knew how much people were affected by him, but that was probably a good thing. It made him who he was. He was still the guy who took all the ingredients of rock’n’roll, prepared the meal and served it up, who still had that passion for being himself to the end – for letting himself go free.
 * Bootsy Collins on Little Richard's legacy in "Little Richard remembered by Bootsy Collins" in The Guardian (2020 Dec 15)

The Life and Times of Little Richard: The Authorized Biography (2003)

 * Quotes of others on Little Richard from The Life and Times of Little Richard : The Authorized Biography (2003) by Charles White

 * Richard opened the door. He brought the races together. When I first went on the road there were many segregated audiences. With Richard, although they still had the audiences segregated in the building, they were there TOGETHER. And most times before the end of the night, they would all be mixed together. Up until then, the audiences were either all black or all white and no one else could come in. His records weren't boy-meets-girl-girl-meets-boy things, they were FUN records, all fun. And they had a lot to say sociologically in our country and the world. The shot was fired here and heard around the world." "When Richard opened his mouth, man, everyone could enjoy it. He's got a voice that would make 'em jump up and down... that's the first time I ever saw spotlights and flicker lights used at a concert show. It had all been used in show business but he brought it into our world.
 * H. B. Barnum, p. 68-69

 * Little Richard was not only a giant but a pioneer of the so-called Rock 'n' Roll music industry. He had such a unique voice and style that no one else has matched it... Rock 'n' Soul is here to stay!
 * Quincy Jones, p. 103

 * I never thought I'd ever meet Little Richard. He was my idol at school. The first song I ever sang in public was 'Long Tall Sally,' at a Butlins holiday camp talent competition! I love his voice and I always wanted to sing like him.
 * Paul McCartney, p. 114-115

 * I had heard so much about the audience reaction that I thought there must be some exaggeration. But it was all true. He drove the whole house into a complete frenzy. There's no single phrase to describe his hold on the audience. I couldn't believe the power of Little Richard on stage. He was amazing. Chuck Berry is my favorite, along with Bo (Diddley), but nobody could beat Little Richard's stage act. Little Richard is the originator and my first idol.
 * Mick Jagger, p. 119-120

 * The most exciting moment of my life was appearing on the same stage as Little Richard.
 * Keith Richards, p. 120

 * I want to do with my guitar what Little Richard does with his voice.
 * Jimi Hendrix (1966), p. 125-128, 131-132, 163, 228

 * Elvis was bigger than religion in my life. Then this boy at school said he'd got this record by somebody called Little Richard who was better than Elvis. We used to go to this boys house after school and listen to Elvis on 78s: we'd buy five ciggies loose and some chips and go along. The new record was Little Richard's 'Long Tall Sally'. When I heard it, it was so great I couldn't speak. You know how you are torn. I didn't want to leave Elvis but this was so much better. We all looked at each other. I didn't want to say anything against Elvis, even in my mind. How could they both be happening in my life? And then someone said, "It's a nigger singing." I didn't know negroes sang. So Elvis was white and Little Richard was black. This was a great relief. "Thank you God," I said. "There is a difference between them." But I though about it for days at school, of the labels on the records of Elvis and Little Richard. One was yellow and the other was blue, and I thought of the yellow against the blue.
 * John Lennon, p. 225

 * Little Richard is the beginning of Rock 'n' Roll.
 * Smokey Robinson, p. 226

 * Little Richard was a one-of-a-kind show business genius. He influenced so many people in the business.
 * Bo Diddley, p. 226

 * I love Little Richard. He is a great entertainer and he has done so much for our music.
 * Sam Cooke, p. 226

 * Little Richard's records were the best Rock 'n' Roll records.
 * Elton John, p. 226

 * After hearing Little Richard on record, I bought a saxaphone and came into the music business. Little Richard was my inspiration.
 * David Bowie, p. 226

 * In the spiritual poll of Rock n Roll, Little Richard is a tried and true original. Since his beginning, all have picked up from his style and from his music, from the early Beatles to Mick Jagger today. At one time it was all Little Richard's original raving craving thing.
 * Wolfman Jack, p. 227

 * Little Richard is a great originator. He was right there at the start, a thrilling performer.
 * Chuck Berry, p. 227

