text:
Terminator 2: Judgment Day

Terminator 2: Judgment Day, also known as T2, is a 1991 film about a shape-shifting cyborg who is sent back from the future to assassinate John Connor before he can grow up to lead the resistance, while a protector cyborg is also sent. It is the sequel to the 1984 film The Terminator.
 * Directed by James Cameron. Written by James Cameron and William Wisher Jr..

Ten years ago, the machines who rule the future sent an unstoppable Terminator to assassinate the yet unborn John Connor. They failed. In 1991, the machines will try again.(taglines)

The Terminator

 * I need your clothes, your boots, and your motorcycle.
 * Come with me if you want to live.
 * [to John Connor] Your foster parents are dead.
 * Stay here,.

Sarah Connor

 * Three billion human lives ended on August 29, 1997. The survivors of the nuclear fire called the war Judgment Day. They lived only to face a new nightmare: the war against the Machines. The computer which controlled the machines, Skynet, sent two Terminators back through time. Their mission: to destroy the leader of the human Resistance, John Connor, my son. The first Terminator was programmed to strike at me, in the year 1984, before John was born. It failed. The second was sent to strike at John himself, when he was still a child. As before, the Resistance was able to send a lone warrior, a protector for John. It was just a question of which one of them would reach him first.
 * Watching John with the machine, it was suddenly so clear. The Terminator would never stop. It would never leave him. It would never hurt him, never shout at him, or get drunk and hit him, or say it was too busy to spend time with him. It would always be there. And it would die to protect him. Of all the would-be fathers who came and went over the years, this thing, this machine was the only one that measured up. In an insane world, it was the sanest choice.
 * [epilogue] The unknown future rolls toward us. I face it for the first time with a sense of hope, because if a machine, a Terminator, can learn the value of human life, maybe we can too.
 * [alternate epilogue] August 29, 1997, came and went. Nothing much happened. Michael Jackson turned 40. There was no Judgment Day. People went to work as they always do. Laughed, complained, watched TV, made love. I wanted to run to through the street yelling to grab them all and say, "Every day from this day on is a gift. Use it well." Instead, I got drunk. That was 30 years ago. But the dark future which never came still exists for me. And it always will, like the traces of a dream. John fights the war differently than it was foretold. Here, on the battlefield of the Senate, his weapons were common sense and hope. The luxury of hope was given me by the Terminator. Because if a machine can learn the value of human life, maybe we can too.

Dialogue

 * John: Now don't take this the wrong way, but you are a Terminator, right?
 * Terminator: Yes. Cyberdyne Systems Model 101.
 * John: [pokes at one of Terminator's bullet wounds] Holy shit! You're really real! I mean, you're like a machine underneath, right? But sort of alive outside?
 * Terminator: I'm a cybernetic organism. Living tissue over a metal endoskeleton.
 * John: This is intense. Get a grip, John. Okay, um, you're not here to kill me. I figured that part out for myself. So what's the deal?
 * Terminator: My mission is to protect you.
 * John: Yeah? Who sent you?
 * Terminator: You did. 35 years from now, you reprogrammed me to be your protector here, in this time.
 * John: Oh, this is deep.

 * [John and the Terminator are riding on a motorcycle at night]
 * John: So this other guy? He's a Terminator like you, right?
 * Terminator: Not like me. A T-1000. Advanced prototype.
 * John: You mean more advanced than you are?
 * Terminator: Yes. A mimetic polyalloy.
 * John: What the hell does that mean?
 * Terminator: Liquid metal.
 * John: Where are we going?
 * Terminator: We have to get out of the city immediately. And avoid the authorities.
 * John: Listen, I gotta stop at my house first. I wanna pick up some stuff.
 * Terminator: Negative. The T-1000 will definitely try to reacquire you there.
 * John: You sure?
 * Terminator: I would.

 * John: Wait a minute. You're telling me this thing can make itself look like anything it touches?
 * Terminator: Anything it samples by physical contact.
 * John: Get outta here. So it could disguise itself as a pack of cigarettes?
 * Terminator: No, only an object of equal size.
 * John: Then why not just become a bomb or something and come get me?
 * Terminator: It can't form complex machines. Guns and explosives have chemicals, moving parts. It doesn't work that way. But it can form solid metal shapes.
 * John: Such as?
 * Terminator: Knives and stabbing weapons.

 * [While Sarah Connor is locked inside Pescadero State Hospital, she is eavesdropping at Dr. Silberman at Douglas]
 * Silberman: Yeah, you're right about number 24. Increase the medication to 250 milligrams.
 * Douglas: Same kind?
 * [Silberman nods, but Sarah ambushes and beats both men with a stick as she grabs a syringe]
 * Silberman: You broke my arm...
 * Sarah: There're 215 bones in the human body. That's one. Now don't move!
 * [Sarah stomps on Silberman and fills the syringe with poison]
 * Silberman: What are you going to do?

 * [John and the Terminator arrive at Pescadero State Hospital but a security guard is at the gate]
 * Terminator: Why do we stop now?
 * John: Now, you gotta promise me you're not gonna kill anyone, right?
 * Terminator: Right.
 * John: Swear?
 * Terminator: What?
 * John: Just put up your hand and say, 'I swear I won't kill anyone.'
 * Terminator: [raises hand] I swear I will not kill anyone.
 * John: Alright, let's go.
 * ''[they arrive at the gate where a security guard stops them]
 * Guard: Visiting hours is 10 to 4 Monday through Friday.
 * [Terminator stands up, pulls out his gun and shoots the guard's knees, and the guard screams in pain]
 * John: What the hell are you doing?!?
 * Guard: You son of a bitch, you shot me! You crazy bastard! Don't shoot me again, don't kill me!
 * [Terminator breaks glass, opens the gate, grabs gun clips then goes back to the bike with John]
 * Terminator: He'll live.

 * [Back inside the Pescadero State Hospital]
 * Hospital Guard: Son of a bitch!
 * [the guard turns her eyes to Sarah threatening to poison Silberman]
 * Hospital Guard: Let's all try to remain calm.
 * Sarah: Open it, or he'll be dead before he hits the floor.
 * Hospital Guard: There's no way, Connor. Let him go.
 * Sarah: Open the door!
 * Hospital Guard: It ain't gonna happen!
 * Attendant: Take it easy, Sarah. Easy.
 * Silberman: It won't work, Sarah. You're no killer. I don't believe you can do it.
 * Sarah: You're already dead, Silberman. Everybody dies. You know I believe it. So don't FUCK WITH ME!
 * Silberman: Open the door... Open the door!
 * [the guard opens the steel door]
 * Sarah: Back off. Get back! Or I'll pump him full of this shit, I swear!
 * Attendant: Back up, back up, back up, back...
 * [Sarah moves out of confinement with Silberman in custody]
 * Sarah: Don't move!
 * [Sarah stops]
 * Sarah: Drop the shit!
 * Attendant: Do it. Do it!
 * [the attendants drop their weapons]
 * Sarah: Get me off it. On the floor, face down, not you! Open the door.
 * [one of the attendants open the room door]
 * Sarah: On the floor, hold it open! FACE THE WALL!
 * '[one of the hospital attendants attack Sarah Connor from behind, prompting her escape]
 * Silberman: Get her. Get her!
 * [the hospital guard activates the alarm, but Sarah escapes and locks the attendants behind]
 * Attendant 1: Hurry up! Open the door! The door's locked!
 * [the attendants unlock the door and pursue Sarah]
 * Attendant 1: Let's go! Come on, open it!
 * [just as the attendants can continue their pursuit of Sarah, they encounter a broken door]
 * Attendant 2: She's broke it off.
 * Attendant 1: Open it!
 * [Sarah continues with her escape as the attendants continue to pursue Sarah]
 * Attendant 1: Go around, come on!
 * [Sarah continues with her escape but is frightened to see a Terminator come out of the elevator]
 * Sarah: No! NOOOOOOOOOOOO!!!
 * [Sarah instead opts to turn back and away from the Terminator, who is with John Connor]
 * John: Mom, wait! Mom!
 * [the attendants trip Sarah to foil her escape and corner her in the process]
 * John: Help her!
 * Terminator: Wait here.
 * Attendant 1: Hurry up!
 * Sarah: He'll kill us all! He'll kill us all!
 * Silberman: Hold her.
 * [the Terminator approaches Sarah]
 * Sarah: He'll kill us all!
 * [before Silberman and his staff can poison Sarah, the Terminator proceeds to beat them up as John arrives in time to help his mother]
 * John: Mom, are you okay? Mom!
 * [Sarah calms herself and looks at the Terminator, who extends its left hand for Sarah to hold]
 * Terminator: Come with me if you want to live.
 * John: It's okay, mom. He's here to help. It's okay!

 * [John is trying to teach the Terminator on socializing in a more human way while driving a car]
 * Sarah: Keep it under 65. We don't wanna get pulled over.
 * Terminator: Affirmative.
 * John: No, no, no, no. You gotta listen to way people talk, You don't say "Affirmative" or some shit like that. You say "No problemo." And if someone comes on to you with an attitude, you say "Eat me". And if you want to shine them on, it's "Hasta la vista, baby".
 * Terminator: Hasta la vista, baby.
 * John: Yeah Or "Later, dick wad." And if someone gets upset, you say "Chill out!" Or you can do combinations.
 * Terminator: Chill out, dick wad.
 * John: Great! See, you're getting it!
 * Terminator: No problemo.

 * Note: bolded portion is ranked #76 in the American Film Institute's list of the top 100 movie quotations in American cinema

 * Sarah Connor: I need to go how Skynet gets built. Who's responsible?
 * Terminator: The man most directly responsible is Miles Bennett Dyson.
 * Sarah: Who is that?
 * Terminator: He's the director of special projects at Cyberdyne Systems Corporation.
 * Sarah: Why him?
 * Terminator: In a few months, he creates a revolutionary type of microprocessor.
 * [the Terminator and the Connors drive off]
 * Sarah: Go on. Then what?
 * Terminator: In three years, Cyberdyne will become the largest supplier of military computer systems. All stealth bombers are upgraded with Cyberdyne computers, becoming fully unmanned. Afterwards, they fly with a perfect operational record. The Skynet Funding Bill is passed. The system goes online on August 4th, 1997. Human decisions are removed from strategic defense. Skynet begins to learn at a geometric rate. It becomes self-aware at 2:14 AM, Eastern time, August 29th. In a panic, they try to pull the plug.
 * Sarah: Skynet fights back.
 * Terminator: Yes. It launches its missiles against the targets in Russia.
 * John Connor: Why attack Russia? Aren't they our friends now?
 * Terminator: Because Skynet knows that the Russian counterattack will eliminate its enemies over here.
 * Sarah: [sighs] Jesus. How much do you know about Dyson?
 * Terminator: I have detailed files.
 * Sarah: I want to know everything. What he looks like, where he lives, everything.

