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Lawrence Lessig

Lawrence Lessig (born 3 June 1961) is an American academic and political activist. He is most famous as a proponent of reduced legal restrictions on copyright, trademark, and radio frequency spectrum, particularly in technology applications. He is a director of the Edmond J. Safra Foundation Center for Ethics at Harvard University and a professor of law at Harvard Law School. Prior to rejoining Harvard, he was a professor of law at Stanford Law School and founder of its Center for Internet and Society. Lessig is a founding board member of Creative Commons, a board member of the Software Freedom Law Center, an advisory board member of the Sunlight Foundation and a former board member of the Electronic Frontier Foundation.

Quotes

 * When government disappears, it's not as if paradise will take its place. When governments are gone, other interests will take their place.
 * Keynote address at the "One Planet, One Net" symposium sponsored by Computer Professionals for Social Responsibility (10 October 1998)

 * We are on the cusp of this time where I can say, "I speak as a citizen of the world" without others saying, "God, what a nut."
 * "One Planet, One Net" symposium (10 October 1998)

 * One thing we know about incentives is you can't incent a dead person. No matter what we do, Hawthorne will not produce any more works, [even if] we can give him all the money in the world.
 * Debate with Jack Valenti at Harvard University Law School's Berkman Center for Internet and Society (1 October 2000)

 * Americans have been selling this view around the world: that progress comes from perfect protection of intellectual property. Notwithstanding the fact that the most innovative and progressive space we've seen — the Internet — has been the place where intellectual property has been least respected. You know, facts don't get in the way of this ideology.
 * "Code + Law: An Interview with Lawrence Lessig" at O'Reilly P2P (29 January 2001)

We really need to think quite pragmatically about whether intellectual property is helping or hurting, and if you can't show it's going to help, then there is no reason to issue this government-backed monopoly.
 * Our problem is that lawyers have taught us that there is only one kind of economic market for innovation out there and it is this kind of isolated inventor who comes up with an idea and then needs to be protected. That is a good picture of maybe what pharmaceutical industry does. It's a bad picture of what goes on, for example, in the context of software development, in particular. In the context of software development, where you have sequential and complementary developments, patents create an extraordinarily damaging influence on innovation and on the process of developing and bringing new ideas to market. So the particular mistake that lawyers have compounded is the unwillingness to discriminate among different kinds of innovation.
 * "Code + Law: An Interview with Lawrence Lessig" at O'Reilly P2P (29 January 2001)(29 January 2001)

 * There’s going to be an i-9/11 event. Which doesn’t necessarily mean an Al Qaeda attack, it means an event where the instability or the insecurity of the internet becomes manifest during a malicious event which then inspires the government into a response. You’ve got to remember that after 9/11 the government drew up the Patriot Act within 20 days and it was passed. … So I was having dinner with Richard Clarke and I asked him if there is an equivalent, is there an i-Patriot Act just sitting waiting for some substantial event as an excuse to radically change the way the internet works. He said “of course there is”.
 * Fortune Brainstorm 2008 "2018: Life on the Net"-panel

 * I received an email from JSTOR four days before Aaron died, from the president of JSTOR, announcing, celebrating that JSTOR was going to release all of these journal articles to anybody around the world who wanted access — exactly what Aaron was fighting for. And I didn’t have time to send it to Aaron; I was on — I was traveling. But I looked forward to seeing him again — I had just seen him the week before — and celebrating that this is what had happened. So, all of us think there are a thousand things we could have done, a thousand things we could have done, and we have to do, because Aaron Swartz is now an icon, an ideal. He is what we will be fighting for, all of us, for the rest of our lives. … Every time you saw Aaron, he was surrounded by five or 10 different people who loved and respected and worked with him. He was depressed because he was increasingly recognizing that the idealism he brought to this fight maybe wasn’t enough. When he saw all of his wealth gone, and he recognized his parents were going to have to mortgage their house so he could afford a lawyer to fight a government that treated him as if he were a 9/11 terrorist, as if what he was doing was threatening the infrastructure of the United States, when he saw that and he recognized how — how incredibly difficult that fight was going to be, of course he was depressed. Now, you know, I’m not a psychiatrist. I don’t know whether there was something wrong with him because of — you know, beyond the rational reason he had to be depressed, but I don’t — I don’t — I don’t have patience for people who want to say, "Oh, this was just a crazy person; this was just a person with a psychological problem who killed himself." No. This was somebody — this was somebody who was pushed to the edge by what I think of as a kind of bullying by our government. A bullying by our government.
 * Statement after the suicide of Aaron Swartz, in "An Incredible Soul": Larry Lessig Remembers Aaron Swartz After Cyberactivist’s Suicide Before Trial; Parents Blame Prosecutor" at Democracy NOW! (14 January 2013)

The Future of Ideas (2001)

 * The Future of Ideas: The Fate of the Commons in a Connected World

 * A time is marked not so much by ideas that are argued about as by ideas that are taken for granted. The character of an era hangs upon what needs no defense. Power runs with ideas that only the crazy would draw into doubt. The "taken for granted" is the test of sanity; "what everyone knows" is the line between us and them. This means that sometimes a society gets stuck. Sometimes these unquestioned ideas interfere, as the cost of questioning becomes too great. In these times, the hardest task for social or political activists is to find a way to get people to wonder again about what we all believe is true. The challenge is to sow doubt.

 * All around us are the consequences of the most significant technological, and hence cultural, revolution in generations. This revolution has produced the most powerful and diverse spur to innovation of any in modern times. Yet a set of ideas about a central aspect of this prosperity — "property" — confuses us. This confusion is leading us to change the environment in ways that will change the prosperity. Believing we know what makes prosperity work, ignoring the nature of the actual prosperity all around, we change the rules within which the Internet revolution lives. These changes will end the revolution.

May the Source Be With You (2001)

 * "May the Source Be With You", Wired magazine article (9 December 2001) adapted from The Future of Ideas: The Fate of the Commons in a Connected World

 * We live in a world with "free" content, and this freedom is not an imperfection. We listen to the radio without paying for the songs we hear; we hear friends humming tunes that they have not licensed. We tell jokes that reference movie plots without the permission of the directors. We read our children books, borrowed from a library, without paying the original copyright holder for the performance rights.

 * In arguing for increasing content owners' control over content users, it's not sufficient to say "They didn't pay for this use."

 * Creation always involves building upon something else. There is no art that doesn't reuse. And there will be less art if every reuse is taxed by the appropriator. Monopoly controls have been the exception in free societies; they have been the rule in closed societies.

 * While control is needed, and perfectly warranted, our bias should be clear up front: Monopolies are not justified by theory; they should be permitted only when justified by facts. If there is no solid basis for extending a certain monopoly protection, then we should not extend that protection. This does not mean that every copyright must prove its value initially. That would be a far too cumbersome system of control. But it does mean that every system or category of copyright or patent should prove its worth. Before the monopoly should be permitted, there must be reason to believe it will do some good — for society, and not just for monopoly holders.

 * The current term of protection for software is the life of an author plus 70 years, or, if it's work-for-hire, a total of 95 years. This is a bastardization of the Constitution's requirement that copyright be for "limited times." By the time Apple's Macintosh operating system finally falls into the public domain, there will be no machine that could possibly run it. The term of copyright for software is effectively unlimited.

 * While the creative works from the 16th century can still be accessed and used by others, the data in some software programs from the 1990s is already inaccessible. Once a company that produces a certain product goes out of business, it has no simple way to uncover how its product encoded data. The code is thus lost, and the software is inaccessible. Knowledge has been destroyed.

 * I would dramatically reduce the safeguards for software — from the ordinary term of 95 years to an initial term of 5 years, renewable once. And I would extend that government-backed protection only if the author submitted a duplicate of the source code to be held in escrow while the work was protected. Once the copyright expired, that escrowed version would be publicly available from the copyright office. Most programmers should like this change. No code lives for 10 years, and getting access to the source code of even orphaned software projects would benefit all. More important, it would unlock the knowledge built into this protected code for others to build upon as they see fit. Software would thus be like every other creative work — open for others to see and to learn from.

 * The problems with software are just examples of the problems found generally with creativity. Our trend in copyright law has been to enclose as much as we can; the consequence of this enclosure is a stifling of creativity and innovation. If the Internet teaches us anything, it is that great value comes from leaving core resources in a commons, where they're free for people to build upon as they see fit.

OSCON 2002

 * Keynote address at the Open Source Convention (24 July 2002)

 * If you understand this refrain, you're gonna' understand everything I want to say to you today. It has four parts:
 * Creativity and innovation always builds on the past. The past always tries to control the creativity that builds upon it. Free societies enable the future by limiting this power of the past. Ours is less and less a free society.

 * In 1774, free culture was born. In a case called Donaldson v. Beckett in the House of Lords in England, free culture was made because copyright was stopped. In 1710, the statute had said that copyright should be for a limited term of just 14 years. But in the 1740s, when Scottish publishers started reprinting classics — you gotta' love the Scots — the London publishers said "Stop!" They said, "Copyright is forever!"... These publishers demanded a common-law copyright that would be forever. In 1769, in a case called Miller v. Taylor, they won their claim, but just five years later, in Donaldson, Miller was reversed, and for the first time in history, the works of Shakespeare were freed, freed from the control of a monopoly of publishers. Freed culture was the result of that case.

 * That free culture was carried to America; that was our birth — 1790. We established a regime that left creativity unregulated. Now it was unregulated because copyright law only covered "printing." Copyright law did not control derivative work. And copyright law granted this protection for the limited time of 14 years.

 * Forget the 18th century, the 19th century, even at the birth of the 20th century. Here's my favorite example, here: 1928, my hero, Walt Disney, created this extraordinary work, the birth of Mickey Mouse in the form of Steamboat Willie. But what you probably don't recognize about Steamboat Willie and his emergence into Mickey Mouse is that in 1928, Walt Disney, to use the language of the Disney Corporation today, "stole" Willie from Buster Keaton's "Steamboat Bill." It was a parody, a take-off; it was built upon Steamboat Bill. Steamboat Bill was produced in 1928 — no 14 years — just take it, rip, mix, and burn, as he did to produce the Disney empire.

 * Now the Disney Corporation could do this because that culture lived in a commons, an intellectual commons, a cultural commons, where people could freely take and build. It was a lawyer-free zone. It was culture, which you didn't need the permission of someone else to take and build upon. That was the character of creativity at the birth of the last century. It was built upon a constitutional requirement that protection be for limited times, and it was originally limited. Fourteen years, if the author lived, then 28, then in 1831 it went to 42, then in 1909 it went to 56, and then magically, starting in 1962, look — no hands, the term expands. Eleven times in the last 40 years it has been extended for existing works — not just for new works that are going to be created, but existing works. The most recent is the Sonny Bono copyright term extension act.