 * Little Richard is twice as valid artistically and important historically as Elvis Presley, the Beatles, and the Rolling Stones put together.
 * John Otis, p. 227

 * Little Richard represented what I wanted to be. He was, and still is, my idol.
 * Don Covay, p. 227

 * Once you have seen this man you know instantly that you have seen the greatest Rock n Roll legend of our time.
 * Dick Clark, p. 227

 * He is the King of Rock 'n' Roll.
 * Johnny "Guitar" Watson, p. 227

 * Richard is an original, and the songs he's written and the songs he's done and made famous are just one of a kind."
 * Phil Everly, p. 228

 * Little Richard, man, was the god! I grew up on Little Richard in the rocking 50's.
 * Marty Balin of Jefferson Airplane and Jefferson Starship, p. 228

 * The first 45 I ever played was by Little Richard. Even today, I constantly listen to Little Richard.
 * Ry Cooder, p. 228

 * There would have been no DEEP PURPLE if there had been no Little Richard.
 * Jon Lord of Deep Purple, p. 228

 * When I was in high school I wanted to be like Little Richard.
 * Paul Simon, p. 228

 * If it hadn't been for Little Richard, I would not be here. I entered the music business because of Richard - he is my inspiration. I used to sing like Little Richard, his Rock 'n' Roll stuff, you know. Richard has soul, too. My present music has a lot of him in it.
 * Otis Redding, p. 229

 * No one person has been imitated more than Little Richard.
 * Pat Boone, p. 229

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

title: Little Richard


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User talk:221.196.11.2

This IP has been blocked from editing at Wikiquote because it has been used by a persistent vandal to post unwanted commercial advertisements at Wikiquote, a non-profit, non-commercial, public service site. If you are not this vandal, please notify your Internet service provider of this activity, so that this violation of ethics, internet etiquette, and in some places the legal statutes can be addressed by the proper authorities. ~ Kalki 02:22, 20 Nov 2004 (UTC)

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Talk:Falling Down

The part about going around the moon is repeated twice in 2 different versions. Which one is right? -- [[User talk:LGagnon|LGagnon]] 03:03, 20 Nov 2004 (UTC)

What's with the frakking? I haven't seen the movie in awhile, is that what they said or does some editor just have a problem with the F-word? --70.247.119.3 04:41, 8 January 2009 (UTC)

title: Talk:Falling Down


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User:Rfl~enwikiquote

Rafał Pocztarski

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User talk:61.51.176.76

This IP has been blocked from editing at Wikiquote because it has been used by a persistent vandal to post unwanted commercial advertisements at Wikiquote, a non-profit, non-commercial, public service site. If you are not this vandal, please notify your Internet service provider of this activity, so that this violation of ethics, internet etiquette, and in some places the legal statutes can be addressed by the proper authorities. ~ Kalki

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Margot Fonteyn

Dame Margot Fonteyn (18 May 1919 - 21 February 1991) was a British ballet dancer, born Margaret Hookham, and nicknamed "Peggy".

Quotes

 * The one important thing I have learned over the years is the difference between taking one's work seriously and taking one's self seriously. The first is imperative and the second is disastrous.
 * As quoted in Simpson's Contemporary Quotations (1988) by James Beasley Simpson; also quoted in Running on Empty: Meditations for Indispensable Women (1992) by Ellen Sue Stern, p. 235
 * Paraphrased variants: The most important thing I have learned over the years is the difference between taking one's work seriously and taking one's self seriously. The first is imperative, and the second disastrous. Take your work seriously, but never yourself.

 * What a beautiful step! I shall never be able to do it.
 * As quoted in Encyclopedia of World Biography (1998) edited by Paula Kay Byers and Suzanne Michele Bourgoin, Vol. Hox-Kie, p. 504

 * Genius is another word for magic, and the whole point of magic is that it is inexplicable.
 * As quoted in Thoughts from Earth (2004) by James Randall Miller

Margot Fonteyn : Autobiography (1975)

 * Minor things can become moments of great revelation when encountered for the very first time.
 * p. 9

 * Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike.
 * p. 81

 * I need to have a purpose in life and for that I might sacrifice some of the luxuries that I enjoy; fortunately I am fairly adaptable. I try to be aware, flexible and unbiased in my thinking. If I have learnt anything, it is that life forms no logical patterns. It is haphazard and full of beauties which I try to catch as they fly by, for who knows whether any of them will ever return?
 * p. 272
 * Variant: Life forms illogical patterns. It is haphazard and full of beauties which I try to catch as they fly by, for who knows whether any of them will ever return?
 * As quoted in Simpson's Contemporary Quotations (1988) by James Beasley Simpson