 * John: I wish I could have met my real dad.
 * Terminator: You will.
 * John: Yeah, I guess. When I'm like, 45. They sent him back through time to 1984. Man. He hadn't even been born yet. It messes with your head. Mom and him were only together for, like, one night, but she still loves him, I guess. I see her crying sometimes. She denies it totally of course, like she got something stuck in her eye.
 * Terminator: [pause] Why do you cry?
 * John: You mean people?
 * Terminator: Yes.
 * John: I don't know. We just cry. You know. When it hurts.
 * Terminator: Pain causes it?
 * John: Uh-unh, no, it's different... It's when there's nothing wrong with you but you hurt anyways. You get it?
 * Terminator: No.

 * [John and the Terminator have stopped Sarah killing Miles Dyson]
 * Sarah: [voiceover] Dyson listened while the Terminator laid it all down. Skynet, Judgment Day, the history of things to come. It's not every day that you find out you're responsible for three billion deaths. He took it pretty well.
 * Miles Dyson: [after the Terminator completes his story] I feel like I'm gonna throw up. You're judging me on things I haven't even done yet. How were we supposed to know?
 * Sarah: Yeah. Right. How were you supposed to know? Fucking men like you built the hydrogen bomb. Men like you thought it up. You think you're so creative. You don't know what it's like to really create something, to create a life, feel it growing inside you. All you know how to create is death and destruction -!
 * John: Mom! We need to be a little more constructive here, OK? We still have to stop this from happening, don't we?
 * Tarissa Dyson: But I thought... Aren't we changing things, I mean right now, changing the way it goes?
 * Dyson: That's right. There's no way I'm gonna finish the new processor, not now. Forget it. I'm out of it. I'll quit Cyberdyne tomorrow.
 * Sarah: That's not good enough.
 * Terminator: No one must follow your work.

 * Dyson: We have to destroy all the stuff at the lab; the files, the disk drives, everything, everything here. Everything. I don't care. [Realizes something] The chip. Do you know about the chip?
 * Sarah: What chip?
 * Dyson: They keep it in the vault at Cyberdyne. It must be from the other one, like you.
 * Terminator: The CPU from the first Terminator?
 * Sarah: Son of a bitch, I knew it!
 * Dyson: They told us not to ask where they got it.
 * Sarah: Those lying mother-fuckers!...
 * Dyson: It was scary stuff, but radically advanced. I mean, it was smashed, it didn't work, but...it gave us ideas, took us in new directions. I mean, things we would have never...All my work was based on it.
 * Terminator: It must be destroyed.

 * [The LAPD have descended on the Cyberdyne Systems complex]
 * Terminator: I'll take care of the police.
 * John: Hey wait! You swore.
 * Terminator: [grins] Trust me. [uses a minigun on the police force, destroying vehicles and scaring off the police without causing a single casualty]

 * [After the T-1000 falls into the molten steel vat]
 * John: Is it dead?
 * Terminator: Terminated.
 * John: [brings out the robot arm] Will this melt in there?
 * Terminator: Yes. Throw it in.
 * John: Adios. [throws the arm into the molten steel vat]
 * Terminator: And the chip. [John throws chip into the molten steel vat]
 * Sarah: [relieved] It's over.
 * Terminator: No. There is one more chip. [points to his head] And it must be destroyed also. [hands Sarah the controller for the winch] Here. I cannot self-terminate. You must lower me into the steel.
 * John: No. [tearfully, hugging the T-800] No!
 * Terminator: I'm sorry, John. I'm sorry.
 * John: No! It'll be okay! Stay with us! It'll be okay!
 * Terminator: I have to go away.
 * John: No! Don't do it, please! Don't go!
 * Terminator: I must go away, John.
 * John: No! No, wait! Wait, you don't have to do this!
 * Terminator: [gets chain] I'm sorry.
 * John: No, don't do it! Don't go!
 * Terminator: It has to end here.
 * John: I order you not to go. I order you not to go! [breaks down] I order you not to!!!
 * Terminator: I know now why you cry, [wipes a tear from John's face] but it's something I can never do. [hugs John, turns to face Sarah, who shakes his hand; the Terminator then grabs the chain and holds onto it] Goodbye. [gets lowered by Sarah into vat, but flashes John and Sarah a thumbs-up before he completely disappears]

Taglines

 * Ten years ago, the machines who rule the future sent an unstoppable Terminator to assassinate the yet unborn John Connor. They failed. In 1991, the machines will try again.
 * The future is not set.
 * It's nothing personal.
 * He said he'd be back.
 * This time there are two.
 * Same Make. Same Model. New Mission.
 * [from teaser] They know its face. They know its mission. But there's one thing they don't know: This time there are two.
 * [from teaser] One programmed to destroy. The other programmed to protect.
 * [from trailer] Once he was programmed to destroy the future. Now his mission is to protect it.
 * [from trailer] His loyalty is to a child, and his enemy is the deadliest machine ever built.
 * [from trailer] If you thought you had seen it all...look again.
 * [from trailer] This time, he's back...for good.

Cast

 * Arnold Schwarzenegger – The Terminator, T-800
 * Linda Hamilton – Sarah Connor
 * Edward Furlong – John Connor
 * Robert Patrick – T-1000
 * Earl Boen – Dr. Peter Silberman
 * Joe Morton – Dr. Miles Bennett Dyson
 * S. Epatha Merkerson – Tarissa Dyson
 * Castulo Guerra – Enrique Salceda
 * Danny Cooksey – Tim
 * Jenette Goldstein – Janelle Voight
 * Xander Berkeley – Todd Voight

About Terminator 2: Judgment Day

 * On T2, I wondered if I could get the audience to an emotional place where they would cry for the Terminator. That was my goal: Could I take world's coldest motherfucker and turn you around in a two-hour time period to where you actually felt sorry for him? Forget about all the hoo-ha with the liquid metal guy: that was fun, but getting the audience to cry for the Terminator was the big cinematic challenge. That's the reason I made the movie.
 * James Cameron, Globalnet interview, James Cameron Online.

title: Terminator 2: Judgment Day


text:
The Princess Bride (film)

The Princess Bride is a 1987 film, based on a 1973 novel, that tells a classic fairy tale, with swordplay, giants, an evil prince, a beautiful princess, and yes, some kissing (as read by a kindly grandfather).
 * Directed by Rob Reiner and written by William Goldman.
 * See also:
 * The Princess Bride

She gets kidnapped. He gets killed. But it all ends up okay. Taglines

Westley

 * [repeated line] As you wish.
 * [to Buttercup] There is a shortage of perfect breasts in this world. It would be a pity to damage yours.
 * [After knocking out Fezzik] I don't envy you the headache you'll have when you awake. But, in the meantime, rest well...and dream of large women.

Count Rugen

 * [to Westley] I've just sucked one year of your life away. I might one day go as high as five, but I really don't know what that would do to you. So, let's just start with what we have. What did this do to you? Tell me. And remember, this is for posterity, so be honest. How do you feel? [Westley whimpers] Interesting.
 * [to Inigo] You're that little Spanish brat I taught a lesson to all those years ago. Simply incredible. Have you been chasing me all this time, only to fail now? I think that's the worst thing I've ever heard of. How marvelous.

Prince Humperdinck

 * I always think everything could be a trap...which is why I'm still alive.
 * You truly love each other, and so you might have been truly happy. Not one couple in a century has that chance, no matter what the storybooks say. And so I think that not one man in a century will suffer as greatly as you.

Miracle Max

 * The king's stinking son fired me. And thank you so much for bringing up such a painful subject. While you're at it, why don't you give me a nice paper cut and pour lemon juice on it?! WE'RE CLOSED!
 * Don't rush me, sonny. You rush a miracle man, you get rotten miracles. You got money?

This is a special book.

 * Mother: Hi, honey.
 * Grandson: Hi, Mom.
 * Mother: You feeling any better?
 * Grandson: A little bit.
 * Mother: Guess what?
 * Grandson: What?
 * Mother: Your grandfather's here.
 * Grandson: Mom, can't you tell him I'm sick?
 * Mother: You're sick, that's why he's here.
 * Grandson: He'll pinch my cheek. I hate that.
 * Mother: Maybe he won't.
 * Grandpa: Hey! How's the sickie! Heh?
 * Mother: I think I'll leave you two pals alone.
 * Grandpa: I brought you a special present.
 * Grandson: What is it?
 * Grandpa: Open it up.
 * Grandson: A book?
 * Grandpa: That's right. When I was your age, television was called books. And this is a special book. It was the book my father used to read to me when I was sick, and I used to read it to your father. And today I'm gonna read it to you.
 * Grandson: Has it got any sports in it?
 * Grandpa: Are you kidding? Fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, miracles...
 * Grandson: Doesn't sound too bad. I'll try and stay awake.
 * Grandpa: Oh, well, thank you very much, very nice of you. Your vote of confidence is overwhelming.

That Vizzini, he can fuss.