 * The meaning of this pattern is absolutely clear to those who pay to produce it. The meaning is: No one can do to the Disney Corporation what Walt Disney did to the Brothers Grimm. That though we had a culture where people could take and build upon what went before, that's over. There is no such thing as the public domain in the minds of those who have produced these 11 extensions these last 40 years because now culture is owned.

 * Remember the refrain: We always build on the past; the past always tries to stop us. Freedom is about stopping the past, but we have lost that ideal.

 * We have a massive system to regulate creativity. A massive system of lawyers regulating creativity as copyright law has expanded in unrecognizable forms, going from a regulation of publishing to a regulation of copying.

 * Law and technology produce, together, a kind of regulation of creativity we've not seen before.

 * Here's a simple copyright lesson: Law regulates copies. What's that mean? Well, before the Internet, think of this as a world of all possible uses of a copyrighted work. Most of them are unregulated. Talking about fair use, this is not fair use; this is unregulated use. To read is not a fair use; it's an unregulated use. To give it to someone is not a fair use; it's unregulated. To sell it, to sleep on top of it, to do any of these things with this text is unregulated. Now, in the center of this unregulated use, there is a small bit of stuff regulated by the copyright law; for example, publishing the book — that's regulated. And then within this small range of things regulated by copyright law, there's this tiny band before the Internet of stuff we call fair use: Uses that otherwise would be regulated but that the law says you can engage in without the permission of anybody else. For example, quoting a text in another text — that's a copy, but it's a still fair use. That means the world was divided into three camps, not two: Unregulated uses, regulated uses that were fair use, and the quintessential copyright world. Three categories. Enter the Internet. Every act is a copy, which means all of these unregulated uses disappear. Presumptively, everything you do on your machine on the network is a regulated use. And now it forces us into this tiny little category of arguing about, "What about the fair uses? What about the fair uses?" I will say the word: To hell with the fair uses. What about the unregulated uses we had of culture before this massive expansion of control?

 * Now, here's the thing you've got to remember. You've got to see this. This is the point. (And Jack Valenti misses this.) Here's the point: Never has it been more controlled ever. Take the addition, the changes, the copyrights turn, take the changes to copyrights scope, put it against the background of an extraordinarily concentrated structure of media, and you produce the fact that never in our history have fewer people controlled more of the evolution of our culture. Never.

 * Here's a story: There was a documentary filmmaker who was making a documentary film about education in America. And he's shooting across this classroom with lots of people, kids, who are completely distracted at the television in the back of the classroom. When they get back to the editing room, they realize that on the television, you can barely make out the show for two seconds; it's "The Simpsons," Homer Simpson on the screen. So they call up Matt Groening, who was a friend of the documentary filmmaker, and say, you know, Is this going to be a problem? It's only a couple seconds. Matt says, No, no, no, it's not going to be a problem, call so and so. So they called so and so, and so and so said call so and so. Eventually, the so and so turns out to be the lawyers, so when they got to the lawyers, they said, Is this going to be a problem? It's a documentary film. It's about education. It's a couple seconds. The so and so said 25,000 bucks. 25,000 bucks?! It's a couple seconds! What do you mean 25,000 bucks? The so and so said, I don't give a goddamn what it is for. $25,000 bucks or change your movie. Now you look at this and you say this is insane. It's insane. And if it is only Hollywood that has to deal with this, OK, that's fine. Let them be insane. The problem is their insane rules are now being applied to the whole world. This insanity of control is expanding as everything you do touches copyrights.

 * It's insane. It's extreme. It's controlled by political interests. It has no justification in the traditional values that justify legal regulation. And we've done nothing about it. We're bigger than they are. We've got rights on our side. And we've done nothing about it. We let them control this debate. Here's the refrain that leads to this: They win because we've done nothing to stop it.

 * J. C. Watts is the only black member of the Republican Party in leadership. He's going to resign from Congress. He's been there seven and a half years. He's had enough. Nobody can believe it. Nobody in Washington can believe it. ... In an interview two days ago, Watts said, Here's the problem with Washington: "If you are explaining, you are losing." If you are explaining, you're losing. It's a bumper sticker culture. People have to get it like that, and if they don't, if it takes three seconds to make them understand, you're off their radar screen. Three seconds to understand, or you lose. This is our problem. Six years after this battle began, we're still explaining. We're still explaining and we are losing. They frame this as a massive battle to stop theft, to protect property. ... They extend copyrights perpetually. They don't get how that in itself is a form of theft. A theft of our common culture. We have failed in getting them to see what the issues here are and that's why we live in this place where a tradition speaks of freedom and their controls take it away.

 * If you don't do something now, this freedom that you built, that you spend your life coding, this freedom will be taken away. Either by those who see you as a threat, who then invoke the system of law we call patents, or by those who take advantage of the extraordinary expansion of control that the law of copyright now gives them over innovation. Either of these two changes through law will produce a world where your freedom has been taken away. And, If you can't fight for your freedom . . . you don't deserve it.

 * This is not a left and right issue. This is the important thing to recognize: This is not about conservatives versus liberals. In our case, in Eldred, we have this brief filed by 17 economists, including Milton Friedman, James Buchanan, Ronald Kost, Ken Arrow, you know, lunatics, right? Left-wing liberals, right? Friedman said he'd only join if the word "no-brainer" existed in the brief somewhere, like this was a complete no-brainer for him. This is not about left and right. This is about right and wrong. That's what this battle is.

Free Culture (2004)

 * Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity (2004) - Full text online

 * I believe it would be right for common sense to revolt against the extreme claims made today on behalf of "intellectual property." What the law demands today is increasingly as silly as a sheriff arresting an airplane for trespass. But the consequences of this silliness will be much more profound.
 * Introduction

 * A free culture has been our past, but it will only be our future if we change the path we are on right now. Like Stallman's arguments for free software, an argument for free culture stumbles on a confusion that is hard to avoid, and even harder to understand. A free culture is not a culture without property; it is not a culture in which artists don't get paid. A culture without property, or in which creators can't get paid, is anarchy, not freedom. Anarchy is not what I advance here. Instead, the free culture that I defend in this book is a balance between anarchy and control. A free culture, like a free market, is filled with property. It is filled with rules of property and contract that get enforced by the state. But just as a free market is perverted if its property becomes feudal, so too can a free culture be queered by extremism in the property rights that define it. That is what I fear about our culture today. It is against that extremism that this book is written.

 * There has never been a time in history when more of our "culture" was as "owned" as it is now. And yet there has never been a time when the concentration of power to control the uses of culture has been as unquestioningly accepted as it is now.

 * Overregulation stifles creativity. It smothers innovation. It gives dinosaurs a veto over the future. It wastes the extraordinary opportunity for a democratic creativity that digital technology enables. In addition to these important harms, there is one more that was important to our forebears, but seems forgotten today. Overregulation corrupts citizens and weakens the rule of law. The war that is being waged today is a war of prohibition. As with every war of prohibition, it is targeted against the behavior of a very large number of citizens. According to The New York Times, 43 million Americans downloaded music in May 2002. According to the RIAA, the behavior of those 43 million Americans is a felony. We thus have a set of rules that transform 20 percent of America into criminals.

 * By insisting on the Constitution's limits to copyright, obviously Eldred was not endorsing piracy. Indeed, in an obvious sense, he was fighting a kind of piracy — piracy of the public domain. When Robert Frost wrote his work and when Walt Disney created Mickey Mouse, the maximum copyright term was just fifty-six years. Because of interim changes, Frost and Disney had already enjoyed a seventy-five-year monopoly for their work. They had gotten the benefit of the bargain that the Constitution envisions: In exchange for a monopoly protected for fifty-six years, they created new work. But now these entities were using their power — expressed through the power of lobbyists' money — to get another twenty-year dollop of monopoly. That twenty-year dollop would be taken from the public domain. Eric Eldred was fighting a piracy that affects us all.

 * Some people view the public domain with contempt. In their brief before the Supreme Court, the Nashville Songwriters Association wrote that the public domain is nothing more than "legal piracy." But it is not piracy when the law allows it; and in our constitutional system, our law requires it. Some may not like the Constitution's requirements, but that doesn't make the Constitution a pirate's charter. As we've seen, our constitutional system requires limits on copyright as a way to assure that copyright holders do not too heavily influence the development and distribution of our culture.''' Yet, as Eric Eldred discovered, we have set up a system that assures that copyright terms will be repeatedly extended, and extended, and extended. We have created the perfect storm for the public domain. Copyrights have not expired, and will not expire, so long as Congress is free to be bought to extend them again.

 * It is valuable copyrights that are responsible for terms being extended. Mickey Mouse and "Rhapsody in Blue." These works are too valuable for copyright owners to ignore. But the real harm to our society from copyright extensions is not that Mickey Mouse remains Disney's. Forget Mickey Mouse. Forget Robert Frost. Forget all the works from the 1920s and 1930s that have continuing commercial value. The real harm of term extension comes not from these famous works. The real harm is to the works that are not famous, not commercially exploited, and no longer available as a result.

 * Of all the creative work produced by humans anywhere, a tiny fraction has continuing commercial value. For that tiny fraction, the copyright is a crucially important legal device. For that tiny fraction, the copyright creates incentives to produce and distribute the creative work. For that tiny fraction, the copyright acts as an "engine of free expression." But even for that tiny fraction, the actual time during which the creative work has a commercial life is extremely short. As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.

 * Now that copyrights can be just about a century long, the inability to know what is protected and what is not protected becomes a huge and obvious burden on the creative process. If the only way a library can offer an Internet exhibit about the New Deal is to hire a lawyer to clear the rights to every image and sound, then the copyright system is burdening creativity in a way that has never been seen before because there are no formalities.

 * The most powerful and sexy and well loved of lobbies really has as its aim not the protection of "property" but the rejection of a tradition. Their aim is not simply to protect what is theirs. Their aim is to assure that all there is is what is theirs.  It is not hard to understand why the warriors take this view. It is not hard to see why it would benefit them if the competition of the public domain tied to the Internet could somehow be quashed.

 * A simple idea blinds us, and under the cover of darkness, much happens that most of us would reject if any of us looked. So uncritically do we accept the idea of property in ideas that we don't even notice how monstrous it is to deny ideas to a people who are dying without them. So uncritically do we accept the idea of property in culture that we don't even question when the control of that property removes our ability, as a people, to develop our culture democratically. Blindness becomes our common sense. And the challenge for anyone who would reclaim the right to cultivate our culture is to find a way to make this common sense open its eyes. So far, common sense sleeps. There is no revolt. Common sense does not yet see what there could be to revolt about.