Quotes about Fonteyn

 * How to put something so visual, so potent with theatrical moment that even film cannot capture it, into plain words? How to explain why it is that when, to a particular strain of music, an ordinary mortal steps forward on one leg, raises the other behind her and lifts her arms above her head, the angels hold their breath?
 * Meredith Daneman, in Margot Fonteyn (2004) p. 1

title: Margot Fonteyn


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William Ernest Hocking

William Ernest Hocking (August 10, 1873 – June 12, 1966) was an American idealist philosopher at Harvard University. He continued the work of his philosophical teacher Josiah Royce (the founder of American idealism) in revising idealism to integrate and fit into empiricism, naturalism and pragmatism. He said that metaphysics has to make inductions from experience: "That which does not work is not true. His major field of study was the philosophy of religion, but his 22 books included discussions of philosophy and human rights, world politics, freedom of the press, the philosophical psychology of human nature; education; and more. In 1958 he served as president of the Metaphysical Society of America.

Quotes

 * Only the man who has enough good in him to feel the justice of the penalty can be punished; the others can only be hurt.
 * The Coming World Civilization (1956), p. 7.

 * Man is the only animal that contemplates death, and also the only animal that shows any sign of doubt of its finality. This does not mean that he doubts it as a future fact. He accepts his own death, with that of others, as inevitable; plans for it; provides for the time when he shall be out of the picture. Yet, not less today than formerly, he confronts this fact with a certain incredulity regarding the scope of its destruction.
 * The Meaning of Immortality in Human Experience (1957), p. 5.

 * I find that a man is as old as his work. If his work keeps him from moving forward, he will look forward with the work.
 * As quoted in The Little Giant Encyclopedia of Inspirational Quotes (2005) by Wendy Toliver, p. 18.

The Meaning of God in Human Experience (1912)

 * What our view of the effectiveness of religion in history does at once make evident as to its nature is--first, its necessary distinction; second, its necessary supremacy. These characters though external have been so essential to its fruitfulness, as to justify the statement that without them religion is not religion.  A merged religion and a negligible or subordinate religion are no religion.
 * Ch. II : The Work of Religion in History, p. 22.

 * We are driven to confess that we actually care more for religion than we do for religious theories and ideas: and in merely making that distinction between religion and its doctrine-elements, have we not already relegated the latter to an external and subordinate position? Have we not asserted that "religion itself" has some other essence or constitution than mere idea or thought?
 * Ch. IV : The Retirement of the Intellect, p. 38.

 * However rich we may become in knowledge of the deeper causes of historical results, we forgo all understanding of history if we forget this inner continuity,--i.e., the conscious intentions of the participants in history-making and their consciously known successes.
 * Ch. V : Religion's Dilemma in Respect to Theory, p. 58.

 * Nothing can stir the "depths" of mind, but total out-of-doors. We call "depth," last dregs, etc., that in man which only ultimate facts and happenings can interest; that which the near and usual can neither rouse nor ruffle.  Somewhere in each man, we imagine, there lies an ultimatum, to be backed by all his energies from all reservoirs, ordinary and extraordinary,--what can elicit from any man such ultimatum and ultimatum-backing?--nothing that has not somewhere in it the word All!  There are such things, we think, as ruling passions, "deepest desires," in any man some nameable or unnameable last ambition--what can set such a depth on fire?--nothing but some total opportunity (real or believed real), discovered in the wide world beyond the self.
 * Ch. IX : The Retreat into Subjectivity, p. 105.

 * Love and sympathy are the activity of the idea. And in their exercise, the idea is enlarged.  The lover widens his experience as the non-lover cannot.  He adds to the mass of his idea-world, and acquires thereby enhanced power to appreciate all things.  Is not this the sufficient solution of that long-standing difficulty between 'egoism and altruism?'  The altruist alone can accumulate that treasure of idea through which all things must be enjoyed that are enjoyed.  No one has, or can have, any 'egoistic' satisfaction except as a consequence of so much effective love of reality as there is in him by birth or acquisition.
 * Ch. XI : Idea in Organic Union with Feeling, p. 135.