 * Vizzini: Go!!! Once the horse reaches the castle, the fabric will make the prince suspect that the Guilderians have abducted his love. When he finds her body dead on the Guilder frontier his suspicions will be totally confirmed.
 * Fezzik: You never said anything about killing anyone?!
 * Vizzini: [angrily] I hired you to help me start a war. It's a prestigious line of work with a long and glorious tradition!
 * Fezzik: I just don't think it's right...killing an innocent girl.
 * Vizzini: Am I going mad, or did the word think escape your lips?!! You were not hired for your brains, you hippopotamic land mass!!
 * Inigo: [interrupting] I agree with Fezzik.
 * Vizzini: Oh, the sot has spoken! What happens to her is not truly your concern. I will kill her! And remember this, never forget this: [yelling] when I found you, you were so slobbering drunk, you couldn't buy brandy! [Turning to Fezzik] And you! Friendless, brainless, helpless, hopeless! Do you want me to send you back to where you were? Unemployed, in Greenland?! [walks away, angered, and sets the ship free]
 * Inigo: That Vizzini, he can fuss.
 * Fezzik: Fuss, fuss...I think he like to scream at us.
 * Inigo: Probably, he means no harm.
 * Fezzik: He's really very short on charm.
 * Inigo: You have a great gift for rhyme.
 * Fezzik: Yes, yes, some of the time.
 * Vizzini: Enough of that!
 * Inigo: Fezzik, are there rocks ahead?
 * Fezzik: If there are, we all be dead.
 * Vizzini: No more rhymes now, I mean it!
 * Fezzik: [pauses] Anybody want a peanut? [holding up a peanut]
 * Vizzini: GAAAAHHH!

You keep using that word.

 * [Vizzini cuts the rope to kill the Man in Black, but he now clings to a rock]
 * Fezzik: He's got very good arms.
 * Vizzini: He didn't fall?! Inconceivable!
 * Inigo: You keep using that word. I do not think it means what you think it means. My God, he's climbing.
 * Vizzini: Whoever he is, he has seen us with the princess and must therefore die! [to Fezzik] You, carry her. [to Montoya] We'll head straight for the Guilder Frontier. Catch up when he's dead! If he falls, fine! If not, the sword!
 * Inigo: I'm going to duel him left-handed.
 * Vizzini: You know what a hurry we're in!
 * Inigo: Well, it is the only way I can be satisfied. If I use my right, it's over too quickly.
 * Vizzini: Oh, have it your way.
 * Fezzik: You be careful. People in masks cannot be trusted.
 * Vizzini: I'm waiting!

Hello. My name is Inigo Montoya. (#1)

 * Inigo: I don't mean to pry, but you don't by any chance have six fingers on your right hand?
 * The Man in Black: Do you begin all your conversations this way?
 * Inigo: My father was slaughtered by a six-fingered man. [the Man in Black removes his glove, revealing five fingers on his right hand] He was a great swordmaker, my father. When the six-fingered man appeared and requested a special sword, my father took the job. He slaved a year before it was finished. [removes sword and hands it to the Man in Black, who examines it before handing it back]
 * The Man in Black: I've never seen its equal.
 * Inigo: The six-fingered man returned and demanded it, but at 1/10th his promised price. My father refused. [sheaths sword] Without a word, the six-fingered man slashed him through the heart. I loved my father. So naturally, I challenged his murderer to a duel. I failed. The six-fingered man leave me alive...but he gave me these. [points to scars on cheeks]
 * The Man in Black: How old were you?
 * Inigo: I was 11 years old. When I was strong enough, I dedicated my life to the study of fencing. So, the next time we meet, I will not fail. I will go up to the six-fingered man and say, "Hello, my name is Inigo Montoya. You killed my father. Prepare to die."

You seem a decent fellow.

 * Inigo: You are ready, then?
 * The Man in Black: Whether I am or not, you've been more than fair.
 * Inigo: You seem a decent fellow. I hate to kill you.
 * The Man in Black: You seem a decent fellow. I hate to die.
 * Inigo: Begin.

Friendly conversation during a duel

 * Inigo: You're using Bonetti's Defense against me, huh?
 * The Man in Black: I thought it fitting, considering the rocky terrain.
 * Inigo: Naturally. You must expect me to attack with Capo Ferro!
 * The Man in Black: Naturally. But, I find that Thibault cancels out Capo Ferro. Don't you?
 * Inigo: Unless the enemy has studied his Agrippa... [does a front flip over The Man in Black and lands behind him] Which I have.

I am not left handed!

 * Inigo: You are wonderful!
 * The Man in Black: Thank you. I've worked hard to become so.
 * Inigo: I admit it, you are better than I am.
 * The Man in Black: Then why are you smiling?
 * Inigo: Because I know something you don't know.
 * The Man in Black: And what is that?
 * Inigo: I am not left-handed. [switches the sword to his other hand]
 * The Man in Black: You're amazing!
 * Inigo: I ought to be after twenty years.
 * The Man in Black: There is something I ought to tell you.
 * Inigo: Tell me.
 * The Man in Black: I'm not left-handed either. [switches the sword to his other hand, to Inigo's surprise]
 * Inigo: Who are you?
 * The Man in Black: No one of consequence.
 * Inigo: I must know.
 * The Man in Black: Get used to disappointment.
 * [Inigo shrugs]

Civilized killing, terribly comfortable masks

 * Fezzik: [after throwing a rock at the Man in Black's head] I did that on purpose. I didn't have to miss.
 * The Man in Black: I believe you. [beat] So what happens now?
 * Fezzik: We face each other as God intended; sportsmanlike. No tricks, no weapons, skill against skill alone.
 * The Man in Black: You mean...you'll put down your rock, I'll put down my sword, and we'll...try and kill each other like civilized people?
 * Fezzik: [holds up another rock] I could kill you now.
 * The Man in Black: [hesitates, but slowly places his sword on the ground] Frankly, I think the odds are slightly in your favor at hand fighting.
 * Fezzik: It's not my fault being the biggest and the strongest. [tosses rock over his shoulder] I don't even exercise.
 * The Man in Black: [charges once; no effect. Charges again and grunts/strains trying to budge Fezzik] Look, are you just fiddling around with me or what?
 * Fezzik: I just want you to feel that you're doing well. I hate for people to die embarrassed. [swings and misses] You're quick!
 * The Man in Black: Good thing too!
 * Fezzik: Why are you wearing a mask? Were you burned by acid or something like that?
 * Man in Black: Oh, no, it's just they're terribly comfortable. [Fezzik swings a punch and misses] I think everyone will be wearing them in the future.

Battle of wits

 * [The Man in Black has come upon Vizzini holding Buttercup hostage with her hands tied, blindfolded, and a dagger at her throat]
 * Vizzini: So, it is down to you, and it is down to me. If you wish her dead, by all means, keep moving forward.
 * Man in Black: Let me explain.
 * Vizzini: There's nothing to explain. You're trying to kidnap what I have rightfully stolen.
 * Man in Black: Then perhaps an arrangement can be reached?
 * Vizzini: There will be no arrangement, and you're killing her!
 * Man in Black: But if there can be no arrangement, then we are at an impasse.
 * Vizzini: I'm afraid so. I can't compete with you physically, and you're no match for my brain.
 * Man in Black: [intrigued] You're that smart?
 * Vizzini: Let me put it this way: Have you ever heard of Plato? Aristotle? Socrates?
 * Man in Black: Yes.
 * Vizzini: Morons!
 * Man in Black: Really? In that case, I challenge you to a battle of wits.
 * Vizzini: For the princess? [the Man in Black nods] To the death? [he nods again] I accept. [re-sheathes his dagger]
 * Man in Black: Good. Then pour the wine. [Vizzini pours the wine, and the Man in Black pulls out a small vial] Inhale this, but do not touch.
 * Vizzini: [sniffs] I smell nothing.
 * Man in Black: What you do not smell is called iocane powder. It is odorless, tasteless, dissolves instantly in liquid, and is among the more deadly poisons known to man. [puts the goblets behind his back and, presumably, adds the poison to one of them, then sets them down in front of him] All right. Where is the poison? The battle of wits has begun. It ends when you decide and we both drink, and find out who is right... and who is dead.
 * Vizzini: But it's so simple. All I have to do is divine from what I know of you: are you the sort of man who would put the poison into his own goblet or his enemy's? Now, a clever man would put the poison into his own goblet, because he would know that only a great fool would reach for what he was given. I am not a great fool, so I can clearly not choose the wine in front of you. But you must have known I was not a great fool. You would have counted on it, so I can clearly not choose the wine in front of me.
 * Man in Black: You've made your decision then?
 * Vizzini: Not remotely! Because iocane comes from Australia, as everyone knows! And Australia is entirely peopled with criminals, and criminals are used to having people not trust them, as you are not trusted by me, so I can clearly not choose the wine in front of you.
 * Man in Black: Truly, you have a dizzying intellect.
 * Vizzini: Wait till I get going! Where was I?
 * Man in Black: Australia.
 * Vizzini: Yes, Australia. And you must have suspected I would have known the powder's origin, so I can clearly not choose the wine in front of me.
 * Man in Black: You're just stalling now.
 * Vizzini: You'd like to think that, wouldn't you?! You've beaten my giant, which means you're exceptionally strong, so you could've put the poison in your own goblet, trusting on your strength to save you, so I can clearly not choose the wine in front of you! But, you've also bested my Spaniard, which means you must have studied, and in studying you must have learned that man is mortal, so you would have put the poison as far from yourself as possible, so I can clearly not choose the wine in front of me!
 * Man in Black: You're trying to trick me into giving away something. It won't work.
 * Vizzini: It has worked! You've given everything away! I know where the poison is!
 * Man in Black Then make your choice.
 * Vizzini: I will, and I choose-- What in the world can that be? [points at a rock behind the Man in Black]
 * Man in Black: What? Where? [when he turns to look, Vizzini swaps the goblets] I don't see anything.
 * Vizzini: Well, I-I could have sworn I saw something. No matter. [snickers quietly]
 * Man in Black: What's so funny?
 * Vizzini: I-I'll tell you in a minute. First, let's drink. Me from my glass, and you from yours.
 * [They drink from their goblets]
 * Man in Black: [smirks] You guessed wrong.
 * Vizzini: You only think I guessed wrong! That's what's so funny! I switched glasses when your back was turned! Ha-ha, you fool! You fell victim to one of the classic blunders! The most famous of which is "never get involved in a land war in Asia", but only slightly less well-known is this: "Never go in against a Sicilian WHEN DEATH IS ON THE LINE!" [laughs hysterically, but suddenly freezes mid-laugh and literally drops dead; the Man in Black removes Buttercup's blindfold and unties her hands]
 * Buttercup: Who are you?
 * Man in Black: I am no one to be trifled with. That is all you ever need know.
 * Buttercup: To think, all that time it was your cup that was poisoned.
 * Man in Black: They were both poisoned. I spent the last few years building up an immunity to iocane powder.

