text:
Natalie Merchant

Natalie Merchant (born 26 October 1963) is an American singer, song-writer, musician and poet who first gained fame in the group 10,000 Maniacs which she co-founded in 1981.

Quotes

 * There is one tradition in America I am proud to inherit. It is our first freedom and the truest expression of our Americanism: the ability to dissent without fear. It is our right to utter the words, "I disagree." We must feel at liberty to speak those words to our neighbors, our clergy, our educators, our news media, our lawmakers and, above all, to the one among us we elect President.
 * The Nation (15 July 1991)

 * I grew up as a TV baby, with my TV babysitter, up until I was about 10. Then my mother just ripped the thing out of the wall and put it in a closet, and we didn't watch it. I have that sort of ability to become addicted to it. And I'm just so fascinated by it once I turn it on, I'm not even that aware what's there. I'm just watching it. So I don't ever turn it on. I get my news from the newspaper. I don't want to watch the Hollywood news product on TV... There's no other piece of furniture in my home I'd stare at for three hours at a time, so I try not to do it to the TV.
 * Orlando Sentinel (6 November 1992)

 * My drug period was between the age of 17 and 18. That was a time when I was experimenting with a lot of things, I was experimenting with sleep deprivation, fasting. The longest fast I ever did was 12 days. You go that long without food and you hallucinate. I would take this powder made out of guarana seed, my friend Mary would bake it up like cocoa in muffins and leave them on my doorstep. My drinking period was when I was 13, 14. Drugs fascinated me for a short period of time but not any more. A glass of wine puts me in a weird enough state.
 * NME (1 July 1995)

Quotes from NatalieMerchant.com

 * It’s pretty obvious to everyone that the revolution has happened. The People can now easily cut out a hoard of middlemen (record companies, radio stations, music press and retail shops). With a series of computer strokes they can find the music they want to hear, become informed about the musicians who make it, find other people who share their interest and ultimately either buy, trade or steal that coveted sound.

 * After spending nearly 20 years contracted to a major label, I have mixed feelings about their demise. These companies have profited immensely from your insatiable desire for listening and helped musicians for several decades to reach you. They grew fat and excessive. They exploited and they monopolized. They edited and censured. They’ve been rapidly losing their means of production, distribution and promotion to the internet. They have been economizing by dropping artists, cutting staff and folding into one another but they can’t keep up with the pace of disintegration. You might not have ever heard my name if Elektra Records hadn’t made me one of their artists for hire. I’m both grateful and resentful and you probably are too.

 * I don’t listen to anything on the radio but NPR and occasional oldies programs. I can’t comment on the content or format of most commercial radio but I have read the statistics about the step-by-step deregulation of FCC rules that has allowed monopolies like Clear Channel to buy up massive shares of the airwaves. This has damaged our business (music) and our culture (American). The internet is offering bold alternatives but a transistor radio is only $25.00 and not everyone is hooked up through a computer and high speed connection.

 * I don’t want to overdo discussing my experience of motherhood, its too private and profound to parade around. I will say that carrying a child, giving birth to a child and raising that child up has made me feel more engaged and connected to others. I have a greater understanding of people (living past & present). We all begin so pure, so innocent and so hungry for physical and emotional comfort. It’s so important that every baby be generously cherished, fed and comforted. I can see now how withholding these essentials can do irreparable damage. Now (post-baby) when I encounter a sad or aggressive character, I wonder what the first three years of his or her life were like. Imaging them alone, crying in their cribs has given me much more compassion.

 * For the time being I am enjoying my chance to enjoy civilian life off the road. If I combined all the months that I have lived out of a van or tour bus it would amount to twelve solid years. That would be twelve years of driving or flying an average of 100 to 400 miles per day and sleeping in a different city every night. It was a very unique lifestyle that I adapted to and even enjoyed with it’s surreal pace. It’s also a lifestyle that can take a toll on the body and relationships with the people that you are constantly leaving behind.

 * I think many people have been made curious about Henry Darger because of the song on my album Motherland. Henry Darger (1892-1973) was the author and illustrator of what could possibly be the longest unfinished fictional work of all time. His towering hand-bound manuscript of 17,000 pages was found in this obscure retired hospital janitor’s apartment after his death. Henry worked in obsessed isolation for six decades on his saga entitled, The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion.