 * Every social need, such as the need for friendship, must be a party to its own satisfaction: I cannot passively find my friend as a ready-made friend; a ready-made human being he may be, but his friendship for me I must help to create by my own active resolve.
 * Ch. XII : The Will as a Maker of Truth, p. 140.

 * For maturity is marked by the preference to be defeated rather than have a subjective success. We as mature persons can worship only that which we are compelled to worship.  If we are offered a man-made God and a self-answering prayer, we will rather have no God and no prayer.  There can be no valid worship except that in which man is involuntarily bent by the presence of the Most Real, beyond his will.
 * Ch. XII : The Will as a Maker of Truth, p. 140.

This turn of thought which reminds the enquirer of himself, we shall call the reflexive turn. It reappears in all discoveries of the Absolute. It is clinching--but is likely to disappoint, even as Descartes' result disappoints. 'For the skeptic finds that he also was in search of objective truth: and that the absolute truth of his statement is irrelevant'' to his quest. Whence his skepticism toward objective truth remains unanswered.'''
 * As in reply to the skeptic or agnostic, who asserts in despair that there is no absolute truth. The dialectician retorts: Then at least your own assertion must be absolutely true.  There must be some absolute truth, for you cannot assert that there is none without self-contradiction.  As in Descartes' case, the doubter is reminded of himself.  There, in his own assertion, is a certainty from which he cannot escape.
 * Ch. XIV : The Need of an Absolute, p. 192.

 * A person who wills to have a good will, already has a good will--in its rudiments. There is solid satisfaction in knowing that the mere desire to get out of an old habit is a material advance upon the condition of submergence in that habit.  The longest step toward cleanliness is made when one gains--nothing but dissatisfaction with dirt.
 * Ch. XIV : The Need of an Absolute, p. 197.

 * There is, then, in these matters some absolute finding in the seeking: salvation is, to seek salvation, for in seeking it one has already abandoned mortality and his sin.
 * Ch. XIV : The Need of an Absolute, p. 198.

 * This merely formal conceiving of the facts of one's own wretchedness is at the same time a departure from them--placing them in the object. It is not idle, therefore, to observe reflexively that in that very Thought, one has separated himself from them, and is no longer that which empirically he still sees himself to be.
 * Ch. XIV : The Need of an Absolute, p. 198.

Now this perfect openness to experience is not possible if pain is the last word of pain. Unless there is something behind the fact of pain, some kind of mystery or problem in it whose solution shows the pain to be other than what it pretends, there is no happiness for man in this world or the next; for no matter how fair the world might in time become, the fact that it had been as bad as it is would remain an unbanishable misery, unbanishable by God or any other power.
 * If I can reconcile myself to the certainty of death only by forgetting it, I am not happy. And if I can dispose of the fact of human misery about me only by shutting my thoughts as well as myself within my comfortable garden, I may assure myself that I am happy, but I am not.  There is a skeleton in the closet of the universe, and I may at any moment be in the face of it.  Happiness is inseparable from confidence in action; and confidence of action is inseparable from what the schoolmen called peace -- that is, poise of mind with reference to everything I may possibly encounter in the chances of fortune.
 * Ch. XV : The Need of a God, p. 218.

 * Religion is bound up in the difference between the sense of ignorance and the sense of mystery: the former means, "I know not"; the latter means "I know not; but it is known."
 * Ch. XVI : The Original Sources of the Knowledge of God, p. 235.

 * And indeed, no man has found his religion until he has found that for which he must sell his goods and his life.
 * Ch. XVI : The Original Sources of the Knowledge of God, p. 237.

Present Status of the Philosophy of Law and of Rights (1926)

 * For those who have only to obey, law is what the sovereign commands. For the sovereign, in the throes of deciding what he ought to command, this view of law is singularly empty of light and leading. In the dispersed sovereignty of modern states, and especially in times of rapid social change, law must look to the future as well as to history and precedent, and to what is possible and right as well as to what is actual.
 * Preface (20 May 1926), p. vii.