 * When it has become silly to suppose that the role of our government should be to "seek balance," then count me with the silly, for that means that this has become quite serious indeed. If it should be obvious to everyone that the government does not seek balance, that the government is simply the tool of the most powerful lobbyists, that the idea of holding the government to a different standard is absurd, that the idea of demanding of the government that it speak truth and not lies is just naïve, then who have we, the most powerful democracy in the world, become?

 * It might be crazy to expect a high government official to speak the truth. It might be crazy to believe that government policy will be something more than the handmaiden of the most powerful interests. It might be crazy to argue that we should preserve a tradition that has been part of our tradition for most of our history — free culture. If this is crazy, then let there be more crazies. Soon.

 * The danger in media concentration comes not from the concentration, but instead from the feudalism that this concentration, tied to the change in copyright, produces. It is not just that there are a few powerful companies that control an ever expanding slice of the media. It is that this concentration can call upon an equally bloated range of rights — property rights of a historically extreme form — that makes their bigness bad.

 * We Americans have a long history of fighting "big," wisely or not. That we could be motivated to fight "big" again is not something new. It would be something new, and something very important, if an equal number could be rallied to fight the increasing extremism built within the idea of "intellectual property." Not because balance is alien to our tradition; indeed, as I've argued, balance is our tradition. But because the muscle to think critically about the scope of anything called "property" is not well exercised within this tradition anymore. If we were Achilles, this would be our heel. This would be the place of our tragedy.

 * '''I've told a dark story. The truth is more mixed. A technology has given us a new freedom. Slowly, some begin to understand that this freedom need not mean anarchy. We can carry a free culture into the twenty-first century, without artists losing and without the potential of digital technology being destroyed. ... Common sense must revolt. It must act to free culture. Soon, if this potential is ever to be realized.

 * Common sense is with the copyright warriors because the debate so far has been framed at the extremes — as a grand either/or: either property or anarchy, either total control or artists won't be paid. If that really is the choice, then the warriors should win. The mistake here is the error of the excluded middle. There are extremes in this debate, but the extremes are not all that there is. There are those who believe in maximal copyright — "All Rights Reserved" — and those who reject copyright — "No Rights Reserved." The "All Rights Reserved" sorts believe that you should ask permission before you "use" a copyrighted work in any way. The "No Rights Reserved" sorts believe you should be able to do with content as you wish, regardless of whether you have permission or not. ... What's needed is a way to say something in the middle — neither "all rights reserved" nor "no rights reserved" but "some rights reserved" — and thus a way to respect copyrights but enable creators to free content as they see fit. In other words, we need a way to restore a set of freedoms that we could just take for granted before.

 * We will not reclaim a free culture by individual action alone. It will also take important reforms of laws. We have a long way to go before the politicians will listen to these ideas and implement these reforms. But that also means that we have time to build awareness around the changes that we need.

 * I'm a lawyer. I make lawyers for a living. I believe in the law. I believe in the law of copyright. Indeed, I have devoted my life to working in law, not because there are big bucks at the end but because there are ideals at the end that I would love to live. Yet much of this book has been a criticism of lawyers, or the role lawyers have played in this debate. The law speaks to ideals, but it is my view that our profession has become too attuned to the client. And in a world where the rich clients have one strong view, the unwillingness of the profession to question or counter that one strong view queers the law. The evidence of this bending is compelling. I'm attacked as a "radical" by many within the profession, yet the positions that I am advocating are precisely the positions of some of the most moderate and significant figures in the history of this branch of the law.

 * The legal system doesn't work. Or more accurately, it doesn't work for anyone except those with the most resources. Not because the system is corrupt. I don't think our legal system (at the federal level, at least) is at all corrupt. I mean simply because the costs of our legal system are so astonishingly high that justice can practically never be done.

 * The law should regulate in certain areas of culture — but it should regulate culture only where that regulation does good. Yet lawyers rarely test their power, or the power they promote, against this simple pragmatic question: "Will it do good?" When challenged about the expanding reach of the law, the lawyer answers, "Why not?" We should ask, "Why?" Show me why your regulation of culture is needed. Show me how it does good. And until you can show me both, keep your lawyers away.

 * We, the most powerful democracy in the world, have developed a strong norm against talking about politics. It's fine to talk about politics with people you agree with. But it is rude to argue about politics with people you disagree with. Political discourse becomes isolated, and isolated discourse becomes more extreme. We say what our friends want to hear, and hear very little beyond what our friends say.

Wikimania 2006

 * "Writing" is the Latin of our times. The modern language of the people is video and sound.
 * From Remix

title: Lawrence Lessig


text: Category:Virginians

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

title: Category:Virginians


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Category:Europeans

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The Emperor's New Groove

The Emperor's New Groove is a 2000 American-Mexican animated comedy film released by Walt Disney Pictures. It follows an Inca emperor named Kuzco who is turned into a llama by an ex-advisor and teams up with a peasant to transform him back to normal.
 * Directed by Mark Dindal. Written by David Reynolds.

It's All About... ME

Dialogue

 * [First lines; at the very beginning where we see him as a llama all alone in the rainy jungle]
 * Emperor Kuzco: [narrates] Will you take a look at that? Pretty pathetic, huh? Well, you'll never believe this, but that llama you're looking at was once a human being. And not just any human being. That guy was an emperor. A rich, powerful ball of charisma. Oh, yeah. This is his story. Well, actually my story. That's right- I'm that llama. The name is Kuzco. Emperor Kuzco. I was the world's nicest guy, and they ruined my life for no reason. Oh, is that hard to believe? Look, I tell you what. You go back -you know, before I was a llama, and this will all make sense. [the film rewinds to show Kuzco as a baby playing with his toys] All right, now see, that's a little too far back. Oh, ho. Look at me. That's me as a baby. [the stuffed animal's head pops off when Baby Kuzco squeezes it. Baby Kuzco cries, then coos and giggles when more stuffed animals are given to him] All right, let's move ahead.

 * Emperor Kuzco: [narrating] Okay. This is the real me. [scene cuts to him as a llama] Not this. [cuts back to him as a human, lounging on his throne] This. [back to Llama Kuzco] Not this. [back to Human Kuzco] Winner. [back to Llama Kuzco] Loser. [back to Human Kuzco] Okay. See this palace? Everybody in it is at my command. Check this out. Butler. Chef. Theme song guy.

 * Emperor Kuzco: [repeated line] Ha! Boom, baby!

 * [Kuzco analyzes potential brides]
 * Emperor Kuzco: Let's take a look-see. Hate your hair. Not likely. Yikes. Yikes. Yikes. And, let me guess, you have a great personality.

 * Pacha: [noticing Rudy is caught in one of the palace streamers] Hey, are you all right? [helps Rudy down] What happened?
 * Rudy: Well, I threw off the emperor's groove.
 * Pacha: What?
 * Rudy: His groove! The rhythm in which he lives his life! His pattern of behavior! I threw it off! And the emperor had me thrown out the window!
 * Pacha: Well, I'm supposed to see him today-
 * Rudy: DON'T THROW OFF HIS GROOVE!
 * Pacha: Oh. Okay.
 * Rudy: Beware the groove!
 * Pacha: Hey, are you going to be all right?
 * Rudy: [leaving] The grooooove...
 * Emperor Kuzco: [narrates] See what I mean? This guy's trouble. But as bad as he is, he's nothing compared to what happens next. Okay, check out this piece of work: this is Yzma, the Emperor's Advisor. Living proof that dinosaurs once roamed the Earth. And let's not forget about Yzma's right-hand-man. Every decade or so she gets a new one. This year's model's called Kronk.
 * Kronk: Yeah, I'll get that, Yzma. [Swats at a fly and hits himself by mistake].
 * Emperor Kuzco: [narrates] Yep, that's Kronk! Now, lately Yzma's gotten this bad habit of trying to run the country behind my back, and I'm thinking, That's gotta stop.

 * [After Kuzco fires Yzma, she starts using a hammer to smash effigies of him provided by Kronk]
 * Yzma: He can't get rid of me that easily! Who does that ungrateful little worm think he is?! Does he— [to Kronk] A little to the left. [Kronk nudges the head so Yzma can smash it] —have ANY idea of who he's dealing with?! How could he do this to me?! Why, I practically raised him!
 * Kronk: [lays down another bust, which Yzma smashes] Yeah, you'd think he would've turned out better.
 * Yzma: [dryly] Yeah. Go figure.
 * Kronk: Well, it's better you're taking out your anger on these things instead of the real Kuzco, huh?
 * Yzma: [gasps and smiles] That's it, Kronk! That's it! I'll get rid of Kuzco.
 * Kronk: The real Kuzco?
 * Yzma: Of course, the real Kuzco! Don't you see? It's perfect! With him out of the way and no heir to the throne, I'll take over and rule the empire. Brrrrilliant.
 * Kronk: So, how does that work with you being fired and all?
 * Yzma: The only ones who know about that are the three of us, soon to be the two of us.
 * Kronk: And I'm one of those two, right?
 * Yzma: To the secret lab! [they move over to two levers] Pull the lever, Kronk! [Kronk pulls a lever, opening a trap door under Yzma; she falls through] WRONG LEVEEEEEEEEER! [splash]
 * Kronk: [looking down the trap door] Uh...
 * Yzma: [comes out all wet and with a crocodile biting her dress] Why do we even have that lever? [slaps the crocodile which lets go of her dress and runs away, yipping] Get out of my way. [pulls the other lever, and she and Kronk land in what is like an amusement park ride]
 * Skeleton Ride Voice: Please remain seated, and keep your arms and legs in at all times.
 * [Ride speeds up, going through tunnels]
 * Kronk: Whoo! Faster, faster! Yzma! Put your hands in the air! Whoo-hoo, whoo-hoo!
 * [Yzma and Kronk arrive in the lab, wearing lab coats and safety goggles, do a high-five, and run to get to work]
 * Yzma: Ah, how should I do it? Oh, I know. I'll turn him into a flea. A harmless little flea. And then I'll put that flea in a box, and then I'll put that box inside of another box, and then I'll mail that box to myself and when it arrives, AH HA HA HA! I'LL SMASH IT WITH A HAMMER! It's brilliant, brilliant, BRILLIANT, I tell you! Genius, I say! [knocks over a beaker of poison onto a plant, and the plants explodes into black, shriveled, then drops quickly, dead] Or, to save on postage, I'll just poison him with this. Take it, Kronk. [laughs] Oh, feel the power.
 * Kronk: Oh. I can feel it.
 * Yzma: Our moment of triumph approaches! [laughs] IT'S DINNERTIME!