 * I saw my first Henry Darger collage/paintings in the early 1980’s when the tale of Henry’s life was just emerging through rumor and scattered fragments of his book. He lived and died a recluse in Chicago where no one knew of his writings or paintings. There was a folk art gallery in New Orleans that had acquired a small pile of Realms of the Unreal illustrations. I was on tour with REM at the time, Michael Stipe and I visited the gallery where we had a first look at these images of seven little horrified girls pursued by a purple and orange winged cats or evil professors on horseback or resting peacefully under giant sunflowers. I was completely captivated and intrigued.

The Wishing Chair (1985)

for the sake of pity save the pistol save the cynic's tongue save the cool white stare treat me to an honest face sometime
 * If I could calm or restrain you
 * "Scorpio Rising"

What's The Matter Here?

 * Official video

he's their kid I stay out of it, but who gave you the right to do this?
 * I'm tired of the excuses everybody uses

"slap you, slap you silly" made me say, "o, what's the matter here?"
 * threats like, "if you don't mind I will beat on your behind"

City of Angels

 * heaven, is this heaven where we are?

if you call that walking stumble, stagger, fall and drag themselves along the streets of heaven
 * see them walking, if you dare

that should glow 'round your face and where are the wings that should grow from your shoulder blades?
 * where is the halo

in the City of Angels have all been one rude awakening that was due to me in this city of fallen angels
 * these sobering sights I've seen

Like The Weather

 * Official video

lift my head from the pillow and then fall again with a shiver in my bones just thinking about the weather a quiver in my lips as if I might cry
 * the color of the sky as far as I can see is coal gray

where on earth is the sun hid away?
 * what a cold and rainy day

Don't Talk

 * Official video

don't talk, you keep your distance I'd rather hear some truth tonight than entertain your lies
 * don't talk, I will listen

you talk as if you care but when your talk is over tilt that bottle in the air tossing back more than your share'''
 * '''talk, talk, talk about it

Hey Jack Kerouac

 * MTV Unplugged performance

I think of your mother and the tears she cried, she cried for none other than her little boy lost in our little world that hated and that dared to drag him down her little boy courageous who chose his words from mouths of babes got lost in the wood hip flask slinging madman, steaming cafe flirts they all spoke through you
 * hey Jack Kerouac

now for the tricky part when you were the brightest star who were the shadows? of the San Francisco beat boys you were the favorite now they sit and rattle their bones and think of their blood stoned days
 * hey Jack

Trouble Me

 * Official video

disturb me with all your cares and you worries trouble me on the days when you feel spent
 * trouble me

don't mislead me, the calm I feel means a storm is swelling there's no telling where it starts or how it ends
 * speak to me

have a look inside these eyes while I'm learning please don't hide them just because of tears
 * let me

These Are Days

 * Official video · MTV Unplugged performance

 * these are days you'll remember

it's true, that you are touched by something that will grow and bloom in you
 * you'll know it's true, that you are blessed and lucky

make its way across your face and when you do you'll know how it was meant to be see the signs and know their meaning
 * these days you might feel a shaft of light

Candy Everybody Wants

 * Official video

if blood and love tastes so sweet then we give 'em what they want Hey, hey, give 'em what they want
 * If lust and hate is the candy

'cause they want to turn it on so their minds are soft and lazy Well, hey, give 'em what they want
 * So their eyes are growing hazy

Carnival

 * Official video

in the mad house asylum they can be where a wild eyed misfit prophet on a traffic island stopped and he raved of saving me
 * I've walked these streets

have I been lost inside myself and my own mind hypnotized mesmerized by what my eyes have seen?'''
 * '''have I been blind

Wonder

 * Official video

just to see me stand over my bed disbelieving what they're seeing they say I must be one of the wonders of god's own creation and as far as they can see they can offer no explanation'''
 * '''doctors have come from distant cities

want confessions they reach into my head to steal the glory of my story
 * newspapers ask intimate questions

I'm a challenge to your balance I'm over your heads how I confound you and astound you'''
 * '''people see me

fate smiled and destiny laughed as she came to my cradle know this child will be able laughed as she came to my mother know this child will not suffer laughed as my body she lifted know this child will be gifted with love, with patience and with faith she'll make her way
 * o, I believe