 * When law was held to come direct from the gods, it required a bold man and a prophet to propose a change in it. Perhaps it is still true that a law-maker ought to be something of a prophet. But if so, we are committed in western lands to the belief that prophetic capacity is widespread: the making of law goes on everywhere merrily and apace. In the midst of this vast labor it becomes clear to us that the more we relieve the gods of their burdens, the more we need to know what the gods know, the general principles on which law should be made. And if this knowledge were universal, and were applied in good faith, the law-makers themselves would in turn be relieved! In either case, then, we are bound to keep trying for a systematic grasp of those principles of law which we now possess in vague and fragmentary fashion.
 * Ch. I : What is Behind Us?, p. 1.

 * Principle I : Legal rights are presumptive rights.
 * Ch. VI : Presumptive Rights, p. 58.

 * Law deals not with actual individuals, but with individuals artificially defined. We cannot say that law-makers are under an illusion to the effect that all men are equal. They do not even suppose them all alike in being reasonable, or in being well informed about the law, or in being morally sensitive about their own rights or the rights of others. Law-makers have probably never been blind about the conspicuous facts of human difference. Nevertheless, the law in every community — and not alone in modern communities — proposes to treat certain large groups of individuals as were alike "before the law."
 * Ch. VI : Presumptive Rights, § 20, p. 58.

 * Principle II : The presumptions of the law are creative presumptions : they are aimed at conditions to be brought about, and only for that reason ignore conditions which exist.
 * Ch. VI : Presumptive Rights, § 24, p. 62.

 * A presumption of equality may be contrary to present fact, and yet not contrary to a desideratum. We are not as a fact all equally fit to live, equally responsible, or equally deserving of the protection of the law: but it will hardly be doubted that it would be desirable if we were. But further, the presumption of a desired condition is, in any group of plastic minds, a force tending to bring about the thing presumed, i.e., to create it. It aids a boy to reach maturity to treat him as if he were a little older than he is. A little older: for the presumption loses its effect if it is too wide of the actual fact. The fundamental presumptions of the law are justified on this basis and to this extent: if they are too wide of the truth to be creative, they are not justified.
 * Ch. VI : Presumptive Rights, § 24, p. 63.

 * Principle III : Presumptive rights are the conditions under which individual powers normally develop.
 * Ch. VII, Natural Right, p. 68.

 * Nothing is more evident, I venture to think, as a result of two or three thousand years of social philosophizing, than that society must live and thrive by way of the native impulses of individual human beings.
 * Ch. VII, Natural Right, § 30, p. 68.

 * Without good-will, no man has any presumptive right, except the right or opportunity to change his will, so long as there is hope of it.
 * Ch. VII, Natural Right, § 32, p. 73.

 * Principle IV : There is one natural right and one only.
 * Ch. VII, Natural Right, p. 74.

 * It is right, or absolute right, that an individual should develop the powers that are in him. He may be said to have a "natural right" to become what he is capable of becoming. This is his only natural right.
 * Ch. VII, Natural Right, § 33, p. 74.

 * Wherever moral ambition exists, there right exists. And moral ambition itself must be presumed present in subconsciousness, even when the conscious self seems to reject it, so long as society has resources for bringing it into action; in much the same way that the life-saver presumes life to exist in the drowned man until he has exhausted his resources for recovering respiration.
 * Ch. VII, Natural Right, § 33, p. 75.

 * The only thing that can set aside a law as wrong is a better law, or an idea of a better law. And the only thing that an give a law the quality of better or worse is the concrete result which it promotes or fails to promote.
 * Ch. VII, Natural Right, § 35, p. 76.

 * Pure community is a matter of no interest to any will; but a community which pursues a common good is of supreme interest to all wills; and what we have here said is that whatever the nature of that common good … it must contain the development of individual powers, as a prior condition for all other goods.
 * Ch. VII, Natural Right, § 35, p. 77.

title: William Ernest Hocking


text:
User:Fishal

I am a regular Wikipedia contributer; you can look at my user page there. I really like this wiki too, though. Quotations are great. My earliest contributions were made using my IP address, 192.231.160.252, including my creation of the Thomas Hutchinson page.

title: User:Fishal


text:
User talk:Fishal

Fishal's Mighty Talk Page

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Orlando: A Biography

Orlando: A Biography (1928) is a novel by Virginia Woolf, which she called "a biography", intending it to be the first of a new genre breaking barriers between fiction and non-fiction. It was inspired by the life and behavior of her friend Vita Sackville-West.