 * Yzma: So, is everything ready for tonight?
 * Kronk: Oh, yeah. I thought we'd start off with soup and a light salad, and then see how we feel after that.
 * Yzma: Not the dinner. The You-Know...?
 * Kronk: Oh, riiiight. The poison. The poison for Kuzco. The poison chosen especially to kill Kuzco. Kuzco's poison. [long pause] That poison?
 * Yzma: Yes, that poison.
 * Kronk: Got ya covered.
 * Yzma: Excellent. A few drops in his drink, then I'll propose a toast, and he will be dead before dessert.
 * Kronk: Which is a real shame, 'cause it's gonna be delicious.

 * Yzma: What?! A llama?! HE'S SUPPOSED TO BE DEAD!
 * Kronk: Yeah, weird.
 * Yzma: Let me see that vial. This isn't poison. This is extract of...LLAMA! Oooohhhhh...
 * Kronk: You know, in my defense, your poisons all look alike. You might think about re-labeling some of them.
 * Yzma: Take him out of town and finish the job Now!
 * Kronk: What about dinner?
 * Yzma: Kronk, this is kind of important.
 * Kronk: How about dessert?
 * Yzma: Well, I suppose there's time for dessert.
 * Kronk: And coffee?
 * Yzma: Alright, a quick cup of coffee.  THEN TAKE HIM OUT OF TOWN AND FINISH THE JOB!

 * [While Kuzco is in a bag, about to go over a very large waterfall]
 * Kronk's Shoulder Angel: You're not just gonna let him die like that, are you?
 * Kronk: My shoulder angel.
 * Kronk's Shoulder Devil: Don't listen to that guy. He's trying to lead you down the "path of righteousness". I'm gonna lead you down the path that rocks.
 * Kronk's Shoulder Angel: Ah, come off it
 * Kronk's Shoulder Devil: You come off it.
 * Kronk's Shoulder Angel: You.
 * Kronk's Shoulder Devil: You.
 * Kronk's Shoulder Angel: You.
 * Kronk's Shoulder Devil: [smirking] You infinity. [the angel growls in frustration] [to Kronk] Listen up, big guy. I got three good reasons why you should just walk away. Number one: [points at the angel] Look at that guy. He's got that sissy, stringy, music thing.
 * Kronk's Shoulder Angel: We've been through this. It's a harp, and you know it.
 * Kronk's Shoulder Devil: All right. So, that's a harp...and that's a dress.
 * Kronk's Shoulder Angel: Robe.
 * Kronk's Shoulder Devil: Reason number two: [does a one-handed handstand] Look what I can do. Ha, ha! Ha!
 * Kronk: But, uh, what does that have to do with anything?
 * Kronk's Shoulder Angel: No, no, he's got a point.
 * Kronk: Listen, you guys. You're starting to confuse me, so, uh, "be gone". Or, uh, you know, however I get rid of you guys.
 * Kronk's Shoulder Angel and Devil: That'll work.
 * [They disappear]

 * Chicha: So, what did the emperor want?
 * Pacha: [clears throat] Oh, you know what, he couldn't see me.
 * Chicha: Couldn't see you? Why not?
 * Pacha: I don't know.
 * Chicha: Well, well, that's just rude.
 * Pacha: Well, he is the emperor. I'm sure he's busy.
 * Chicha: No, no, no, no, no. No. Emperor or no Emperor, it's called common courtesy.
 * Pacha: Honey-
 * Chicha: If that were me, I'd march right back there and demand to see him, and you know I would.
 * Pacha: Sweetie, sweetie. Think of the baby.
 * Chicha: Pacha, I'm fine. This baby's not coming out for while. But even if it was, I'd give that guy a piece of my mind. That kind of behavior just, just... I gotta go wash something. Pacha, you okay?
 * Pacha: Hmm? Oh, yeah. I'm just a little tired from the trip. Um...I'm gonna go put Misty away. [The film freezes as Pacha is sitting outside his house when Kuzco in llama form comes out onscreen]
 * Emperor Kuzco: Hi. Excuse me. 2 seconds here. [takes out a red marker] Um, I'm the 1 in the cart, remember? [circles the burlap sack he's tied up in] This story's about me. [crosses Pacha out] Not him. Got it? Okay. We're gonna move ahead. Sorry to slow you down. [disappears for a split second, but comes back out and scribbles Pacha out with the marker before the film continues]
 * Pacha: Huh? Whoa. Where'd you come from, little guy?
 * Emperor Kuzco: No touchy.
 * Pacha: AH! DEMON LLAMA!
 * Emperor Kuzco: Demon llama?! Where?! [looks at Misty and screams. He attempts to run away on his hind legs but fails and tumbles and crashes onto the fence] Oh, no! Oh, no! Oh, no! Ow! Ow, my head!
 * Pacha: Okay, demon llama. Just take it easy. I mean you no harm,
 * Emperor Kuzco: What are you talking about- Oh, wait. I know you. You're that whiny peasant.
 * Pacha: Emperor Kuzco?
 * Emperor Kuzco: Yeah. Who do you think you were talkin' to?
 * Pacha: Uh...how did-Um...you don't...look like the emperor.
 * Emperor Kuzco: What do you mean I don't look like the emperor?
 * Pacha: Uh...oh...do this... [gesturing his fingers to Kuzco]
 * Emperor Kuzco: What is this, some kind of little game you country folk like to- [notices he has hooves] Ahh! It can't be! [goes to a fountain to show his reflection and realizes he's been turned into a llama] Ahh! Ahh! Ahh! My face! My beautiful, beautiful face!
 * Pacha: Okay, okay, okay. Whoa, whoa, whoa.
 * Emperor Kuzco: I'm an ugly stinky llama!
 * Pacha: Wait, okay, Your Majesty.
 * Emperor Kuzco: Llama face!
 * Pacha: What happened?
 * Emperor Kuzco: I'm trying to figure that out, okay? [falls and starts whining again] I can't remember! I can't remember anything! Wait a minute. I remember you. I remember telling you that I was building my pool where your house was. And then you got mad at me. [gasps] Then you turned me into a llama!
 * Pacha: What? No, I did not!
 * Emperor Kuzco: Yes, and then you kidnapped me!
 * Pacha: Why would I kidnap a llama?
 * Emperor Kuzco: I have no idea. You're the criminal mastermind. Not me.
 * Pacha: What?
 * Emperor Kuzco: Hmm. You're right. That's giving you way too much credit. Okay, I gotta get back to the palace. Yzma's got that "secret lab"; I'll just snap my fingers and order her to change me back. Hey, you. No time to waste. Let's go. [starts walks away] Hey, tiny. I wanna get out of this body. Wouldn't you? Now let's go.
 * Pacha: Build your summer home somewhere else.
 * Emperor Kuzco: [looks back at Pacha] You wanna run that by me again?
 * Pacha: I can't let you go back unless you change your mind and build your summer home somewhere else.
 * Emperor Kuzco: Hey, I got a little secret for you. Come here. No, closer. [screams in Pacha's face] I DON'T MAKE DEALS WITH PEASANTS!
 * Pacha: Then, I guess I can't take you back.
 * Emperor Kuzco: Fine, I don't need you. I can find my own way back.
 * Pacha: I wouldn't recommend it. It's a little dangerous if you don't know the way.
 * Emperor Kuzco: Nice try, pal.
 * Pacha: No, really, I'm telling you-there are jaguars and snakes and quicksand.
 * Emperor Kuzco: La, la, la, la, la-la-la. La-la-la. I'm not listening.
 * Pacha: I'm not kidding. Listen, you cannot go in there.
 * Emperor Kuzco: [singsong] Still not listening.
 * Pacha: Fine. Fine! GO AHEAD! If there's no Kuzco, there's no "Kuzcotopia". Takes care of my problem.

 * [Pacha and Kuzco are swinging to safety after Kuzco is rescued from a pack of jaguars]
 * Pacha: Don't worry, Your Highness, I got ya! You're safe now!
 * [The vine from which they are swinging from catches, spins them around numerous times and binds them to a log]
 * Emperor Kuzco: Maybe I'm just new to this whole rescuing thing, but this, to me, might be considered kind of a step backwards, wouldn't you say?
 * Pacha: No, no, no. It's-It's okay. This is all right. We can figure this out.
 * [The log starts to break]
 * Emperor Kuzco: I hate you.
 * [The log breaks completely, sending them plummeting into a river. After riding through the rapids, they are bounced into far calmers waters]
 * Emperor Kuzco: I don't know about you, but I'm getting all funned out.
 * Pacha: [eyes widen] Uh-oh.
 * Emperor Kuzco: [deadpan] Don't tell me. We're about to go over a huge waterfall.
 * Pacha: [also deadpan] Yep.
 * Emperor Kuzco: Sharp rocks at the bottom?
 * Pacha: Looks likely.
 * Emperor Kuzco: Bring it on. [as they go over] BOO-YEAH!!

 * Pacha: For the last time, it was not a kiss.
 * Emperor Kuzco: Well, whatever you call it. It was disgusting And to think, if you'd done what I ordered you to do in the first place, we all could have been spared your little kiss of life. But now that we're here, you will take me back to the palace, I'll have Yzma change me back, and then I'll start construction on Kuzcotopia. [builds a house with a rock, sticks, and a leaf] Oh, yeah.
 * Pacha: Okay, now look. I think we got off on the wrong foot here.
 * Emperor Kuzco: Um-hm.
 * Pacha: I just think if you really thought about it, you'd decide to build your home on a different hilltop.
 * Emperor Kuzco: And why would I do that?
 * Pacha: Because... Deep down, I think you'll realize that you're forcing an entire village out of their homes just for you.
 * Emperor Kuzco: And that's...bad?
 * Pacha: Well, yeah! Uh, nobody's that heartless.
 * Emperor Kuzco: Mmmm. Now take me back.
 * Pacha: What? Wait, wait. How can you be this way? All you care about is building your summer home and filling it with stuff for you.
 * Emperor Kuzco: Uh, yeah. Doy. Me. Everyone else in the kingdom gets it. You're the only one that doesn't seem to be with the program. Eh, Pacha?
 * Pacha: You know, someday you're gonna wind up all alone and you'll have no one to blame but yourself.
 * Emperor Kuzco: Thanks for that, I'll log that away. Now, for the final time, I order you to take me back to the palace.
 * Pacha: Looks to me like you're stuck out here. Because unless you change your mind, I'm not taking you back.
 * Emperor Kuzco: "Because unless you change your mind, I'm not gonna take you back." Me, me, me. Moo, moo, moo. [throws an acorn at Pacha] Huh? What? I didn't do anything. I didn't do that. Somebody's throwing stuff. You gonna build a fire or what?
 * Pacha: [sighs] He's never going to change his mind.
 * Emperor Kuzco: [sighs] How am I ever gonna get out of here?