Ophelia

 * Official video

a novice Carmelite in sister cells the cloister bells tolled on her wedding night
 * Ophelia was a bride of god

the female cannonball projected through five flaming hoops to wild and shocked applause...
 * Ophelia was a circus queen

a god damned hurricane your common sense your best defense lay wasted and in vain
 * Ophelia was a cyclone, tempest

you'd wonder where she'd gone through secret doors down corridors she'd wander them alone
 * Ophelia's mind went wandering

Break Your Heart

 * Official video

for the simple pleasures in their lives but trouble comes from everywhere it's a little more than you can bear
 * people struggle, people fight

I know that it will break your heart the way things are and the way they've been and the way they've always been'''
 * '''I know that it will hurt

see the damage that some people do full of hatred, full of pride it's enough to make you lose your mind
 * people ruthless, people cruel

don't spread the lies don't make the same mistakes with your own life'''
 * '''don't spread the discontent

My Skin
look at my hands there's so much here that I don't understand
 * take a look at my body

whispered like prayers I don't need them
 * your face saving promises

it thrives in the dark with fine winding tendrils that strangle the heart''' they say that promises sweeten the blow but I don't need them no, I don't need them
 * '''contempt loves the silence

the darkness the sweetness the sadness the weakness I need this
 * o, I need

a lullaby a kiss goodnight angel sweet love of my life o, I need this
 * I need

Kind & Generous

 * Official video

I don't know how you keep on giving for your kindness I'm in debt to you for your selflessness, my admiration and for everything you've done you know I'm bound... I'm bound to thank you for it
 * you've been so kind and generous

for so many gifts you gave with love and tenderness I want to thank you I want to thank you for your generosity the love and the honesty that you gave me
 * I want to thank you

Life Is Sweet

 * performance on VH1 Storytellers

it's misery from the start it's dull and slow and painful '''I tell you life is sweet in spite of the misery there's so much more''' be grateful
 * they told you life is hard

who will you listen to who will it be? it's high time that you decide in your own mind
 * who do you believe?

Motherland

 * Celtic Connections performance (2010)

far from the things that you know far from the sprawl of concrete that keeps crawling its way about 1,000 miles a day?
 * where in hell can you go

commit this to memory and mind don't miss this wasteland, this terrible place when you leave keep your heart off your sleeve
 * take one last look behind

close my eyes lullaby me to sleep keep me safe lie with me stay beside me don't go, don't you go
 * motherland cradle me

The Worst Thing
but that was just about the worst thing that I could do it was just about the worst thing that I could do
 * once I could love, I could trust, I could not doubt

but that was the worst thing that I could do
 * once I was open, could hope, I had no doubt

burning with hopeless love and desire but it was just about the worst thing that I could do it was just about the worst thing I could do
 * once I came close to that most elusive fire

Henry Darger

 * Album performance

oh, Henry... who'll tell the story of her? Henry Darger
 * who'll save the poor little girl?

risk his very own precious skin to make our Angelinia a free and peaceful land again?''' Henry who'll love a poor orphan child? Henry Darger
 * '''who will draw the calvary in

title: Natalie Merchant


text:
Katy Rose

Kathryn Rosemary Bullard (born January 27, 1987), known as Katy Rose, is an American pop-rock singer-songwriter.

 * I cruise the canyon to get some breeze With Hidden Treasures up my sleeve I like the light and hate the heat But I'll lick the blood right off your street
 * Overdrive

 * Oh I don't need an education Just a microphone's intoxication And I can't deal with concentration Give me tongues and stimulation
 * Vacation

 * So hurting here is where I belong dreaming a song Blood on my hands to stay strong The flowers in the graveyard are all gone I don't belong There is no right to heal the wrong Soup's on hot feelin' like a do or die I can't throw up don't think i evan want to try
 * Lemon

 * I'll go where secrets are sold Where roses unfold I'll sleep as time goes by
 * Lemon

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

title: Katy Rose


text:
Cabaret (musical)

Cabaret is a musical based on a book written by Christopher Isherwood, music by John Kander and lyrics by Fred Ebb. The 1966 Broadway production became a hit, inspiring numerous subsequent productions in London and New York, as well as the 1972 film by the same name.