Quotes

 * He — for there could be no doubt of his sex, though the fashion of the time did something to disguise it — was in the act of slicing at the head of a Moor which swung from the rafters.
 * Chapter 1, first lines

 * Green in nature is one thing, green in in literature another. Nature and letters seem to have a natural antipathy; bring them together and they tear each other to pieces.
 * Chapter 1

 * For the Philosopher is right who says that nothing thicker than a knife's blade separates happiness from melancholy; and he goes on to opine that one is twin fellow to the other; and draws from this the conclusion that all extremes of feeling are allied to madness; and so bids us take refuge in the true Church (in his view the Anabaptists), which is the only harbor, port, anchorage, etc., he said, for those tossed on this sea.
 * Chapter 1

 * For it has to be remembered that crime and poverty had none of the attractions for the Elizabethans that they have for us. They had none of our modern shame of book leaning, none of our belief that to be born the son of a butcher is a blessing an to be unable to read a virtue; no fancy that what we call ‘life’ and ‘reality’ are somehow connected with ignorance and brutality nor, indeed any equivalent for these two words at all. It was not to seek ‘life’ that Orlando went among them not in quest of ‘reality’ that he left them.
 * Chapter 1

 * At the age of thirty, or thereabouts, this young Nobleman had not only had every experience that life has to offer, but had seen the worthlessness of them all. Love and ambition, women and poets were all equally vain. Literature was a farce. The night after reading Greene's Visit to a Nobleman in the Country, he burnt in a great conflagration fifty-seven poetical works, only retaining 'The Oak Tree', which was his boyish dream and very short. Two things alone remained to him in which he now put any trust: dogs and nature; an elk-hound and a rose bush. The world, in all its variety, life in all its complexity, had shrunk to that. Dogs and a bush were the whole of it.
 * Chapter 2

 * Time, unfortunately, though it makes animals and vegetables bloom and fade with amazing punctuality, has no such simple effect upon the mind of man. The mind of man, moreover, works with equal strangeness upon the body of time. An hour, once it lodges in the queer element of the human spirit, may be stretched to fifty or a hundred times its clock length; on the other hand, an hour may be accurately represented on the timepiece of the mind by one second. This extraordinary discrepancy between time on the clock and time in the mind is less known than it should be and deserves fuller investigation.
 * Chapter 2

 * While fame impedes and constricts, obscurity wraps about a man like a mist; obscurity is dark, ample, and free; obscurity lets the mind take its way unimpeded. Over the obscure man is poured the merciful suffusion of darkness. None knows where he goes or comes. He may seek the truth and speak it; he alone is free; he alone is truthful, he alone is at peace.
 * Chapter 2

 * Better was it to go unknown and leave behind you an arch, a potting shed, a wall where peaches ripen, than to burn like meteor and leave no dust.
 * Chapter 2

 * Chairs and tables, however richly gilt and carved, sofas, resting on lions' paws with swans' necks curving under them, beds even of the softest swansdown are not by themselves enough. People sitting in them, people lying in them improve them amazingly.
 * Chapter 2

 * The trumpeters, ranging themselves side by side in order, blow one terrific blast: — 'THE TRUTH! at which Orlando woke.  He stretched himself. He rose. He stood upright in complete nakedness before us, and while the trumpets pealed Truth! Truth! Truth! we have no choice left but confess — he was a woman.
 * Chapter 3

 * The sound of the trumpets died away and Orlando stood stark naked. No human being, since the world began, has ever looked more ravishing. His form combined in one the strength of a man and a woman's grace.
 * Chapter 3

 * We may take advantage of this pause in the narrative to make certain statements. Orlando had become a woman — there is no denying it. But in every other respect, Orlando remained precisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity. Their faces remained, as their portraits prove, practically the same. His memory — but in future we must, for convention's sake, say 'her' for 'his,' and 'she' for 'he' — her memory then, went back through all the events of her past life without encountering any obstacle. Some slight haziness there may have been, as if a few dark drops had fallen into the clear pool of memory; certain things had become a little dimmed; but that was all. The change seemed to have been accomplished painlessly and completely and in such a way that Orlando herself showed no surprise at it. Many people, taking this into account, and holding that such a change of sex is against nature, have been at great pains to prove (1) that Orlando had always been a woman, (2) that Orlando is at this moment a man. Let biologists and psychologists determine. It is enough for us to state the simple fact; Orlando was a man till the age of thirty; when he became a woman and has remained so ever since.
 * Chapter 3