 * Yzma: Kuzco is dead, right? Tell me Kuzco's dead. I need to hear these words.
 * Kronk: Uh, do you need to hear all those words exactly?
 * Yzma: HE'S STILL ALIVE?!
 * Kronk: Well, he's not as dead as we would have hoped.
 * Yzma: Kronk!
 * Kronk: Just thought I'd give you a heads-up, in case Kuzco ever came back.
 * Yzma: He can't come back!
 * Kronk: Yeah, that would be kinda awkward, especially after that lovely eulogy.
 * Yzma: YA THINK?! You and I are going out to find him. If he talks, we're through. NOW LET'S ''MOVE!

 * [after Pacha and Kuzco are hung from the ropes to the bridge]
 * Pacha: Are you okay? Are you all right?
 * Emperor Kuzco: Yeah. Yeah. I think I'm all right.
 * Pacha: Good! [punches Kuzco] That's for going back on your promise!
 * Emperor Kuzco: [kicks Pacha] Yeah! That's for kidnapping me and taking me to your village... Which I'm still gonna destroy, by the way. [chuckles nervously] No touchy.
 * Pacha: [headbutts Kuzco] Why did I risk my life for a selfish brat like you? I was always taught that there was some good in everyone, but, oh, you proved me wrong.
 * Emperor Kuzco: Oh, boo-hoo. Now I feel really bad, bad llama.
 * Pacha: I could've let you die out there in that jungle, and then all my problems would be over.
 * Emperor Kuzco: Well, that makes you ugly and stupid.
 * Pacha: Let's end this.
 * Emperor Kuzco: Ladies first.

 * [Kuzco has just rescued Pacha from falling back into the canyon]
 * Emperor Kuzco: WHOO! YEAH! Look at me and my bad self! I snatched you right outta the air! "Oh, I'm a crumbling canyon wall, and I'm taking you with me." Well, not today, pal. Uh-huh, uh-huh-uh-huh-uh-huh. Uh-huh, uh-huh. Uh-huh, uh-huh, uh-huh.
 * Pacha: You just saved my life.
 * Emperor Kuzco: So?
 * Pacha: I knew it.
 * Emperor Kuzco: Knew what?
 * Pacha: That there is some good in you after all.
 * Emperor Kuzco: Oh, no.
 * Pacha: Admit it.
 * Emperor Kuzco: Wrong.
 * Pacha: Yes, there is.
 * Emperor Kuzco: Nuh-uh.
 * Pacha: I think there is.
 * Emperor Kuzco: Nuh-uh.
 * Pacha: Hey, you could've let me fall.
 * Emperor Kuzco: C'mon, what's the big deal? Nobody's that heartless. [pauses]. Eh, don't put too much into it. It was a one-time thing.
 * Pacha: Yeah, sure. Well, we better get going. With that bridge out, it's a 4-day walk to the palace.
 * Emperor Kuzco: What, you mean you're still taking me back?
 * Pacha: I shook on it, didn't I?
 * Emperor Kuzco: Well, yeah. But I hope you realize that doesn't change a thing. I'm still building Kuzcotopia when I get back.
 * Pacha: Well, 4 days is a long time. Who knows? Maybe you'll change your mind.
 * Emperor Kuzco: Uh-huh. Four days. What are the chances of you carrying me?
 * Pacha: Not good.

 * Yzma: No! No! No! We've searched every village around the palace, and no sign of him! Where is he?!

 * [Pacha is carrying Kuzco while walking.]
 * Pacha: Low blood sugar, huh?
 * Emperor Kuzco: Yeah, it's a curse. [Laughs]
 * Pacha: Well, as soon as we get something to eat, you're walking the rest of the way.

 * [Yzma and Kuzco are ordering meals from Kronk. When one exits, the other enters, so they never see each other]
 * Yzma: While you're at it, make me the special, and hold the gravy.
 * Kronk: Check. Pickup.
 * Emperor Kuzco: You know what? On 2nd thought, make my omelet a meat pie.
 * Kronk: Meat pie. Check.
 * Yzma: Kronk? Can I order the potatoes as a side dish?
 * Kronk: I'll have to charge you full price.
 * [Yzma groans]
 * Emperor Kuzco: Hey, how about a side of potatoes, buddy?
 * Kronk: You got it. Want cheese on those potatoes?
 * Yzma: Thank you, Kronk. Cheddar will be fine.
 * Kronk: Cheddar spuds coming up.
 * Emperor Kuzco: Spuds yes, cheese no.
 * Kronk: Hold the cheese.
 * Yzma: No, I want the cheese.
 * Kronk: Cheese it is.
 * Emperor Kuzco: Cheese, me no like-y.
 * Kronk: Cheese out.
 * Yzma: Cheese in.
 * Kronk: Ah, come on, make up your mind.
 * Emperor Kuzco: Okay, okay, on second thought-
 * Yzma and Emperor Kuzco: Make my potatoes a salad.

 * [Kuzco had escorted out the restaurant by Pacha as they distracted Yzma with a birthday song]
 * Emperor Kuzco: What are you doing?
 * Pacha: Look, there's two people in there looking for you.
 * Emperor Kuzco: What?
 * Pacha: A big guy and a skinny old woman.
 * Emperor Kuzco: Wait, was this woman scary beyond all reason?
 * Pacha: Oh, yeah.
 * Emperor Kuzco: That's Yzma and Kronk. I'm saved.
 * Pacha: Trust me, they're not here to save you.
 * Emperor Kuzco: They'll take me back to the palace. Thanks for your help. You've been great. I can take it from here.
 * Pacha: No, no, you don't understand. They're trying to kill you.
 * Emperor Kuzco: Kill me? Their whole world revolves around me.
 * Pacha: No, I can't let you.
 * Emperor Kuzco: What? Wha...Oh. Oh, I get it.
 * Pacha: What?
 * Emperor Kuzco: You don't want to take me back to the palace. You want to keep me stranded out here forever.
 * Pacha: No!
 * Emperor Kuzco: This has all been an act, and I almost fell for it.
 * Pacha: Will you just listen to...
 * Emperor Kuzco: No, no, you listen to me. All you care about is your-your stupid hilltop!
 * Pacha: What?
 * Emperor Kuzco: You don't care about me. Now, just get out of here. Go!
 * Pacha: But, but-
 * Emperor Kuzco: Go on, get out of here.
 * Pacha: FINE!
 * [Kuzco leaves; Cut to Yzma and Kronk leaving the diner]
 * Yzma: Oh, this entire mess is all your fault!
 * Kronk: What'd I do?
 * Yzma: If you hadn't mixed up those poisons, Kuzco would be DEAD now! [At Yzma's statement, the smile on Kuzco's face instantly falls and is replaced with shock and horror] There'll be no more diversions until we track that llama down and KILL HIM!
 * [Kuzco retreats and hides in the bushes]
 * Kronk: Said I was sorry, can't just let it go, not even on your birthday.
 * Yzma: Kuzco must be eliminated. The empire will finally be rid of that useless slug.
 * Kronk: Well, you got a point. Nobody really seems to care that he's gone, do they?
 * [Kuzco stares in shock as he watches Yzma and Kronk leave.]
 * Emperor Kuzco: Pacha! PACHA?! [Pacha has vanished; Kuzco hangs his head in despair]

 * Emperor Kuzco: [narrating] So this is where you came in. See, just like I said, I'm the victim here. I didn't do anything, and they ruined my life and took everything I had.
 * Emperor Kuzco: Hey, give it a rest up there, will ya?
 * Emperor Kuzco: [narrating] What? I'm just telling them what happened.
 * Emperor Kuzco: Who are you kidding, pal? They saw the whole thing. They know what happened.
 * Emperor Kuzco: [narrating] Well, yeah, but-
 * Emperor Kuzco: Just leave me alone.

 * Kronk: The peasant, at the diner. [beat] He didn't pay his check. [falls back asleep, wakes again] He's the peasant who I saw leaving the city who disappeared into the crowd with Kuzco on the back of his cart. [gasps] He must have taken him back to his village, so if we find the village, we find him, and if we find him, we find Kuzco. Oh yeah, it's all comin' together. [runs into Yzma's tent] Yzma!
 * Yzma: What?!
 * Kronk: [sees Yzma with facial cream with cucumbers slices over her eyes] UGGGGHHH!
 * Yzma: This had better be good!

 * [Kuzco finds Pacha in a field of llamas.]
 * Pacha: [To his herd] Try as he might to deny it, I know there's some good in him! Besides, I couldn't leave him out there by himself. He's a lousy llama. I mean, a really lousy llama. [Smiles at Kuzco].
 * Emperor Kuzco: Hey, listen, Pacha, you know, what I said to you back at the diner, th-that, I-I-I didn't really...
 * [Pacha holds up his hand to stop him]
 * Pacha: So... you tired of being a llama?
 * Emperor Kuzco: [Sobbing] YEH-HEH-HEH-HESS!!!

 * [Kuzco and Pacha rush to Pacha's house]
 * Pacha: Okay, we're just gonna stop at the house and get some supplies.
 * Emperor Kuzco: And we'll be on our way, right?
 * Pacha: Right!
 * [they come across Topo and Ipi playing checkers]
 * Topo: Hey there, Pacha! Hey, y'know you just missed your relatives.
 * Pacha: My relatives?
 * Ipi: Yeah, we just sent'em up to your house!
 * Pacha: What did they look like?
 * Ipi: Well, y'see, there was this big guy and this older woman who was... [to Topo] Well, how would you describe her?
 * Topo: Eh, scary beyond all reason.
 * Ipi: Yeah, that's it!