Dialogue

 * Fraulein Schneider: [singing] 'When I had a man, my figure was dumpy and fat...So what?' -- Fraulein Schneider
 * Variant lyric:
 * When I had a man, my figure was boyish and flat, so what?
 * Through all of our years he was so disappointed in that, so what?
 * Now I have what he missed and my bosom is full,
 * But he lies in a churchyard plot.
 * If it wasn't to be that he ever would see the abundance of me,
 * So what?

 * Sally Bowles: [singing] 'You can tell my papa, that's alright, cause he comes in here every night, but don't tell Mama what you saw!' -- Sally Bowles

 *  Sally Bowles: 'I used to pretend I was someone quite mysterious and fascinating. Then I grew up and realized I was mysterious and fascinating'

 * Emcee: [on Rosie] 'Rosie is so called because of the color of her cheeks!' [slaps Rosie's bottom]

 * Emcee: [on Lulu] 'Oh, you like Lulu, huh? Yeah? Well too bad! So does Rosie!'

 * Emcee [on Frenchie] 'You know, I like to order Frenchie on her side. On your side, FRENCHIE! [Frenchie glares at him]...Just kidding.'

 * Emcee: [on Texas] 'Yes, Texas is from AMERICA! Mmmhmm. But she's a very cunning linguist!' --Emcee

 * Emcee: [on Fritzie] [Fritzie is humping a pole] 'Oh, Fritzie! Would you stop that? Already this week we have lost two waiters, a table, and three bottles of champagne up there like this!'

 * Emcee: [on Helga] 'Helga is the baby. I am like a father to her! So when she's bad... I spank her. And she's very very very very very very bad!' [spanks her on each 'very']

 * Emcee, Lulu, Bobby [singing] 'Beedle dee dee dee! Two Ladies!'

 * Herr Schultz:'At last, someone who cares if I am foolish!'

 * Fraulein Kost, Herr Ludwig, the Company: [singing] 'Oh Fatherland, Fatherland, show us the sign. Your children have waited to see! The morning will come when the world is mine! Tomorrow belongs to ME!'

 * Fraulein Schneider: [Fraulein Kost has been caught sneaking sailors out of her room] 'All day, sailors in, out, in, out. God only knows what the neighbors think I run--a BATTLESHIP?'

 * Fraulein Kost:[Herr Schultz has been caught coming out of Schneider's room] 'Good evening, Fraulein Schneider. I see we have been busy today, ja?'

 * Herr Ludwig: [on Schultz]He is NOT a German!'

title: Cabaret (musical)


text: User talk:69.235.137.197

title: User talk:69.235.137.197


text:
Talk:Principia Discordia

What is this?
Would someone who knows what this is please add it at the top? Is this a book? When was it published? Who wrote it?
 * The blue heading links to the article on Wikipidia, and there is now also a more explicit graphic link at the bottom. ~ Kalki 22:09, 25 October 2005 (UTC)
 * The blue heading links to the article on Wikipidia, and there is now also a more explicit graphic link at the bottom. ~ Kalki 22:09, 25 October 2005 (UTC)

It seems to me here that this particular Wikiquote page may have been taken over by a group of ex-hippies to do with as they wish, but I may be mistaken in this assertion... ~ Wise Raven
 * It does seem a surprisingly obscure work to find featured on the Wikiquote Main Page. As far as contributor interest groups are concerned, I do think being taken over by ex-hippies, as may be the case, is not such a bad thing as being taken over by semiliterate children, as appears to be the case with numerous articles on television programs and game media. ~ Ningauble 15:07, 26 July 2010 (UTC)

This is That which Is.
Otherwise known as I am therefore I am. Whosoever goest out and comest not in shall remember to shut the door.

removed statement

 * One day, I came upon a man urinating in a bus station. When I confronted him about his action, he turned to me, without stopping, and said: "Keep in mind that the universe is in constant flux, nothing that occurs one moment has any relevance to anything else. Everything you believe, feel, or think is based on the false assumption that truth exists. Thus, you are free to do any action which brings you pleasure. That humanity feels restricted by morals is one of the funniest jokes I've ever heard." So I beat the shit out of him and took his wallet.