 * No passion is stronger in the breast of man than the desire to make others believe as he believes. Nothing so cuts at the root of his happiness and fills him with rage as the sense that another rates low what he prizes high. Whigs and Tories, Liberal party and Labour party — for what do they battle except their own prestige? It is not the love of truth, but desire to prevail that sets quarter against quarter and makes parish desire the downfall of parish. Each seeks peace of mind and subserviency rather than the triumph of truth and exaltation of virtue — But these moralities belong, and should be left to the historian, since they are as dull as ditch water.
 * Chapter 3

 * The chief charges against her were (1) that she was dead, and therefore could not hold any property; (2) that she was a woman which amounts to much the same thing …
 * Chapter 4.

 * Something, perhaps, we must believe in, and as Orlando, we have said, had no belief in the usual divinities she bestowed her credulity upon great men — yet with a distinction. Admirals, soldiers, statesmen, moved her not at all. But the very thought of a great writer stirred her to such a pitch of belief that she almost believed him to be invisible. Her instinct was a sound one. One can only believe entirely, perhaps, in what one cannot see.
 * Chapter 4

 * Only those who have little need of the truth, and no respect for it — the poets and novelists — can be trusted to do it, for this is one of the cases where the truth does no exist. Nothing exists. The whole thing is a miasma — a mirage.
 * Chapter 4

 * Society is the most powerful conception in the world and society has no existence whatsoever.
 * Chapter 4

 * On both sides of her sat men and women of the highest distinction. Every man, it was said, had been a Prime Minister and every woman, it was whispered, had been the mistress of a king. Certain it is that all were brilliant, and all were famous. Orlando took her seat with a deep reverence in silence. … After three hours, she curtseyed profoundly and left. But what, the reader may ask with some exasperation, happened in between. In three hours, such a company must have said the wittiest, the profoundest, the most interesting things in the world. So it would seem indeed. But the fact appears to be that they said nothing. It is a curious characteristic which they share with all the most brilliant societies that the world has seen. Old Madame du Deffand and her friends talked for fifty years without stopping. And of it all, what remains? Perhaps three witty sayings.
 * Chapter 4

 * The hostess is our modern Sibyl. She is a witch who lays her guests under a spell. In this house they think themselves happy; in that witty; in a third profound. It is all an illusion (which is nothing against it, for illusions are the most valuable and necessary of all things, and she who can create one is among the world's greatest benefactors), but as it is notorious that illusions are shattered by conflict with reality, so no real happiness, no real wit, no real profundity are tolerated where the illusion prevails.
 * Chapter 4

 * As long as she thinks of a man, nobody objects to a woman thinking.
 * Chapter 6

Quotes about Orlando: A Biography

 * Instantly the usual exciting devices enter my mind: a biography beginning in the year 1500 & continuing to the present day, called Orlando: Vita; only with a change about from one sex to the other.
 * Virginia Woolf, on Vita Sackville-West being the inspiration for her novel in her journal entry upon conceiving it (5 October 1927), quoted in The Virginia Woolf Reader (1984) edited by Mitchell Alexander Leaska, p. 315

 * Suppose Orlando turns out to be about Vita; and its all about you and the lusts of your flesh and the lure of your mind (heart you have none, who go gallivanting down the lanes with Campbell) — suppose there's the kind of shimmer of reality which sometimes attaches to my people, as the lustre on an oyster shell (and that recalls another Mary) suppose, I say, that Sibyl next October says "Theres Virginia gone and written a book about Vita" ... Shall you mind?
 * Virginia Woolf, in a letter to Vita Sackville-West (10 October 1927), published in Vita : The Life of V. Sackville-West (1985) by Victoria Glendinning

title: Orlando: A Biography


text:
User:Muneyama

Hi.

My name is Muneyama (心山). I joined English wikiquote 20/11 2004. I am an administrator at Swedish wikipedia, i am called Muneyama there as well. I also write at Swedish wikiquote, this is my user page there.

Currently i am going to repost some English quotes i have earlier written on Swedish wikiquote here.

title: User:Muneyama