Life is pain.

 * Man in Black: Rest, Highness.
 * Buttercup: I know who you are. Your cruelty reveals everything. You're the Dread Pirate Roberts, admit it!
 * Man in Black: [bowing] With pride. What can I do for you?
 * Buttercup: You can die slowly, cut into a thousand pieces.
 * Man in Black: Tsk-tsk-tsk. Hardly complimentary, your Highness. Why loose your venom on me?
 * Buttercup: You killed my love.
 * Man in Black: It's possible. I kill a lot of people. Who was this love of yours? Another prince like this one, ugly, rich, and scabby?
 * Buttercup: No. A farm boy. Poor. Poor and perfect. With eyes like the sea after a storm. On the high seas, your ship attacked. And the Dread Pirate Roberts never takes prisoners.
 * Man in Black: I can't afford to make exceptions. Once word leaks out that a pirate has gone soft, people begin to disobey you, and then it's nothing but work, work, work all the time.
 * Buttercup: You mock my pain!
 * Man in Black: Life is pain, Highness! Anyone who says differently is selling something.

Death cannot stop true love.

 * Westley: I told you I would always come for you. Why didn't you wait for me?
 * Buttercup: Well...you were dead.
 * Westley: Death cannot stop true love. All it can do is delay it for a while.
 * Buttercup: I will never doubt again.
 * Westley: There will never be a need.
 * [They kiss]
 * Grandson: Oh, no, no, please.
 * Grandpa: What is it? What's the matter?
 * Grandson: They're kissing again. Do we have to hear the kissing part?
 * Grandpa: Someday you may not mind so much.
 * Grandson: Skip on over to the Fire Swamp. That sounded good.
 * Grandpa: Oh. You're sick, I'll humor you. So, now, where were we here? Oh, okay. Wesley and Buttercup raced along the ravine floor.

Dread Pirate Roberts, explained

 * [Westley leads Buttercup through the Fire Swamp]
 * Westley: This will all soon be but a happy memory, because Roberts' ship Revenge is anchored at the far end. And I, as you know, am Roberts.
 * Buttercup: But how is that possible, since he's been marauding twenty years and you only left me five years ago?
 * Westley: I myself am often surprised at life's little quirks. [another flame spurts out near them] You see, what I told you before about saying "please" was true. It intrigued Roberts, as did my descriptions of your beauty. Finally, Roberts decided something. He said, "All right, Westley, I've never had a valet. You can try it for tonight. I'll most likely kill you in the morning." Three years he said that. "Good night, Westley. Good work. Sleep well. I'll most likely kill you in the morning." It was a fine time for me. I was learning to fence, to fight, anything anyone would teach me. And Roberts and I eventually became friends. And then it happened.
 * Buttercup: What? Go on.
 * Westley: Well, Roberts had grown so rich, he wanted to retire. So he took me to his cabin and told me his secret: "I am not the Dread Pirate Roberts," he said. "My name is Ryan. I inherited this ship from the previous Dread Pirate Roberts, just as you will inherit it from me. The man I inherited it from was not the real Dread Pirate Roberts, either. His name was Cummerbund. The real Roberts has been retired fifteen years and living like a king in Patagonia." Then he explained the name was the important thing for inspiring the necessary fear. You see, no one would surrender to the Dread Pirate Westley. So we sailed ashore, took on an entirely new crew and he stayed aboard for awhile as first mate, all the time calling me Roberts. Once the crew believed, he left the ship and I have been Roberts ever since. Except, now that we're together, I shall retire and hand the name over to someone else. Is everything clear to you?
 * [Buttercup nods]

We are men of action. Lies do not become us.

 * Humperdinck: Surrender!
 * Westley: You mean you wish to surrender to me? Very well, I accept.
 * Humperdinck: I give you full marks for bravery. Don't make yourself a fool.
 * Westley: Ah, but how will you capture us? We know the secrets of the fire swamp. We can live there quite happily for some time, so whenever you feel like dying, feel free to visit.
 * Humperdinck: I tell you once again, surrender!
 * Westley: It will not happen.
 * Humperdinck: For the last time, surrender!
 * Westley: Death first!
 * Buttercup: Will you promise not to hurt him?
 * Humperdinck: What was that?
 * Westley: What was that?
 * Buttercup: If we surrender and I return with you, will you promise not to hurt this man?
 * Humperdinck: May I live a thousand years and never hunt again.
 * Buttercup: He is a sailor on the pirate ship Revenge. Promise to return him to his ship.
 * Humperdinck: I swear it will be done. [aside, to Rugen] Once we're out of sight, take him back to Florin and throw him in the Pit of Despair.
 * Count Rugen: I swear it will be done.
 * Buttercup: [to Westley] I thought you were dead once and it almost killed me. I could not bear it if you died again, not when I could save you.
 * [Humperdink sweeps her away on his horse]
 * Count Rugen: Come, Sir, we must get you to your ship.
 * Westley: [smiles] We are men of action. Lies do not become us.
 * Count Rugen: Well spoken, Sir...What is it, what's wrong?
 * Westley: You have six fingers on your right hand! Someone was looking for you.
 * [Rugen knocks Westley unconscious]
 * Westley: Where am I?
 * The Albino: [raspy voice] The Pit of Despair! Don't even think... [clears throat] ... don't even think about trying to escape. The chains are far too thick. Don't dream of being rescued, either; the only way in is secret. Only the Prince, the Count, and I know how to get in and out.
 * Westley: So I'm here till I die?
 * The Albino: Until they kill you, yeah.
 * Westley: Then why bother curing me?
 * The Albino: Well, the Prince and the Count always insist on everyone being healthy before they're broken.
 * Westley: So it's to be torture? [Albino nods enthusiastically] I can cope with torture. [Albino shakes head enthusiastically] Don't believe me?
 * The Albino: You survived the Fire Swamp, so you must be very brave, but no one withstands The Machine.
 * Humperdinck: She has been like that ever since the Fire Swamp. It's my father's failing health that's upsetting her.
 * Count Rugen: Of course.
 * Grandpa: The King died that very night, and before the following dawn, Buttercup and Humperdinck were married. And at noon she met her subjects again, this time as their queen.
 * Humperdinck: My father's final words were...
 * Grandson: Hold it! Hold it! Grandpa, you read that wrong. She doesn't marry Humperdinck, she marries Westley. I'm just sure of it. After all that Westley did for her, if she didn't marry him, it wouldn't be fair.
 * Grandpa: Well, who says life is fair? Where is that written? Life isn't always fair.
 * Grandson: I'm telling you, you're messing up the story! Now get it right!
 * Grandpa: Do you want me to go on with this?
 * Grandson: Yes.
 * Grandpa: All right, then, no more interruptions. At noon she met her subjects again, this time as their queen.

Rugen and Humperdinck coolly evil

 * Count Rugen: Your princess is quite a winning creature. A trifle simple, perhaps. Her appeal is undeniable.
 * Humperdinck: I know, the people are quite taken with her. It's odd, but when I hired Vizzini to have her murdered on our engagement day, I thought that was clever. But it's going to be so much more moving when I strangle her on our wedding night. Once Guilder is blamed, the nation will truly be outraged - they'll demand we go to war.
 * Count Rugen: [snickers, then examines the huge tree] Now where is that secret knot? It's impossible to find... [finds it and the tree opens to reveal the passage into the pit] Ah. Are you coming down into the pit? Wesley's got his strength back. I'm starting him on the machine tonight.
 * Humperdinck: [sincerely] Tyrone, you know how much I love watching you work...but I've got my country's 500th anniversary to plan, my wedding to arrange, my wife to murder and Guilder to frame for it; I'm swamped.
 * Count Rugen: Get some rest. If you haven't got your health, then you haven't got anything. [smiles at Prince Humperdinck] [to Wesley] Beautiful, isn't it? It took me half a lifetime to invent it. I'm sure that you've discovered my deep and abiding interest in pain. At present, I'm writing the definitive work on the subject, so I want you to be totally honest with me on how the machine makes you feel. This being our first try, I'll use the lowest setting. As you know, the concept of the suction pump is centuries old. Really, that's all this is, except that instead of sucking water, I'm sucking life. I've just sucked one year of your life away. I might one day go as high as five, but I really don't know what that would do to you, so let's just start with what we have. What did this do to you? Tell me. And remember, this is for posterity, so be honest. How do you feel? [Wesley cries] Interesting.

I would not say such things if I were you

 * Humperdinck: Ahh, my dulcet darling. Tonight, we marry. Tomorrow morning your men will escort us to Florin channel, where every ship in my armada waits to accompany us on our honeymoon.
 * Buttercup: Every ship but your four fastest, you mean. [pause] Every ship but the four you sent.
 * Humperdinck: Yes. Yes, of course. Naturally not those four.
 * Yellin: Ahem. Your majesty.
 * Buttercup: You never sent the ships. Don't bother lying. Doesn't matter. Westley will come for me anyway.
 * Humperdinck: You're a silly girl.
 * Buttercup: Yes, I am a silly girl, for not having seen sooner that you are nothing but a coward with a heart full of fear.
 * Humperdinck: I would not say such things if I were you.
 * Buttercup: Why not? You can't hurt me. Westley and I are joined by the bonds of love. And you cannot track that, not with a thousand bloodhounds. And you cannot break it, not with a thousand swords. And when I say you are a coward, that is only because you are the slimiest weakling ever to crawl the earth.
 * Humperdinck: I would not say such things if I were you! [to Westley] You truly love each other, and so you might have been truly happy. Not one couple in a century has that chance, no matter what the storybooks say. And so I think no man in a century will suffer as greatly as you will.
 * Count Rugen: Not to fifty!!!

You are the Brute Squad!