Though perhaps a plausible addition, I am not aware of this in any of the PD editions I am familiar with, and it seems it might have simply been a user comment or an illegitimate insertion here by. ~ Kalki (talk · contributions) 13:00, 25 November 2010 (UTC)
 * This passage is found in the 20 pages of new content that the Steven Jackson Games edition added to the end of the 5th edition of the Principia (which in most versions consists of only a Wester Union Telegram filled with m's. So, sort of a second 5th edition.) I don't know how this quote should be included if is to remain. Are there any quotes from editions 1-3 to use as examples of how to quote from an edition other than the fourth? -71.221.126.230 23:14, 26 December 2010 (UTC)

Guys, if its in any addition of the principia at all it should remain. It is all the word of Eris. (Aeris144 16:09, 23 January 2011 (UTC))

Language
mu is Jap, not Chink.
 * The provided link to the Mu already provides the information that the term Mu for the related concepts is Japanese and Korean, and not Chinese, and the ethinc slurs by an anonymous coward using an IP are not needed to point this out. ~ ♞☤☮♌Kalki·†·⚓⊙☳☶⚡ 10:20, 6 June 2015 (UTC)

title: Talk:Principia Discordia


text:
Talk:Charles Coffey

This needs more information or should be deleted. Who is this guy anyway? And what does that quote mean?

title: Talk:Charles Coffey


text: User:Throup

title: User:Throup


text: User talk:Throup

title: User talk:Throup


text:
Skye Sweetnam

Skye Alexandra Sweetnam (born May 5, 1988) is a Canadian pop-rock singer. Her debut album, entitled Noise From The Basement, was released in 2004.

Quotes

 * I think acting is something that I want to make sure that, if I do make that transition, I want to make sure that it's really dramatic, and put my energy into acting, you know, fully instead of trying to balance a whole lot of things at once, 'cause I really don't want to become one of those singer-trying-to-be-actor-but-didn't-really-work kind of thing.
 * On becoming a full-time actress

 * I don't know, it's not like I was thinking about it being my trademark or whatever it is. I mean I don't think I'll get it removed or anything. But, I don't know - it's part of me, I'm used to it.
 * On her beauty mark

 * We caught a lot of people off guard, which is cool. And I think we made things more enjoyable for the boyfriends who had been dragged to the concert.
 * On opening for Britney Spears

 * Our bios are sort of similar, but guys in rock bands all wear T-shirts and jeans and nobody ever says they're all the same.
 * On constantly being compared to Avril Lavigne

 * If things blow up then that's awesome and if things don't, I still can live a normal life and be able to go to the grocery store without people following me.
 * On her career

 * I like being very loud and noisy, as the title of my album says.

 * I co-wrote all the songs on my album, and co-produced a lot of them as well, So being involved in the creative aspect and not just singing is so important to me because, above everything, I love to create and I love to express myself."

 * To me, song writing is so therapeutic, it's just part of my life and I can't go through the day without having some kind of song idea pop into my head where I have to write Sharpie all over my arm trying to remember the song idea."

 * Performing, for me, is like oxygen. Performing, for me, is like the only thing that is a constant in my life, because you're in all different places doing all different things, but when I get up on stage, that's where I know exactly what to do, that's where I own it.

 * Was Ashlee Simpson nice to me? Yes. She said "hi" very clearly in a nice voice!

title: Skye Sweetnam


text:
User:Kjammer~enwikiquote

Hello, I am Kjammer, a member of Wikiquote since May 9, 2005. I am primarily a Wikipedia user and rarely ever edit pages on Wikiquote.