 * [Yzma and Kronk pose as Pacha's relatives to find Kuzco]
 * Chicha: So, remind me again how you're related to Pacha.
 * Yzma: Why, I'm his third cousin's brother's wife's step-niece's great-aunt. [Chicha gives her a suspicious stare; chuckles nervously] Twice removed. [sips her tea]
 * Chicha: Uh-huh.
 * Yzma: Isn't that right, Kronk?
 * [Kronk is playing jump rope with Tipo and Chaca]
 * Chaca: 99 monkeys jumping on the bed!
 * Kronk: One fell off and bumped his head!
 * Chicha: You know, I am so sorry that you had to come all this way. But, as I said to you before, you may recall, Pacha is not here. I'll be sure to tell him you came by.
 * Yzma: Oh, would you, please? That would be just great. [makes an exaggerated gesture that makes her knock her teacup off the table] Oops. Silly me.
 * Chicha: No, no. [exhaustively] Allow me.
 * [Chicha, being pregnant, has trouble picking it up; Yzma dashes up to Kronk, who is jumping rope with Tipo and Chaca. As she talks to Kronk, Yzma is skipping with him]
 * Yzma: She's hiding something. When I give the word, we search the house.
 * Kronk: Okay, but I still have 94 monkeys to go.
 * [Yzma groans and cartwheels back to the table after Chicha picks up the cup]
 * Yzma: So, while we're waiting for Paca...
 * Chicha: Pacha.
 * Yzma: Oh, yes, perhaps we can have a tour of your lovely home.
 * Chicha: Y'know, why don't you just come back when Pacha gets home? I'm sure he'd love to show you the... [sees Pacha out the window signaling her to meet him in private] Wwwell, excuse me, won't you? I think I left something in the oven. [dashes away]
 * [back to Kronk, who a has a jump rope in each hand while Tipo and Chaca jump]
 * Kronk: This is my variation of Double Dutch. On the signal, we switch places.
 * Yzma: Kronk, it's time.
 * Kronk: Okay!
 * [with a twirl, Yzma is holding the jump ropes while Kronk is jumping one rope and Tipo and Chaca jump the other; Yzma growls in frustration]

 * Emperor Kuzco: Hey, was it a good idea to leave your family with those two?
 * Pacha: Oh, don't worry. They can handle themselves.
 * [Cuts back to at the house, Chicha has managed to shut Yzma and Kronk in a closet by taking away the doorknob]
 * Chicha: What do you mean the door's stuck? Try jiggling the handle.
 * Yzma: There is no handle in here.
 * Chicha: There's not? Are you sure?
 * Yzma: Alright, I've had enough of this. Tell us where the talking llama is, and we'll burn your house to the ground.
 * Kronk: Uh, don't you mean "or"?
 * Yzma: Tell us where the talking llama is, OR we'll burn your house to the ground.
 * Chaca: Well, which is it? That seems like a pretty crucial conjunction.
 * Yzma: That's it! Kronk, break the door down!
 * Kronk: Break it down? Are you kidding me? This is hand-carved mahogany.
 * Yzma: I don't care, you fool! Get out of my way! I'll break it down myself. A-1...
 * Chicha: Okay, kids, you know what to do.
 * Yzma: ...2...
 * Tipo and Chaca: Right, Mom!
 * Yzma: 3! [Yzma charges through the closet but then slips on a broom held by Tipo, then rides on a wheelbarrow and is covered by honey and feathers; falls out of the wheelbarrow; scene cuts to a party where kids are about to whack a pinata]
 * Mother: Okay, children. On you mark, get set... [Yzma takes the place of the pinata] Go. [The kids start batting Yzma with their clubs]
 * Yzma: Stop it, you little brats. [sees Kuzco and Pacha making a run for it] THERE THEY GO, KRONK! THEY'RE GETTING AWAY!

 * Emperor Kuzco: Okay, why does she even have that lever?
 * Skeleton Ride Voice: Please remain seated, and keep your arms and legs in at all times.
 * [Kuzco and Pacha scream all the way through the ride and end up in Yzma and Kronk's lab costumes]
 * Emperor Kuzco: Huh?
 * [They take off the costumes and run to the lab]
 * Pacha: What does it look like?
 * Emperor Kuzco: I don't know. Just keep looking.
 * Pacha: Over here. It has to be one of these. Lions, tigers, bears...
 * Yzma: Oh, my. Looking for this?
 * Emperor Kuzco: No, it can't be. How did you get back here before us?
 * Yzma: How did we, Kronk?
 * Kronk: Well, ya got me. By all accounts, it doesn't make sense.
 * Yzma: Oh, well. Back to business.
 * Emperor Kuzco: Okay, I admit it. Maybe I wasn't as nice as I should have been. But, Yzma, do you really wanna kill me?
 * Yzma: Just think of it as you're being let go. That your life's going in a different direction. That your body is part of a permanent outplacement.
 * Kronk: Hey, that's kinda like what he said to you when you got fired.
 * Yzma: I know. It's called a cruel irony. Like my dependence on you.
 * Emperor Kuzco: I can't believe this is happening.
 * Yzma: Then I bet you weren't expecting this. [starts to pull up her dress; Kuzco and Pacha recoil and start yelling objections, before she reveals a knife strapped to her thigh] A-ha! [Kuzco and Pacha are relieved] [Yzma tosses the knife to Kronk] Finish them off.
 * Kronk's Shoulder Devil: Hey, you're not backing down now, are you, big guy?
 * Kronk: Uh, where's the other guy? [Kronk's Shoulder Angel appears sitting in a hairdryer] Yo.
 * Kronk's Shoulder Angel: [quickly gets off the chair, removes the helmet and restores his halo while he speaks] Sorry I'm late. So, what did I miss?
 * [As Kronk talks to the Shoulder guardians, whom only he can see, Yzma stares at him, turns to Kuzco and Pacha, and points to him with her thumb; Pacha and Kuzco shrug]
 * Kronk: Well, Yzma just tossed me this knife and asked me to, y'know, take them out. Then this guy popped up and we waited for you, and, quite honestly-
 * Yzma: Kronk! Why did I think you could do this? This one simple thing. It's like I'm talking to a monkey.
 * Kronk's Shoulder Angel: Whoa, now.
 * Yzma: A really, really big, stupid monkey named KRONK!
 * Kronk's Shoulder Devil: Ouch!
 * Yzma: And do you want to know something else? I never liked your spinach puffs. [Kronk, Shoulder Angel, and Shoulder Devil all gasp] NEVER!
 * [Kronk breaks down into tears; Shoulder Angel comforts him]
 * Kronk's Shoulder Devil: That's it. [cocks his trident like a shotgun] She's goin' down.
 * Kronk's Shoulder Angel: Now, now. Remember, guys: "From above, the wicked shall receive their just reward."
 * [They look above Yzma and notice a chandelier]
 * Kronk, Shoulder Angel, and Shoulder Devil: That'll work.
 * [Kronk cuts the rope to the chandelier, sending it falling down towards Yzma, but due to her skinny form, it falls around her instead of on her]
 * Kronk: Strange. That usually works.
 * Yzma: And so does this. [pulls over a large vial, which turns out to be a lever for a trapdoor below Kronk]
 * Kronk: Ah. Should've seen that coming. [falls through] WHOOAAAAAA! [Shoulder angel and devil then fall through holding each other]

 * Yzma: Kill them! They murdered the Emperor!
 * Emperor Kuzco: No! Wait! I'm the Emperor! It's me! Kuzco! [to Pacha] They're not listening to me!
 * [Pacha overturns a tableful of magic potions: the guards are transformed into a warthog, a lizard, an ostrich, a cow, an octopus, and a gorilla]
 * Yzma: Get them!
 * Guard Turned Cow: Hey, I've been turned into a cow. Can I go home?
 * Yzma: You're excused. Anyone else?
 * Guards Turned Animals: No, no. We're good.
 * Yzma: Get them!

 * [Kuzco and Pacha are running from the guards]
 * Pacha: One of them's gotta change you back. Try this one.
 * Emperor Kuzco: [drinks a potion and turns into a tortoise] Uh, Pacha, little help? [being a tortoise, cannot run away from the guards]
 * Pacha: Come on, come on! [grabs Kuzco and narrowly avoids the Octopus Guard's axes; he then uses Kuzco like a skateboard down the the stairway edges until they're cornered by the guards]
 * Emperor Kuzco: AAAAAAAAAAAHHHHHHHH!
 * Pacha: [holds up another potion] Oh, please be something with wings. [uncorks the potion and gives to Kuzco. In a puff of pink smoke, they rise off the rail; the smoke settles to reveal Kuzco as a red bird]
 * Emperor Kuzco: Yeah-ha-ha! We're flying!!! [reveals he is actually a tiny bird; unable to lift Pacha's weight off the ground] Uh-oh. [they crash onto a statue's head and Pacha runs while holding him] We're not getting anywhere with you picking the vials. I'm picking the next one.
 * Pacha: Fine by me.
 * Emperor Kuzco: Give me that one. [Pacha gives him the potion, turning him into a whale] Don't you say a word. [The bridge collapses and Pacha and Kuzco fall into the canals below]
 * Yzma: Quick, drain the canals! [Kuzco surfaces with Pacha standing on his head]
 * Pacha: Open up! [throwns a potion into Kuzco's open mouth, turning back into a llama]
 * Emperor Kuzco: Yay, I'm a llama again! [pauses] Wait. [A rumbling is heard and the water drains out of the palace; Kuzco and Pacha are now hanging onto the facade]
 * Yzma: There they go! After them!
 * Guard Turned Lizard: Come on, men. Nobody lives forever!
 * Guard Turned Animals: CHARGE!! [The guards jump onto the passage, but because of the slippery surface, they fall while Kuzco and Pacha climb up]

 * Pacha: Drink the potion!
 * Emperor Kuzco: OK, OK! Where did it go?! Where is it?!
 * Cat Yzma: Looking for this? [reveals Yzma as a cat] Is that my voice? [Coughs] Is that MY voice? Oh, well.
 * Emperor Kuzco: No, no, don't drop it!
 * Cat Yzma: I'm not going to drop it,  you fool!  I'm going to drink it! And once I'm back to my beautiful self, I'm going to KILL YOU!

 * Palace Guard: For the last time, we did not order a giant trampoline.
 * Delivery Man: Y'know, you could've told me that before I set it up.

 * [Kuzco, back in his human form, apologizes to Rudy for throwing him out the window]
 * Rudy: Oh, you stop being so hard on yourself. All is forgiven.
 * Emperor Kuzco: You're sure?
 * Rudy: Ah, it's not the first time I was tossed out a window, and it won't be the last! What can I say? I'm a rebel! [begins to play-fight]
 * Emperor Kuzco: Easy, tiger. [Rudy accidentally hits him] Hey, I gotta use that arm later. [Rudy leaves, chuckling] Okay, buddy, take care. Ah, he's a sweet guy. [suddenly, Pacha sees a model of Kuzco summer house on top of the hilltop at the village, and Kuzco  walks up  to him] So, you lied to me.
 * Pacha: I did?
 * Emperor Kuzco: Yeah. You said when the sun hits this ridge just right, these hills sing. Well, pal, I was dragged all over those hills and I did not hear any singing. [He takes Kuzcotopia away] So, I'll be building my summer home on a more magical hill. Thank you.
 * Pacha: Heh. Couldn't pull the wool over your eyes, huh?
 * Emperor Kuzco: No, no, I'm sharp. I'm on it. [He puts the model of Pacha's house back on the hilltop] Looks like you and your family are stuck on the tuneless hilltop forever, pal.
 * [Pacha smiles, Kuzco sit next to Pacha in silence in the moment on the bench]
 * Pacha: You know, I'm pretty sure I heard some singing on the hill next to us. In case you're interested.