 * [Inigo and Fezzik are at Miracle Max's door]
 * Max: Go away! What? What?
 * Inigo: Are you the Miracle Max who worked for the king all those years?
 * Max: The king's stinking son fired me! And thank you so much for bringing up such a painful subject! While you're at it, why don't you give me a nice paper cut and pour lemon juice on it? We're closed! Beat it or I'll call the Brute Squad!
 * Fezzik: I'm on the Brute Squad.
 * Max: [sees Fezzik's size] You are the Brute Squad!
 * Inigo: We need a miracle. It's really important.
 * Max: Look, I'm retired! And, besides, why would you want someone the king's stinking son fired? I might kill whoever you wanted me to miracle!
 * Inigo: He's already dead!
 * Max: He is, eh? I'll take a look at him. Bring him in.

Mostly dead

 * Miracle Max: He probably owes you money, huh? Well, I'll ask him.
 * Inigo: He's dead, he can't talk.
 * Miracle Max: Woo hoo-hoo, looks who knows so much, huh? Well, it just so happens that your friend here is only "mostly dead." There's a big difference between "mostly dead" and "all dead." Please, open his mouth. [Inigo opens Wesley's mouth, so that Miracle Max can put the bellows in] Now, "mostly dead" is slightly alive. [Starts pumping air through the bellows] Now, "all dead"...well, with "all dead", there's usually only one thing you can do.
 * Inigo: What's that?
 * Miracle Max: Go through his clothes and look for loose change.

True love, to blave, and an M.L.T. sandwich

 * Miracle Max: [Shouts into Wesley's ear] Hey! Hello in there! Hey, what's so important? What you got here that's worth living for? [Presses on Wesley's chest]
 * Wesley: Truuuue looooove...
 * Inigo: True love! You heard him! You could not ask for a more noble cause than that.
 * Miracle Max: Yeah, sonny, true love is the greatest thing in the world. Except for a nice M.L.T.; a mutton, lettuce and tomato sandwich. Where the mutton is nice and lean and the tomato is ripe. [smacks lips] They're so perky, I love that. But that's not what he said! He distinctly said "to blave." And, as we all know, "to blave" means "to bluff," huh? So you're probably playing cards, and he cheated-
 * Valerie: Liar! Liar! [storms in] LIAR!
 * Miracle Max: Get back, witch!
 * Valerie: I'm not a witch, I'm your wife! But after what you just said, I'm not even sure I want to be that anymore!
 * Miracle Max: You never had it so good.
 * Valerie: True love! He said true love, Max!
 * Miracle Max: Don't say another word, Valerie!
 * Valerie: He's afraid. Ever since Prince Humperdinck fired him, his confidence is shattered.
 * Miracle Max: Why'd you say that name? You promised me that you would never say that name!
 * Valerie: What, Humperdinck? [repeats the name over and over again]
 * Miracle Max: I'm not listening!
 * Valerie: True love lies expiring, and you don't have the decency to say why you won't help!
 * Miracle Max: Nobody's hearing nothing!
 * Inigo: But this is Buttercup's true love, and if you heal him, he will stop Prince Humperdinck's wedding!
 * Miracle Max: Shut up! I make him better, Humperdinck suffers?
 * Inigo: Humiliations galore!
 * Miracle Max: [scats] That is a noble cause! Give me the sixty-five, I'm on the job!

Have fun storming the castle!

 * Valerie: Bye-bye, boys!
 * Miracle Max: Have fun storming the castle!
 * Valerie: [sotto] Think it'll work?
 * Miracle Max: [sotto] It would take a miracle.
 * Valerie/Max: [waving] Bye-bye!

Fast miracle

 * [Inigo puts Miracle Max's miracle pill into Westley's mouth]
 * Fezzik: How long do we have to wait, before we know if the miracle works?
 * Inigo: Your guess is as good as mine.
 * Westley: [opens his eyes] I'll beat you each apart! I'll take you both, together!! [Fezzik covers Westley's mouth]
 * Fezzik: I guess not very long.
 * Westley: Why won't my arms move?
 * Fezzik: You've been mostly dead all day.
 * Inigo: We had Miracle Max make a pill to bring you back.
 * Westley: Who are you? Are we enemies? Why am I on this wall? Where's Buttercup?
 * Inigo: Let me explain...No, there is too much. Let me sum up: Buttercup is marrying Humperdinck in little less than half an hour, so all we have to do is get in, break up the wedding, steal the princess, make our escape, after I kill Count Rugen.
 * Westley: That doesn't leave much time for dilly-dallying. [subconsciously wiggles his thumb]
 * Fezzik: You just wiggled your finger; that's wonderful!
 * Westley: I've always been a quick healer. What are our liabilities?
 * Inigo: There is but one working castle gate. And it is guarded by sixty men.
 * Westley: And our assets?
 * Inigo: Your brains, his strength, my steel.
 * Westley: That's it? Impossible. If I had a month to plan, maybe I could come up with something, but this... [shakes his head]
 * Fezzik: You just shook your head. That doesn't make you happy?
 * Westley: My brains, his steel, and your strength against sixty men, and you think a little head jiggle is supposed to make me happy? Hmm? I mean, if we only had a wheelbarrow, that would be something.
 * Inigo: Where did we put that wheelbarrow the albino had?
 * Fezzik: Over the albino, I think.
 * Westley: Well, why didn't you list that among our assets in the first place? [sighs] What I wouldn't give for a holocaust cloak.
 * Inigo: There, we cannot help you.
 * Fezzik: Will this do?
 * Inigo: Where did you get that?
 * Fezzik: At Miracle Max's. It fits so nice. He said that I could keep it.
 * Westley: All right, come on. Help me up. Now, I'll need a sword eventually.
 * Inigo: Why? You can't even lift one.
 * Westley: True, but that's hardly common knowledge, is it? Thank you. Now, there may be problems once we're inside.
 * Inigo: I'll say. How do I find the Count? Once I do, how do I find you again? Once I find you again, how do we escape?
 * Fezzik: Don't pester him. He's had a hard day.
 * Inigo: Right. Right. Sorry.
 * Fezzik: Inigo.
 * Inigo: What?
 * Fezzik: I hope we win.

Oh, you mean this gate key?

 * [Westley, Fezzik and Inigo have confronted Yellin at the castle gate]
 * Westley: Give us the gate key.
 * Yellin: I have no gate key.
 * Inigo: Fezzik, tear his arms off.
 * Yellin: [in desperation] Oh, you mean this gate key? [holds up gate key]

Hello. My name is Inigo Montoya. (#2)

 * Count Rugen: Good heavens, are you still trying to win? You've got an overdeveloped sense of vengeance. It's going to get you into trouble someday.
 * Inigo: Hello, my name is Inigo Montoya. You killed my father. Prepare to die. [advances on Rugen, but stumbles into the table with sudden pain. Rugen attacks, but is parried; rising to his feet again] Hello, my name is Inigo Montoya. You killed my father. Prepare to die. [Rugen attacks again, Inigo parries more fiercely, gaining strength] HELLO! My name is Inigo Montoya! You killed my father! Prepare to die!
 * Count Rugen: Stop saying that! [attacking twice]
 * Inigo: [avoids and wounds Rugen in both shoulders, the same spots where he wounded him, and attacks] HELLO, MY NAME IS INIGO MONTOYA! YOU KILLED MY FATHER! PREPARE TO DIE!!! [corners Count Rugen, knocks his sword aside, and slashes his cheek, giving him a scar identical to his] Offer me money!
 * Count Rugen: Yes!
 * Inigo: Power, too, promise me that! [slashes his other cheek]
 * Count Rugen: All that I have and more! Please!
 * Inigo: Offer me everything I ask for!
 * Count Rugen: [last words] Anything you want... [knocks Inigo's sword aside and lunges, but gets his arm caught by Inigo, who stabs his sword into Rugen's stomach]
 * Inigo: [coldly] I want my father back, you son of a bitch! [drives his sword through Count Rugen and then shoves him back against the table. Rugen falls to the floor, dead]

To the pain.

 * Humperdinck: A technicality that will shortly be remedied. First things first... To the death!
 * Westley: NO! To the pain.
 * Humperdinck: [stops, taken aback] I don't think I'm quite familiar with that phrase.
 * Westley: I'll explain, and I'll use small words so that you'll be sure to understand, you warthog-faced buffoon.
 * Humperdinck: That may be the first time in my life a man has dared insult me.
 * Westley: It won't be the last. "To the pain" means the first thing you lose will be your feet, below the ankles, then your hands at the wrists. Next, your nose.
 * Humperdinck: [exasperated] And then my tongue, I suppose. I killed you too quickly the last time, a mistake I don't mean to duplicate tonight.
 * Westley: I wasn't finished! The next thing you lose will be your left eye, followed by your right-
 * Humperdinck: [losing his patience] ...And then my ears, I understand! Let's get on with it-!
 * Westley: WRONG! Your ears you keep, and I'll tell you why: So that every shriek of every child at seeing your hideousness will be yours to cherish. Every babe that weeps at your approach, every woman who cries out, "Dear God, what is that thing?" will echo in your perfect ears. That is what "to the pain" means. It means I leave you in anguish, wallowing in freakish misery forever.
 * Humperdinck: [cautious] I think you're bluffing.
 * Westley: It's possible, Pig, I might be bluffing. It's conceivable, you miserable, vomitous mass, that I'm only lying here because I lack the strength to stand. Then again...perhaps I have the strength after all. [slowly rises and points his sword directly at the prince] Drop. Your. Sword. [Humperdink immediately drops his sword] Have a seat. [Humperdink obeys] Tie him up. Make it as tight as you like.
 * Inigo: Where's Fezzik?
 * Westley: I thought he was with you.
 * Inigo: No.
 * Westley: In that case...
 * Inigo: Help him.
 * Buttercup: Why does Westley need helping?
 * Inigo: Because he has no strength.
 * Humperdinck: I knew it! I knew you were bluffing! I knew he was... bluffing.
 * Inigo: Shall I dispatch him for you?
 * Westley: Thank you, but no. Whatever happens to us, I want him to live a long life, alone with his cowardice.

Post-revenge

 * Inigo: You know, I've been in the revenge business so long, I don't know what to do with myself.
 * Westley: Have you ever considered piracy? You'd make an excellent Dread Pirate Roberts.