More information about me (as a Wikipedia user) can be found here.

title: User:Kjammer~enwikiquote


text:
User talk:Sangers

~ MosheZadka (Talk) 06:15, 26 October 2005 (UTC)

title: User talk:Sangers


text:
Talk:Brain

I have not found the following quote anywhere except WQ and mirrors. ~ MosheZadka (Talk) 06:22, 26 October 2005 (UTC)

"If our brains were simple enough to be understood; we'd be so simple that we couldn't." - (origin needed)

Unsourced

 * The Human Brain starts working the moment you are born and never stops until you stand up to speak in public!
 * Sir George Jessel

 * I am a brain, Watson. The rest of me is a mere appendix.
 * Arthur Conan Doyle

 * We know the human brain is a device to keep the ears from grating on one another.
 * Peter De Vries

 * The mind is what the brain does for a living.
 * Bert Peeters

 * The brain has the potential to unlock secrets unknown. We poor blind, deaf, mute, barbaric humans just have no idea how to unlock that potential.
 * Anonymous

title: Talk:Brain


text:
Talk:Men in Black (1997 film)

Zed's Monologue
You'll dress only in attire specially sanctioned by MIB special services. You'll conform to the identity we give you, eat where we tell you, live where we tell you. From now on you'll have no identifying marks of any kind. You'll not stand out in any way. Your entire image is crafted to leave no lasting memory with anyone you encounter. You're a rumor, recognizable only as deja vu and dismissed just as quickly. You don't exist; you were never even born. Anonymity is your name. Silence your native tongue. You're no longer part of the System. You're above the System. Over it. Beyond it. We're "them." We're "they." We are the Men in Black.

Could someone add Zed's voice over monologue (spoken when Jay suits up) that contains the lines: "Recognized as Deja vu and dismissed just as quickly" and "Silence, your native tongue"--67.72.98.116 04:58, 14 February 2007 (UTC)
 * Added it myself.--67.72.98.113 01:58, 11 March 2007 (UTC)

need to edit why Tiffany deserved to die?
the first bit should be

"First, I was going to pop this guy hanging from the streetlight... but I realized he's just working out. How'd I feel if somebody bust me in my ass while I'm on the treadmill?"

instead of that line about a hook guy and a beanbag.. that is incorrect, i cannot edit myself because it looks locked 82.16.132.135 21:30, 10 February 2016 (UTC)

title: Talk:Men in Black (1997 film)


text:
Dragonheart

Dragonheart is a 1996 film about a dragon who gets caught by a knight and must work together to overthrow an evil king gifted with partial immortality.
 * Directed by Rob Cohen. Written by Patrick Read Johnson and Charles Edward Pogue

Bowen

 * All my life I've dreamed of serving noble kings, noble ideals. Dreams die hard and you hold them in your hands long after they've turned to dust. I will not be that naive again.
 * You should have eaten her.
 * Don't clutter up a clever scheme with morality.
 * There's nothing noble about crushing desperate men.
 * A knight is sworn to valor. His heart knows only virtue. His blade defends the helpless. His might upholds the weak. His word speaks only truth. His wrath undoes the wicked.

Draco

 * (flings a knight's corpse at Bowen and Gilbert) That's all that's left of the last dragon-slayer who tangled with me! If I were you, I'd quit while I was ahead!
 * Come, visit the woods! (drags Bowen through the trees)
 * I don't want to kill you, I never did! And I don't want you to kill me! How do we gain? If you win, you lose a trade. If I win, I wait around for the next sword-slinger thirsting to carve a reputation out of my hide. I'm tired of lurking in holes and skulking in darkness. I'm gonna let you up now. And if you insist, we can pursue this fracas to its final stupidity. Or... you can listen to my alternative.
 * Long ago, when man was young and the dragon already old, the wisest of our race took pity on man. He gathered together all the dragons, making them vow to watch over man, always. And at the moment of his death, the night became alive with those stars. [points towards the constellation Draco] And thus was born the Dragons' Heaven. But when we die, not all dragons are admitted to this shining place. No, we have to earn it. And if we don't, our spirit disappears as if we never were. And that's why I shared my life force with a dying boy - so I would reunite man and dragon, and ensure my place among my ancient brothers of the sky. But... my sacrifice became my sin.
 * You should never listen to minstrels' fancies. A dragon would never hurt a soul, unless they tried to hurt him first.
 * When you squeeze the nobilty, it's the peasants that feel the pinch.
 * (regarding Sir Eglamore) I merely chewed in self defense, but I never swallowed.
 * Next time, I'll collect the money, and you can die!