 * [Last lines; Kronk is now teaching the Junior Chipmunks squirrel language]
 * Kronk: My acorn is missing.
 * Junior Chipmunks: Squeak squeakin' squeak squeakity.
 * Kronk: Did you eat the acorn?
 * Junior Chipmunks: Squeaker squeak squeak squeakin'?
 * Kronk: You owe me a new acorn.
 * Junior Chipmunks: Squeak squeaker squeak squeaker...
 * [One of the Junior Chipmunks silently urges Cat Yzma to follow along]
 * Cat Yzma: [annoyed] Squeakin'.
 * Kronk: I'm so proud of you guys.

Cast

 * David Spade – Emperor Kuzco
 * John Goodman – Pacha
 * Patrick Warburton – Kronk Pepikrankenitz
 * Eartha Kitt – Yzma
 * Wendie Malick – Chicha
 * John Fiedler – Rudy
 * Kellyann Kelso – Chaca
 * Bob Bergen – Bucky
 * Stephen Anderson – Ipi
 * Rodger Bumpass – Male Villager #2 and Guard Cow
 * Patti Deutsch – Waitress
 * Miriam Flynn – Piñata Lady
 * Jess Harnell – Guard
 * Danny Mann – Male Villager #1
 * Andre Stojka – Topo
 * Steve Susskind – Irate Chef
 * Joe Whyte – Official

About

 * The Sweatbox is at turns infuriating, hilarious and enlightening. You’ll cringe in sympathy with the Disney artists as you see the gross bureaucratic incompetence they had to endure while working at the studio in the 1990s. The film not only captures the tortured morphing of the Kingdom of the Sun into The Emperor’s New Groove, it also serves as an invaluable historical document about Disney’s animation operations in the late-1990s. If any questions remain about why Disney fizzled out creatively and surrendered its feature animation crown to Pixar and DreamWorks, this film will answer them
 * Amid Amidi

 * Supporters of Allers' original vision still feel that if he had been given the time, money and support that the film would have been a masterpiece. Instead of the more ambitious Kingdom of the Sun, the Disney Studio decides to go with a supposedly more commercial film incorporating some of the same characters and location, Emperor's New Groove.
 * Wade Sampson

title: The Emperor's New Groove


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Éamon de Valera

Eamon de Valera (14 October 1882 – 29 August 1975) was an Irish politician, born George de Valero, Irish name Éamonn de Bhailéara.

Quotes

 * The ideal Ireland that we would have, the Ireland that we dreamed of, would be the home of a people who valued material wealth only as a basis for right living, of a people who, satisfied with frugal comfort, devoted their leisure to the things of the spirit – a land whose countryside would be bright with cosy homesteads, whose fields and villages would be joyous with the sounds of industry, with the romping of sturdy children, the contest of athletic youths and the laughter of happy maidens, whose firesides would be forums for the wisdom of serene old age. The home, in short, of a people living the life that God desires that men should live. With the tidings that make such an Ireland possible, St. Patrick came to our ancestors fifteen hundred years ago promising happiness here no less than happiness hereafter. It was the pursuit of such an Ireland that later made our country worthy to be called the island of saints and scholars. It was the idea of such an Ireland - happy, vigorous, spiritual - that fired the imagination of our poets; that made successive generations of patriotic men give their lives to win religious and political liberty; and that will urge men in our own and future generations to die, if need be, so that these liberties may be preserved. One hundred years ago, the Young Irelanders, by holding up the vision of such an Ireland before the people, inspired and moved them spiritually as our people had hardly been moved since the Golden Age of Irish civilisation. Fifty years later, the founders of the Gaelic League similarly inspired and moved the people of their day. So, later, did the leaders of the Irish Volunteers. We of this time, if we have the will and active enthusiasm, have the opportunity to inspire and move our generation in like manner. We can do so by keeping this thought of a noble future for our country constantly before our eyes, ever seeking in action to bring that future into being, and ever remembering that it is for our nation as a whole that future must be sought.
 * Radio broadcast, "On Language & the Irish Nation" (17 March 1943), often called "The Ireland that we dreamed of" speech

 * It is my considered opinion that in the fullness of time history will record the greatness of Michael Collins and it will be recorded at my expense.
 * Comment in 1966, quoted in Michael Collins : A Biography (1990) by Tim Pat Coogan, p. 432.

Ireland Among the Nations (6 February 1933)

 * Radio address on Radio Athlone, quoted in Lewis Copeland (ed.), The World's Great Speeches (1942)

 * When Christianity was brought to her shores it was received with a joy and eagerness, and held with a tenacity of which there is hardly such another example.
 * p. 446

 * Next to her services to religion, Ireland's greatest contribution to the welfare of humanity has been the example of devotion to freedom which she has given throughout seven hundred years.
 * p. 446

 * Ireland has produced in Dean Swift perhaps the greatest satirist in the English language; in Edmund Burke probably the greatest writer on politics; in William Carleton a novelist of the first rank; in Oliver Goldsmith a poet of rare merit. Henry Grattan was one of the most eloquent orators of his time—the golden age of oratory in the English language. Theobald Wolfe Tone has left us one of the most delightful autobiographies in literature. Several recent or still living Irish novelists and poets have produced work which is likely to stand the test of time.
 * p. 447

 * Ireland's music is of a singular beauty. Based on pentatonic scale its melodies reach back to a period anterior to the dawn of musical history. It stands pre-eminent amongst the music of the Celtic nations. It is characterised by perfection of form and variety of melodic content. It is particularly rich in tunes that imply exquisite sensitiveness. The strange fitfulness of the lamentations and love songs, the transition from gladness to pathos, have thrilled the experts, and made them proclaim our music the most varied and the most poetical in the world. Equal in rhythmic variety are our dance tunes—spirited and energetic in keeping with the temperament of our people.
 * p. 447

 * The Irish genius has always stressed spiritual and intellectual rather than material values.
 * p. 447

 * In this day, if Ireland is faithful to her mission, and, please God, she will be, if as of old she recalls men to forgotten truths, if she places before them the ideals of justice, of order, of freedom rightly used, of Christian brotherhood—then, indeed, she can do the world a service as great as that which she rendered in the time of Columcille and Columbanus, because the need of our time is in no wise less.
 * p. 448

Judging Dev (2007)

 * Quotes of de Valera, as presented in Judging Dev : A Reassessment of the Life and Legacy of Eamon De Valera (2007) Royal Irish Academy ISBN: 1904890288

 * No matter what the future may hold for the Irish nation, the seven years — 1916 to 1923 — must ever remain a period of absorbing interest. Not for over two hundred years has there been such a period of intense and sustained effort to regain the national sovereignty and independence. Over the greater part of the period it was the effort of, one might say, the entire nation. An overwhelming majority of the people of this island combined voluntarily during those years in pursuit of a common purpose.
 * On "The Troubles" in Ireland.

 * Nature never intended me to be a partisan leader … Every instinct of mine would indicate that I was meant to be a dyed-in-the-wool Tory, or even a bishop, rather than the leader of a revolution.

 * For Irishmen, there is no football game to match rugby and if all our young men played rugby not only would we beat England and Wales but France and the whole lot of them put together.
 * Quoted from a 1957 speech.

 * Of course I wrote most of the Constitution myself. I remember hesitating for a long time over the US presidential system. But it wouldn't have done — we were too trained in English democracy to sit down under a dictatorship which is what the American system really is.
 * As quoted from a conversation with a former British Ambassador Sir Arthur Gilchrist and the late Foreign Affairs Minister Frank Aiken.

 * Ministers not responsible to parliament — that would never do. Besides, I wanted to prepare a nice quiet job without too much work for my old age. Still, I admit, I was tempted. Look at the way de Gaulle rules France … absolute rule … very efficient.
 * As quoted from a conversation with a former British Ambassador Sir Arthur Gilchrist and the late Foreign Affairs Minister Frank Aiken.

I'm Glad You Asked Me That (2007)

 * Quotes of de Valera from I'm Glad You Asked Me That : Irish Political Quotations (2007) by Eoghan Corry ISBN: 9780340924525

 * England pretends it is not by the naked sword, but by the good will of the people of the country that she is here. We will draw the naked sword to make her bare her own naked sword.
 * (25 October 1917).

 * Partition is after all only an old fortress of crumbled masonry — held together with the plaster of fiction.
 * (January 1918).

 * I am against this Treaty not because I am a man of war but because I am a man of peace. I am against this Treaty because it will not end the centuries of conflict between the two nations of Great Britain and Ireland.
 * (18 December 1921).

 * All history is man's efforts to realise ideals.
 * (5 February 1929).

 * A Dhomhnall, I have to tell you, you are abolished.
 * To Domhnall O'Buachalla on abolishing the position of Governor-General

Quotes about de Valera

 * In alphabetical order by author or source.

 * How could one argue with a man who was always drawing lines and circles to explain the position; who, one day, drew a diagram [here Michael illustrated with pen and paper] saying 'take a point A, draw a straight line to point B, now three-fourths of the way up the line take a point C. The straight line AB is the road to the Republic; C is where we have got to along the road, we cannot move any further along the straight road to our goal B; take a point out there, D [off the line AB]. Now if we bend the line a bit from C to D then we can bend it a little further, to another point E and if we can bend it to CE that will get us around Cathal Brugha which is what we want!' How could you talk to a man like that?
 * Michael Collins referring to de Valera in conversation with Michael Hayes at the debates over the Anglo-Irish Treaty in 1921.
 * Michael Hayes Papers, P53/299, UCDA. Quoted in Doherty, Gabriel and Keogh, Dermot (2006) Michael Collins and the Making of the Irish State, Mercier Press, p. 153.

 * It must be clear to you, Mr. President, from the reception you received everywhere, the deep affection with which you are held here in America--your second home. You are at once a legend and a warm friend. Your public career encompasses the history of modern Ireland to such an extent that you are not only its leading representative; you are also its personification, with all the pride, charm, courage and understanding that are associated with Ireland and its people. Under your wise leadership, Ireland not only regained her freedom and independence; it has become a distinguished member of the community of nations, dedicated to the causes of independence, freedom and peace.
 * Lyndon B. Johnson; Message to President de Valera Online, The American Presidency Project; 30 May 1964

 * De Valera paused before replying to the suggestion. It had been his Karma to live a long and distinguished public life. Although he was then in his eighty-fifth year he was looking forward to a second seven-year term as President of Ireland. But he knew that before the bar of history his name and fame were inextricably linked with a man whose allotted span had been destined to be but a third of his own. He knew that the story of Eamon de Valera could not be told without that of Michael Collins. Already he had embarked on what he knew in his heart was a futile effort to influence the record for the benefit of posterity. His newspaper and political empires had published innumerable favourable articles, histories and recollections. And in the years ahead he planned to ensure that much more favourable comment and chronology would be collated and set down. He had fashioned a vigorous dialectic of de Valerism that would bulwark him against critical re-appraisal long into the future. But de Valera was a realist, a man whose doodlings on the back of documents took the form of mathematical symbols. He realised only too well that his party, his newspapers, his Constitution even, had grown out of his opposition to Michael Collins and the resultant civil war. He knew that eventually, in the truthful telling of history, two and two would make four. Torn between his own clarity of vision and the myths he had spun around himself, de Valera struggled painfully for words to express himself. Then he said, "I can't see my way to becoming Patron of the Michael Collins Foundation. It's my considered opinion that in the fullness of time history will record the greatness of Collins and it will be recorded at my expense." He could be right.
 * Tim Pat Coogan Michael Collins: The Man Who made Ireland (1992), p. 432

title: Éamon de Valera


text: Category:Presidents of Ireland

title: Category:Presidents of Ireland


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User talk:Harrykel

Welcome to Wikiquote, and I would like you to realize we don't allow any commercial advertisement on our non-profit project. I hope you volunteer to erase some parts of your user page because of its mention to "discount" and so on. And I would like you to know user page exists for editing help and that it could be a deletion candidate. If you won't erase it within a reasonable term, it will be listed on WQ:VFD. --Aphaia 18:19, 2 Jun 2005 (UTC)

title: User talk:Harrykel


text:
Jared Hess

Jared Lawrence Hess (born July 18, 1979 ) is an American screenwriter and director.