As you wish. (Final)

 * Grandpa: They rode to freedom and as dawn arose, Wesley and Buttercup knew that they were safe. A big wave of love swept over them, and as they reached for each other...
 * Grandson: What? What?
 * Grandpa: No, it's kissing again. You don't want to hear that.
 * Grandson: Oh, I don't mind so much.
 * Grandpa: Okay. [continues reading] Since the invention of the kiss there have been five kisses that were rated the most passionate, the most pure. This one left them all behind. The End. Now I think you ought to go to sleep.
 * Grandson: Okay.
 * Grandpa: [standing] Okay. Okay. Okay. All right. So long.
 * Grandson: Grandpa? [Grandpa stops, turns] Maybe you could come over and read it again to me tomorrow.
 * Grandpa: [smiles] As you wish.

Taglines

 * Scaling the Cliffs of Insanity, Battling Rodents of Unusual Size, Facing torture in the Pit of Despair. - True love has never been a snap.
 * It's as real as the feelings you feel
 * Heroes. Giants. Villains. Miracle Men. True Love. - Not just your basic, average, everyday, ordinary, run-of-the-mill, ho-hum fairy tale.
 * She gets kidnapped. He gets killed. But it all ends up okay.

About The Princess Bride (film)

 * OH, MY GOD! HER DRESS IS ON FIRE! SHE'S ON FIRE!!!
 * You're setting fire to Robin on the first day?! What are you, nuts? It's not like we can replace her!
 * William Goldman 12 Princess Bride Secrets Spilled by Cary "Westley" Elwes LA Weekly
 * It was in one of those cinema books as one of the greatest screenplays ever written that had never been produced.
 * Rob Reiner 12 Princess Bride Secrets Spilled by Cary "Westley" Elwes LA Weekly

Cast

 * Cary Elwes - Westley/Dread Pirate Roberts
 * Mandy Patinkin - Inigo Montoya
 * Chris Sarandon - Prince Humperdinck
 * Christopher Guest - Count Rugen
 * Wallace Shawn - Vizzini
 * André the Giant - Fezzik
 * Fred Savage - The Grandson
 * Robin Wright - Buttercup/The Princess Bride
 * Peter Falk - The Grandfather
 * Peter Cook - The Impressive Clergyman
 * Mel Smith - The Albino
 * Carol Kane - Valerie
 * Billy Crystal - Miracle Max

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

title: The Princess Bride (film)


text:
Independence Day (1996 film)

Independence Day is a 1996 film about a worldwide alien attack and the subsequent rallying of humankind to fight back on July 4.
 * Directed by Roland Emmerich. Written by Roland Emmerich and Dean Devlin.

EARTH. Take a good look. It could be your last. Taglines

Captain Steven Hiller

 * [after punching an alien] Welcome to Earth! [puts a cigar in his mouth] Now that's what I call a "close encounter."
 * [to the unconscious alien] Y'know, this was supposed to be my weekend off. But no! You got me out here, draggin' your heavy ass, through the burnin' desert, with your dreadlocks stickin' out the back of my parachute. You gotta come down here with an attitude, actin' all big and bad. And what the hell is that smell?! [screams and kicks the alien] I could've been at a barbecue!...But I ain't mad. It's alright.

President Thomas Whitmore

 * [to the pilots at Area 51 before the mass sortie] Good morning. [turns on mic] Good morning. In less than an hour, aircraft from here will join others from around the world, and you will be launching the largest aerial battle in the history of mankind. [pauses] Mankind. That word should have new meaning for all of us today. We can't be consumed by our petty differences anymore. We will be united in our common interests. Perhaps it's fate that today is the Fourth of July, and you will once again be fighting for our freedom. Not from tyranny, oppression, or persecution… but from annihilation. We're fighting for our right to live. To exist. And should we win the day, the Fourth of July will no longer be known as an American holiday, but as the day when the world declared in one voice: We will not go quietly into the night! We will not vanish without a fight! We're going to live on! We're going to survive! Today, we celebrate our Independence Day!

Dialogue

 * President Whitmore: I have a confession to make. I'm sleeping next to a beautiful young brunette.
 * Marilyn: You didn't let her stay up all night watching TV, did you?
 * President Whitmore: Of course not. [pause]
 * Patricia: Daddy let me watch Letterman.
 * President Whitmore: Traitor.

 * Marty: David! David, what the hell's the point of having a beeper if you aren't even gonna turn it on?!?!
 * David: It was turned on, I was ignoring you. Hello, what's the uh... what's the big emergency?
 * Marty: It started this morning, every station's making like it's the 1950s... we got static, we got snow, all kinds of distortions!
 * David: Wait! Marty-
 * Marty: Nobody even knows-
 * David: .....What the hell are you doin'? There's a reason we have... bins labeled recycle! What the hell's goin' on?! My god in heaven!
 * Marty: So sue me, DAVID! We have a problem!

 * [at the White House roof, President Whitmore and White House Communications Director Constance Spano stare in awe at the alien ship flying overhead]
 * Constance: Now what do we do?
 * President Whitmore: Address the nation. There's gonna be a lot of frightened people out there.
 * Constance: Yeah. [in Whitmore's ear] I'm one of 'em. [Whitmore looks back at her then to the ship]

 * [David finds Marty on the phone with his mother concerning the aliens]
 * Marty: I know, Ma. Just try and stay calm!
 * David: Tell her to pack up and leave town.
 * Marty: Why?! What happened?!
 * David: Just do it!
 * Marty: [to the phone] Ma! Ma, listen! Uh, get your stuff together, and head for Aunt Esther's. Don't argue with me! Just go! [hangs up] David, why'd I just send my mother to Atlanta? David?! David, talk to me!
 * David: Did you hear me tell you that the signal in the satellite feed is slowly recycling down to extinction?
 * Marty: Not really.
 * David: It's a countdown.
 * Marty: A countdown? Wait, a countdown to what, David?!
 * David: Uh, it's like in chess. First you strategically position your pieces. Then, when the timing's right, you strike. [turns Marty's attention to the monitor] See? They're positioning themselves all over the world usin' this one signal to synchronize their efforts. In approximately six hours, the signal's gonna disappear, and the countdown's gonna be over.
 * Marty: And then what?
 * David: Checkmate.
 * Marty: [gasps] Oh, my God! Oh, my God! I gotta call my brother. I better call my housekeeper. I gotta call my lawyer. Aw, forget my lawyer.

 * [the Black Knights squadron is briefed on attacking the alien ship over Los Angeles]
 * Jimmy: You scared, man?
 * Steven: No. You?
 * Jimmy: Nope. [pauses; leans head on Steven's shoulder] Hold me.
 * Steven: Hey, pay attention.
 * Colonel: Something you wanna add to this briefing, Captain Hiller?
 * Steven: No, sir. I'm just a little anxious to get up there and whup E.T.'s ass. That's all.
 * [everyone else laughs in agreement]
 * Colonel: And you'll get your chance. You'll all get your chance. Good hunting. Dismissed!
 * Jimmy: [as the pilots prepare to suit up] Let's kick the tires and light the fires, big daddy!

 * [Inside Air Force One, David, Connie, General Grey, and Nimzicki are all talking at once, after David objects to them using nuclear weapons]
 * Nimzicki: Shut up! Captain, get him out of here!
 * Julius: Hey, don't tell him to shut up! [lets it sink in] You'd all be dead now if it wasn't for my David! None of you did anything to prevent this!
 * General Grey: There was nothing we could do! We were totally unprepared for this!
 * Julius: Bah! Don't give me "unprepared"!
 * Constance: Come on, Julius, come on.... [tries to take Julius back]
 * Julius: It was, what? In the 19-- what, 50s? Whatever; when you had that spaceship.
 * David: Dad.
 * Julius: Yeah, that thing you found in New Mexico! Where was that?
 * David: Dad, no, not the spaceship, no.
 * Julius: Roswell. Roswell, New Mexico, yeah! No, you had the spaceship and you had the bodies! They were locked up in a, in a bunker. Where was that? David?
 * Constance: I don't know.
 * Julius: In Area 51, right? Area 51?! You knew then! [hissing] And you did nothing!
 * President Whitmore: Sir, regardless of what you may have read in the tabloids, there has never been any spacecraft recovered by our government. Take my word for it. There's no Area 51. There's no recovered spaceship.
 * Nimzicki: Uh, excuse me, Mr. President? That's not entirely accurate.
 * [uncomfortable silence amongst all on board]
 * David: What, which part?

 * [Dr Brakish Okun tours the president's party over Area 51's workspace]
 * President Whitmore: I don't understand, where does all this come from? How do you get funding for something like this?
 * Julius: You don't actually think they spend $20,000 on a hammer, $30,000 on a toilet seat, do you?

 * [having arrived at Area 51 with his alien and a fleet of refugees, Steven talks to General Grey]
 * Steven: Sir, I'm really anxious to get back to El Toro.
 * General Grey: [calmly] Hasn't anyone told you? El Toro has been completely destroyed.

 * [the president scramble into an operating room's viewing deck after an alien revives itself and attacks the surgical crew]
 * Dr. Okun: Release me...
 * Major Mitchell: Open the door, get him out of there.
 * General Grey: Wait!
 * [they notice the tentacle wrapped around Okun's neck; the alien comes into view, speaking telepathically through Okun]
 * Dr. Okun/Alien: Release me! Now! NOW!
 * President Whitmore: I know there is much we can learn from each other, if we can negotiate a truce. We can find a way to co-exist. Can there be a peace between us?
 * Dr. Okun/Alien: Peace?.... No peace...
 * Whitmore: What is it you want us to do?
 * Dr. Okun/Alien: Die... Die...