Quotes

 * Attention vermin, you are in the presence of a colossus.
 * Said as a joke when asked for an idea for a new catchphrase. (no-one knows why anyone would say this)
 * Napoleon Dynamite, 2004

title: Jared Hess


text:
User talk:128.174.130.54

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
 * The use of a username of your choice
 * The ability to view all your contributions via a "My contributions" link
 * Your own user page
 * Your own talk page which, if you choose, also allows users to send you messages without knowing your e-mail address
 * The use of your own personal watchlist to which you can add articles that interest you
 * The ability to rename pages
 * The ability to upload images
 * The ability to customize the appearance and behavior of the website
 * The eligibility to become an administrator
 * The right to be heard in formal votes and elections, and on pages like votes for deletion

Click here to create an account.--Aphaia 20:07, 2 Jun 2005 (UTC)

title: User talk:128.174.130.54


text:
Erin Brockovich (film)

Erin Brockovich is a 2000 film about the true story of an unemployed single mother who becomes a legal assistant and almost single-handedly brings down a California power company accused of polluting a city's water supply.
 * Directed by Steven Soderbergh, produced by Danny DeVito and written by Susannah Grant.

She brought a small town to its feet and a huge corporation to its knees.

Erin Brockovich

 * For the first time in my life, I got people respecting me. Please, don't ask me to give it up.

 * Not personal?! That is my work, my sweat, my time away from my kids! If that's not personal, I don't know what is!

 * [From memory, to a group of lawyers who don't think she adds anything to the case] Annabelle Daniels: 74-454-9346. 10 years old, 11 in May. Lived on the plume since birth. Wanted to be a synchronized swimmer so she spent every minute she could in the PG&E pool. She had a tumor in her brain stem detected last November, an operation on Thanksgiving, shrunk it with radiation after that. Her parents are Ted & Rita. Ted's got Crohn's disease, Rita has chronic headaches, and nausea, and underwent a hysterectomy last fall. Ted grew up in Hinkley. His brother Robbie, and his wife May and their five children: Robbie Jr, Martha, Ed, Rose & Peter also lived on the plume. Their number is 454-9554, you want their diseases?

Dialogue

 * Ed Masry: What makes you think you can just walk in there and take whatever you want?
 * Erin Brockovich: They're called boobs, Ed.

 * Ed Masry: In a law firm you may want to re-think your wardrobe a little.
 * Erin Brockovich: Well Ed, I think I look nice. And as long as I have one ass instead of two I'll wear what I like if that's all right with you? You might want to re-think those ties.

 * George: How many numbers you got?
 * Erin Brockovich: Oh, I got numbers comin' outta my ears. For instance: ten.
 * George: Ten?
 * Erin Brockovich: Yeah. That's how many months old my baby girl is.
 * George: You got a little girl?
 * Erin Brockovich: Yeah. Yeah, sexy, huh? How 'bout this for a number? Six. That's how old my other daughter is, eight is the age of my son, two is how many times I've been married -- and divorced; sixteen is the number of dollars I have in my bank account. 850-3943. That's my phone number, and with all the numbers I gave you, I'm guessing zero is the number of times you're gonna call it.

 * Ed Masry: This is a whole different ball game. A much bigger deal.
 * Erin Brockovich: Kind of like David and whats-his-name.
 * Ed Masry: Kind of like David and whats-his-name's whole fucking family. [sighs] Okay, here's the deal: If, and only if, you find all the evidence to back this up, I'll do it, I'll take it on.
 * Erin Brockovich: You're doing the right thing, Mr. Masry.
 * Ed Masry: Yeah, yeah, yeah. Remind me of that when I'm filing for bankruptcy.

 * [At the meeting with the PG & E lawyers]
 * Ms. Sanchez: Let's be honest here. $20 million dollars is more money then these people have ever dreamed of.
 * Erin Brockovich: Oh see, now that pisses me off. First of all, since the demur we have more than 400 plaintiffs and... let's be honest, we all know there are more out there. They may not be the most sophisticated people but they do know how to divide and $20 million isn't shit when you split it between them. Second of all, these people don't dream about being rich. They dream about being able to watch their kids swim in a pool without worrying that they'll have to have a hysterectomy at the age of twenty. Like Rosa Diaz, a client of ours. Or have their spine deteriorate, like Stan Blume, another client of ours. So before you come back here with another lame ass offer, I want you to think real hard about what your spine is worth, Mr. Walker. Or what you might expect someone to pay you for your uterus, Ms. Sanchez. Then you take out your calculator and you multiply that number by a hundred. Anything less than that is a waste of our time.
 * [Ms. Sanchez picks up a glass of water]
 * Erin Brockovich: By the way, we had that water brought in special for you folks. Came from a well in Hinkley.
 * Ms. Sanchez: [Eyes the water warily and sets the glass back down] I think this meeting is over.
 * Ed Masry: Damn right it is.

 * Ed Masry: [after a meeting with a PG&E representative] Didn't you hear? They have $28 billion at their disposal!
 * Erin Brockovich: So?
 * Ed Masry: You think I'm MADE of money?
 * Erin Brockovich: What are you yelling at me for?
 * Ed Masry: Because I'm pissed off!
 * Erin Brockovich: Good!
 * Ed Masry: [throws down tie] Fuck you!
 * Erin Brockovich: Fuck you back!
 * Ed Masry: [starts laughing] I really hate you sometimes, I really do.
 * Erin Brockovich: Aww, you love me.

 * Donna Jensen: You're a lawyer?
 * Erin Brockovich: NO, no... I hate lawyers. I only work for them.

 * Kurt Potter: Wha... how did you do this?
 * Erin Brockovich: Well, um, seeing as how I have no brains or legal expertise, and Ed here was losing all faith in the system, am I right?
 * Ed Masry: Oh, yeah, completely. No faith, no faith...
 * Erin Brockovich: I just went out there and performed sexual favors. Six hundred and thirty-four blowjobs in five days... I'm really quite tired.

 * Ed Masry: [giving Erin her bonus check] It's not exactly what we discussed.
 * Erin Brockovich: You know why everyone thinks that all lawyers are back stabbing, blood sucking scum bags? 'Cause they are! And I can not believe you expect me to go out, leave my kids with strangers and get people to trust you with THEIR lives while all the while you're screwing me! You know, Ed, it's not about the number! It's about the way my work is valued in this firm...
 * [She looks at the check, made out for $2 million]
 * Ed Masry: Like I was saying, I thought that the number you proposed was inappropriate, so I increased it.
 * [Turns to walk away and turns around to her]
 * Ed Masry: Do they teach beauty queens to apologize? Because you sure suck at it!
 * [Long pause, as Erin looks at the check]
 * Erin Brockovich: Uh, Ed... Uh... thank you...

Cast

 * Julia Roberts - Erin Brockovich
 * Albert Finney - Ed Masry
 * Aaron Eckhart - George
 * Marg Helgenberger - Donna Jensen
 * Tracey Walter - Charles Embry
 * Peter Coyote - Kurt Potter
 * Cherry Jones - Pamela Duncan
 * Erin Brockovich - Restaurant waitress

title: Erin Brockovich (film)


text: User talk:64.164.28.5

title: User talk:64.164.28.5


text: User talk:65.191.31.115

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text:
Lost (TV series)

 * Seasons: 1 2 3 4 5 6 | Main

Lost (2004–2010) is an American drama television series, airing on ABC, created by J. J. Abrams and Damon Lindelof, about the survivors of a plane crash who are forced to work together in order to survive on a seemingly deserted tropical island.

Seasons

 * Season 1
 * Season 2
 * Season 3
 * Season 4
 * Season 5
 * Season 6

Cast

 * Adewale Akinnuoye-Agbaje - Mr. Eko
 * Sam Anderson - Bernard Nadler
 * Naveen Andrews - Sayid Jarrah
 * L. Scott Caldwell - Rose Henderson Nadler
 * Nestor Carbonell - Richard Alpert
 * François Chau - Dr. Pierre Chang
 * Henry Ian Cusick - Desmond David Hume
 * Jeremy Davies - Professor Daniel Faraday
 * Emilie de Ravin - Claire Littleton
 * Michael Emerson - Benjamin Linus
 * Jeff Fahey - Capt. Frank Lapidus
 * Fionnula Flanagan - Eloise Hawking
 * Matthew Fox - Dr. Jack Shephard
 * Jorga Garcia - Hugo "Hurley" Reyes
 * Maggie Grace - Shannon Rutherford
 * Josh Holloway - James "Sawyer" Ford
 * Malcolm David Kelley - Walter "Walt" Lloyd
 * Daniel Dae Kim - Jin Soo-Kwon
 * Yunjin Kim - Sun Hwa-Kwon
 * Ken Leung - Miles Straume
 * Evangeline Lilly - Katherine "Kate" Anne Austen
 * Rebecca Mader - Charlotte Staples Lewis
 * Elizabeth Mitchell - Dr. Juliet Burke
 * Dominic Monaghan - Charlie Pace
 * Terry O'Quinn - John Locke
 * Harold Perrineau - Michael Dawson
 * Zuleikha Robinson - Ilana Verdansky
 * Michelle Rodriguez - Officer Ana-Lucia Cortez
 * Kiele Sanchez - Nikkia Fernandez
 * Rodrigo Santoro - Paulo
 * Ian Somerhalder - Boone Carlyle
 * John Terry - Dr. Christian Shephard
 * Sonya Walger - Penelope Hume
 * Cynthia Watros - Elizabeth "Libby" Smith

title: Lost (TV series)


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