Taglines

 * EARTH: Take a good look. It could be your last.
 * We've always believed we weren't alone. On July 4, we'll wish we were.
 * The question of whether or not we are alone in the universe... has been answered.
 * Don’t make plans for August.
 * WARNING! Your next stop may not be there.
 * They only want one thing...DESTRUCTION.
 * On July 2, they arrive. On July 3, they strike. On July 4, we fight back.
 * Today, the human race celebrates their Independence Day.
 * Enjoy the Super Bowl - it may be your last.
 * from the Independence Day Super Bowl commercial

Quotes about Independence Day

 * All of this feeds into a sliding scale of villain power. Culminating with the aliens of Independence Day. Notice, in that case, that you no longer need incompetence or corruption of our institutions. Jeopardy takes care of itself. The invaders are so badass that even the United States government and military are allowed to simultaneously be both capable and good! In order to provide spear-carrier support for the two or three point-of-view heroes.
 * David Brin, Our Favorite Cliché: A World Filled With Idiots... or Why Film and Fiction Routinely Depict Society and its Citizens as Fools, DavidBrin.com
 * At one point the news comes that New York, Washington and Los Angeles have been destroyed, and is there grief? Despair? Anguish? Speculation about what that will mean for professional sports? Not a bit – the characters nod and hurry on to the next scene.
 * Roger Ebert, "Independence Day" Chicago Sun Times, 1996 as quoted in "Why are we hooked on films about mass destruction?" by Nicholas Barber, The Guardian, June 18, 2016.
 * I felt guilty about making my work look so good. I started thinking maybe I did my job too well, and it might have been the nucleus of an idea for someone to say: ‘Hey, let’s crash a plane into the White House.’
 * Joe Viskocil, film's pyrotechnics expert as quoted in "Why are we hooked on films about mass destruction?" by Nicholas Barber, The Guardian, June 18, 2016.

Cast

 * Bill Pullman - President Thomas Whitmore
 * Margaret Colin - Constance Spano
 * Jeff Goldblum - David Levinson
 * Will Smith - Captain Steve Hiller, USMC
 * Robert Loggia - Gen. William Grey, USMC
 * Vivica A. Fox - Jasmine Dubrow
 * Randy Quaid - Russell Casse
 * Judd Hirsch - Julius Levinson

title: Independence Day (1996 film)


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David Lynch

David Keith Lynch (born 20 January 1946) is an American film director, writer and actor.
 * See also:
 * Eraserhead (1977)
 * The Elephant Man (1980)
 * Dune (1984)
 * Blue Velvet (1986)
 * Wild at Heart (1990)
 * Twin Peaks (1990–1991)
 * Lost Highway (1997)
 * Mulholland Drive (2001)

Quotes

 * All the movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds.
 * As quoted in The Making of Dune (1984) by Ed Naha, p. 213

 * The worst thing about this modern world is that people think you get killed on television with zero pain and zero blood. It must enter into kids' heads that it's not very messy to kill somebody, and it doesn't hurt that much. That's a real sickness to me. That's a real sick thing.
 * As quoted in "Dark Lens on America" in The New York Times Magazine (14 January 1990)

 * I don't think about technique. The ideas dictate everything. You have to be true to that or you're dead.
 * As quoted in "Dark Lens on America" in The New York Times Magazine (14 January 1990)

 * When you're an artist, you pick up on certain things that are in the air. You just feel it. It's not like you're sitting down, thinking, "What can I do to really mess things up?" You're getting ideas, and then the ideas feed into a story, and the story takes shape. And if you're honest about it and you're thinking about characters and what they do, you now see that your ideas are about trouble. You're feeling more depth, and you're describing something that is going on in some way.
 * As quoted in "Lost Highway" interview by Mikal Gilmore in Rolling Stone magazine (6 March 1997)

 * In film, life-and-death struggles make you sit up, lean forward a little bit. They amplify things happening, in smaller ways, in all of us. These things show up in relationships. They show up in struggles and bring them to a critical point.
 * As quoted in "Lost Highway" interview by Mikal Gilmore in Rolling Stone (6 March 1997)

 * The beginning dictates the direction and you never know where you're going to go ... the mood is what you're looking for, and somehow we always find it.
 * As quoted in Pretty as a Picture : The Art of David Lynch (1997)

 * When I was little in Spokane, Washington I drew all the time... and my father would bring paper home ... and I mostly drew browning automatic water-cooled sub-machine guns... that was my favorite.
 * As quoted in Pretty as a Picture : The Art of David Lynch (1997)

 * Every single thing in the world that was made by anyone started with an idea. So to catch one that is powerful enough to fall in love with, it is one of the most beautiful experiences. It's like being jolted with electricity and knowledge at the same time.
 * Interview with Chris Douridas (1997) quoted in David Lynch Interviews (2009) by Richard A. Barney

 * I found the world completely and totally fantastic as a child. Of course, I had the usual fears, like going to school ... For me, back then, school was a crime against young people. It destroyed the seeds of liberty. The teachers didn't encourage knowledge or a positive attitude.
 * As quoted in Lynch on Lynch (1997; 2005 revised edition) by Chris Rodley, based on personal interviews made from 1993 to 1996.

 * A film is its own thing and in an ideal world I think a film should be discovered knowing nothing and nothing should be added to it and nothing should be subtracted from it.
 * Scene by Scene interview BBC 2 (1999)

 * I'm not a political person. ... I don't understand politics, I don't understand the concept of two sides and I think that probably there's good on both sides, bad on both sides, and there's a middle ground, but it never seems to come to the middle ground and it's very frustrating watching it and seemingly we're not moving forward. Some change, simple, simple really, relatively speaking, and we're going forwards somewhere, you know? It could be a beautiful place. There's many little obstacles and there's many, many people that are just opposed and we're not going forward.
 * Scene by Scene interview BBC 2 (1999)

 * My cow is not pretty, but it's pretty to me.
 * About his contribution to New York 2000, "Eat My Fear", which was pulled after 2 hours, quoted in The New Yorker, Volume 76, p. 62

 * Life is very, very complicated and so films should be allowed to be too.
 * As quoted in The Los Angeles Times (20 April 2003)

 * There's this beautiful ocean of bliss and consciousness that is able to be reached by any human being by diving within, which is really peaceful and harmonious and can be enlivened by the group process. This group is a peace-creating group. It saturates the atmosphere. This is all about establishing peace. Right now, we gotta get peace back in the world. Peace is a real thing.
 * As quoted in David Lynch's $1B Peace Plan" in The New York Post (22 October 2003)

 * Being in darkness and confusion is interesting to me. But behind it you can rise out of that and see things the way they really are. That there is some sort of truth to the whole thing, if you could just get to that point where you could see it, and live it, and feel it ... I think it is a long, long, way off. In the meantime there's suffering and darkness and confusion and absurdities, and it's people kind of going in circles. It's fantastic. It's like a strange carnival: it's a lot of fun, but it's a lot of pain.
 * As quoted in Nightmares in Red, White and Blue: The Evolution of the American Horror Film (2004) by Joseph Maddrey, p. 160

 * Speaking in front of a large crowd is not pleasant. Once it gets rolling, it's okay. But beforehand, it's murder. I'm getting a lot better. The first interview I ever did was in 1972, I believe, and I couldn't speak. I couldn't speak one word. I only said, "I painted it black." That was my one sentence. And so I have improved.
 * GreenCine interview (16 November 2005)

 * It makes me uncomfortable to talk about meanings and things. It is better not to know so much about what things mean. Because the meaning, it's a very personal thing and the meaning for me is different than the meaning for someone else.
 * As quoted in My Love Affair with David Lynch and Peachy Like Nietzsche: Dark Clown Porn Snuff for Terrorists and Gorefiends (2005) by Jason Rogers, p. 7

 * The ocean of solutions is within, enliven that. ... It's a world of clues, a world of mystery but the mystery can get solved, you can find a lot of answers for these things within.
 * On the Alex Jones Radio show, as quoted in "David Lynch Questions 9/11 On National U.S. Radio" in Prison Planet (25 January 2007)

 * There's so many problems in our world, so much negativity. Don't worry about the darkness — turn on the light and the darkness automatically goes. Ramp up the light of unity within — help do that for yourself, help do that for the world and then we're really doing something, we're doing something that brings that light of unity."
 * On the Alex Jones Radio show, as quoted in "David Lynch Questions 9/11 On National U.S. Radio" in Prison Planet (25 January 2007)

 * Bullshit, that's how I feel. Total fucking bullshit.
 * Response to being asked how he feels about product placement in films in an interview at AFI Film Festival (March 2007)

 * It's such a sadness that you think you've seen a film on your fucking telephone. Get real.
 * On watching movies on telephones, in a clip from David Lynch's Inland Empire Limited Edition Two-Disc Set (2007)

 * The sick reality about our over dependance on language is that trying to live without it is like a blind and deaf man with no arms or legs trying to navigate a dark narrow cave, and the cave is full of tarantulas.
 * About the human dependency on language to communicate, as quoted in The Washington Post (18 June 2011)

 * There is a plot. What would be the point of just a bunch of things? There's a story, but the story can hold abstractions. I believe in story. I believe in characters. But I believe in a story that holds abstractions, and a story that can be told based on ideas that come in an unconventional way."
 * About Inland Empire, from The Independent: David Lynch: In odd we trust

 * Language is an evil thing, a very evil thing. And a force to be reckoned with.
 * As quoted in The Guardian (19 March 2005)

 * Don't make a film if it can't be the film you want to make. It's a joke, and a sick joke, and it'll kill you.
 * On making films, from David Lynch: Dune Interview.

McKenna interview (1992)

 * Interview with Kristine McKenna (3 August 1992)

 * I love child things because there's so much mystery when you're a child. When you're a child, something as simple as a tree doesn't make sense. You see it in the distance and it looks small, but as you go closer, it seems to grow — you haven't got a handle on the rules when you're a child. We think we understand the rules when we become adults but what we really experienced is a narrowing of the imagination.

 * I guess I got whacked hard in the mystery department when I was little. I found the world completely and totally fascinating then — it was like a dream. They say that people who think they had a happy childhood are blocking something out, but I think I really had one. Of course I had the usual fears, like going to school — I knew there was some sort of problem there. But every other person sensed that problem too, so my fears were pretty normal.

 * There's always fear of the unknown where there's mystery. It's possible to achieve a state where you realize the truth of life and fear disappears, and a lot of people have reached that state, but next to none of them are on Earth. There's probably a few.

 * Dark things have always existed but they used to be in a proper balance with good when life was slower. People lived in towns and small farms where they knew everybody and people didn't move around so much so things were a little more peaceful. There were things that they were afraid of for sure, but now it's accelerated to where the anxiety level of the people is in the stratosphere. TV sped things up and caused people to hear way more bad news. Mass media overloaded people with more than they could handle, and drugs also had a lot to do with it. With drugs people can get so rich and whacked out and they've opened up a whole weird world. These things have created a modern kind of fear in America.

 * One change of attitude would change everything. If everyone realized that it could be a beautiful world and said let's not do these things anymore — let's have fun.

 * There are so many clues and feelings in the world that it makes a mystery and a mystery means there's a puzzle to be solved. Once you think like that you're hooked on probably finding a meaning, and there' many avenues in life where we're given little indications that the mystery can one day be solved. we get little proofs, — not the big proof — but the little proofs that keep us searching.

 * When you do something that works you have a happiness, but I don't know if it's a feeling of power. Power is a frightening thing and that's not what I'm interested in. I want to do certain things and make them right in my mind and that's it.

Catching the Big Fish (2006)

 * Quotes from Catching the Big Fish : Meditation, Consciousness, and Creativity (2006); some extracts are also online at "Deep Thoughts by David Lynch", Utne Reader (May/June 2007)

If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper.''' Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful.
 * '''Ideas are like fish.
 * Introduction, p. 1

What got me interested, though, was the phrase "true happiness lies within." At first I thought it sounded kind of mean, because it doesn't tell you where the "within" is, or how to get there. But still it had a ring of truth. And I began to think that maybe meditation was a way to go within.
 * When I first heard about meditation, I had zero interest in it. I wasn't even curious. It sounded like a waste of time.
 * The First Dive, p. 3

I often took out this anger on my first wife. After I had been meditating for about two weeks, she came to me and said, "What's going on?" I was quiet for a moment. But finally I said, "What do you mean?" And she said, "This anger, where did it go?" And I hadn't even realized that it had lifted. I call that depression and anger the Suffocating Rubber Clown Suit of Negativity. It's suffocating, and that rubber stinks. But once you start meditating and diving within, the clown suit starts to dissolve. You finally realize how putrid was the stink when it starts to go. Then, when it dissolves, you have freedom. Anger and depression and sorrow are beautiful things in a story, but they are like poison to the filmmaker or artist. They are like a vise grip on creativity. If you're in that grip, you can hardly get out of bed, much less experience the flow of creativity and ideas. You must have clarity to create. You have to be able to catch ideas.
 * When I started meditating, I was filled with anxieties and fears. I felt a sense of depression and anger.
 * Suffocating Rubber Clown Suit, p. 8

I liked to paint and I liked to draw. And I often thought, wrongly, that when you got to be an adult, you stopped painting and drawing and did something more serious.
 * I started out just as a regular person, growing up in the Northwest. My father was a research scientist for the Department of Agriculture, studying trees. So I was in the woods a lot. And the woods for a child are magical. I lived in what people call small towns. My world was what would be considered about a city block, maybe two blocks. Everything occurred in that space. All the dreaming, all my friends existed in that small world. But to me it seemed so huge and magical. There was plenty of time available to dream and be with friends.
 * Starting Out, p. 9

For me, it's so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. '''It's not just words or music — it's a whole range of elements coming together and making something that didn't exist before. It's telling stories. It's devising a world, an experience, that people cannot have unless they see that film.'''
 * I'm not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you've got time and sequences. You've got dialogue. You've got music. You've got sound effects. You have so many tools. And so you can express a feeling and a thought that can't be conveyed any other way. It's a magical medium.
 * Cinema, p. 17

So you don’t know how it's going to hit people. But if you thought about how it's going to hit people, or if it's going to hurt someone, or if it's going to do this or do that, then you would have to stop making films. You just do these things that you fall in love with, and you never know what's going to happen.
 * I like the saying "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same — the same number, in the same sequence, with the same sounds — every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with.
 * The Circle, p. 21

It would be great if the entire film came all at once. But it comes, for me, in fragments. That first fragment is like the Rosetta stone. It's the piece of the puzzle that indicates the rest. It's a hopeful puzzle piece. In Blue Velvet, it was red lips, green lawns, and the song — Bobby Vinton's version of "Blue Velvet". The next thing was an ear lying in a field. And that was it. '''You fall in love with the first idea, that little tiny piece. And once you've got it, the rest will come in time.'''
 * An idea is a thought. It's a thought that holds more than you think it does when you receive it. But in that first moment there is a spark. In a comic strip, if someone gets an idea, a lightbulb goes on. It happens in an instant, just as in life.
 * Ideas, p. 23

Eraserhead was growing in a certain way, and I didn't know what it meant. I was looking for a key to unlock what these sequences were saying. Of course, I understood some of it; but I didn't know the thing that just pulled it all together. And it was a struggle. So I got out my Bible and I started reading. And one day, '''I read a sentence. And I closed the Bible, because that was it. And then I saw the thing as a whole. And it fulfilled this vision for me, 100 percent. I don't think I'll ever say what that sentence was.'''
 * Eraserhead is my most spiritual movie. No one understands when I say that, but it is.
 * Eraserhead, p. 33

 * On Blue Velvet, I worked with a casting director, Johanna Ray. And we had all brought up Dennis Hopper. But everybody said, 'No, no; you can't work with Dennis. He's really in bad shape, and you'll have nothing but trouble.' So we continued looking for people. But one day, Dennis' agent called and said that Dennis was clean and sober and had already done another picture, and I could talk to that director to verify it. Then Dennis called and said, 'I have to play Frank, because I am Frank.' That thrilled me, and scared me.
 * Casting, p. 69

There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad. I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else. '''We all reflect the world we live in. Even if you make a period film, it will reflect your times.''' You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes. And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.
 * People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence?
 * Darkness, p. 91

 * Stay true to yourself. Let your voice ring out, and don't let anybody fiddle with it. Never turn down a good idea, but never take a bad idea. And meditate. It's very important to experience that Self, that pure consciousness. It's really helped me. I think it would help any filmmaker. So start diving within, enlivening that bliss consciousness. Grow in happiness and intuition. Experience the joy of doing. And you'll glow in this peaceful way. Your friends will be very, very happy with you. Everyone will want to sit next to you. And people will give you money!
 * Advice, p. 159

Quotes about Lynch

 * You feel David in his movies — its another universe he takes you to — its an alternate reality but its close enough to our own that its scary.
 * Patricia Arquette, in Pretty as a Picture : The Art of David Lynch (1997)

 * It's great when somebody breaks rules and says, "You know what? There doesn't have to be an answer to this. You don't have to have a fourth wall, you don't have to have any boundaries."
 * Patricia Arquette, in Pretty as a Picture : The Art of David Lynch (1997)

 * Jimmy Stewart from Mars.
 * Mel Brooks, in one of the most oft-quoted descriptions of Lynch, as quoted in "Dark Lens on America" in The New York Times Magazine (14 January 1990)

 * It was curious, so much was in his mind, but he didn't talk about what he was doing, so it was difficult sometimes to follow. He's quite a macabre person. He said to me one day: "You should take the kids to the London Hospital and look at all the freaks in the bottles, the two-headed babies." The actual Elephant Man was in there. He said: "You'll really enjoy it. Take some sandwiches and make a day of it."
 * Anne V. Coates "The hand that rocks the cradle", The Independent (London, 19 November 1998), p. 12
 * Coates, who was the film editor on Lynch's The Elephant Man (1980), did not take up the suggestion.

 * One day he was showing me a painting he made. It was thick with oil, and right as he showed it to me a moth flew into the painting and got stuck — it flew around and its wings created a little circle in his painting, sort of like the death of a moth ... I thought David would pull the moth out and repaint it, but he fell in love with it the way it was.
 * Jack Fisk, in Pretty as a Picture : The Art of David Lynch (1997)

 * Luckily, David is able to vent everything through his art ... because otherwise somebody might be dead.
 * Jack Fisk, as quote in "Wild at art" Profile in The Guardian (12 January 2002)

 * Most people have strange thoughts, but they rationalize them. David doesn't translate his images logically, so they remain raw, emotional. Whenever I ask him where his ideas come from, he says it's like fishing. He never knows what he's going to catch.
 * Isabella Rossellini, as quoted in "Dark Lens on America" in The New York Times Magazine (14 January 1990)

 * I just tend to admire people who go for what they believe in, like David Lynch for example, and just say what goes through their heads, and are not afraid of people not accepting them. I have no respect for people who deliberately try to be weird to attract attention, but if that's who you honestly are, you shouldn't try to "normalize yourself". It's a fine line.
 * Alicia Witt, in AOL Live interview (1996)

title: David Lynch


text:
Franz Werfel

Franz Viktor Werfel (10 September 1890 – 26 August 1945) was an Austrian-Bohemian novelist, playwright, and poet who wrote in German.

Quotes

 * Magnify the divine mystery and the holiness of mankind.
 * Preface to Das Lied Von Bernadette [The Song of Bernadette] (1941)

 * Zwischen zu früh und zu spät, liegt immer nur ein Augenblick.
 * Between too early and too late, there is never more than a moment.
 * Jacobowsky und der Oberst : Komödie einer Tragödie in drei Akten (1945), p. 52

 * Der sicherste Reichtum ist die Armut an Bedürfnissen.
 * The safest wealth is the poverty of needs.
 * Zwischen oben und unten (1946), p. 315

 * Happiness is … the grace of being permitted to unfold … all the spiritual powers planted within us.
 * As quoted in Journey to New Beginnings : Finding Peace Within (2006) by Debbie Ziemann, p. 167

Quotes about Franz Werfel

 * That's how it always was:/growing among the columns of poetry./Big brother, it was no pleasure, no.
 * Anna Margolin from the poem "To Franz Werfel," translated from Yiddish by Shirley Kumove in Drunk from the Bitter Truth: The Poems of Anna Margolin (2005). Under the poem's title she quotes Werfel "How blissful we are/Who live in forms."

Disputed

 * For those who believe, no explanation is necessary; for those who do not believe, no explanation is possible.
 * As quoted in Philippine Studies (1953) by Ateneo de Manila, p. 269; also in Everest : The Mountaineering History (2000) by Walt Unsworth, p. 100; but this has also been attributed to Ignatius of Loyola in Think of an Elephant : Combining Science and Spirituality for a Better Life (2007) by Paul Bailey

title: Franz Werfel


text:
User:Rrjanbiah

Hello, world! This is R. Rajesh Jeba Anbiah

I know my English is poor, but I still like Wiki and like to contribute.

title: User:Rrjanbiah