Gilbert of Glockspur

 * The sword against the fang and claw. The flame against shield. Blah, blah, blah, which one would win? Blah, blah, field, shield, wield. Whose flesh from bones would be peeled. Oh, no. Whose fate would soon be sealed. Whose fate would soon be sealed? Whose fate would soon be sealed?
 * (during Bowen and Draco's stalemate) Into the moonlit night the titans dueled, in mortal combat bound. Oh, who'd the fatal false step make? Whose blood would stain the ground? (yawns)
 * Avalon, oh Avalon, for you I quest each day.
 * The resting place of Arthur and the old code of his way.
 * And when I find those holy stones, I'll pray, I'll pray, I'll pray.
 * Oh Avalon, bright Avalon, think me not a fool.
 * My quest is not for vanity. My quest is spiritual!

 * (shoots a man in the rear) Turn the other cheek, brother.
 * (at the end) And in the days following Draco's sacrifice, Bowen and Kara led the people in a time of justice and brotherhood. As I remember it now, those were golden years, warmed by an unworldly light. And when things became the most difficult, Draco's star shone more brightly, for all of us who knew where to look!

Quotes
A knight is sworn to valor. His heart knows only virtue. His blade defends the helpless. His might upholds the weak. His words speak only truth. His wrath undoes the wicked. His knowledge will defeat ignorance. His skills will be taught to the willing. His temper shall be held by patience. He will give aid to those who seek it. He will ask for aid when needed. The Old Code

Dialogue

 * Young Einon: The peasants are revolting!
 * Brok: They've always been revolting, prince. Now they're rebellin'.

 * Gilbert: My humble life is indebt to your exalted prowess, your dauntless courage, and your superb, swift sword!
 * Bowen: You have the poet's gift of exaggeration.
 * Gilbert: Oh, sir, you should read my histories.

 * Bowen: You can keep your gratitude, I'll take the gold, yours or the king's.
 * Felton: Gold, knight?
 * Bowen: We made a bargain, didn't we? One dragon killed, one bag of gold.
 * Gilbert: Your honor has a price, Sir Knight?
 * Bowen: It has expenses. Honor won't feed my belly nor shoe my horse.

 * Gilbert: I've decided to compose the Ballad of Bowen! How do you prefer I should write this?
 * Bowen: Far away!

 * Draco: Why must you knight errants, out to make a name for yourselves, always pick on us dragons?
 * Bowen: I don't need a name! And I've got a collection of my own!
 * Draco: [snorts in disgust] You're one who kills dragons for money.
 * Bowen: It's honest enough work! One must earn a living!
 * Draco: Oh yes, one must live. Well, since you seek a profit, we might as well begin.
 * Bowen: Oh, don't flatter yourself! It's not the profit, it's the pleasure!
 * Draco: Perhaps less pleasurable and more costly than you think!

 * Draco: If you win, you'll be out of work.
 * Bowen: I will not stop until I've rid the world of every last one of you.
 * Draco: I AM the last one!

 * Bowen: (stuck in Draco's mouth: sees an arm stuck in the teeth and plucks it out) Oh, good lord...Sir Eglamore. (throws the arm out behind him)
 * Draco: Oh, thank you very much. That's been stuck down there for months. Would you mind getting your buttocks off my tongue?
 * Bowen: Why should you be comfortable? My armor is rusting in your drool, and your breath is absolutely foul.
 * Draco: Well, what do you expect with old knights rotting between my molars?

 * Bowen: What does a dragon know of the Old Code, anyway?
 * Draco: His blade defends the helpless. His might upholds the weak. His word speaks only truth.
 * Bowen: Shut up. I remember. That's all it is, a memory. Nothing can bring it back.
 * Draco: You sound like one who tried.
 * Bowen: And failed. So I no longer try to change the world, dragon, I just try to get by in it.
 * Draco: Yes, well, it's better than death, I suppose.
 * Bowen: Oh, is it? I should think you'd welcome death. You know, the last of your kind, all your friends dead, hunted wherever you go...
 * Draco: Do you delight in reminding me? Yes, knight, I do long for death... but fear it.
 * Bowen: Why? Aside from your misery, what's to lose?
 * Draco: My soul.

 * Draco: (notices the dragon teeth attached to Bowen's shield) You must have hated us very much.
 * Bowen: I hated one of you. These I killed because I wanted to kill him. But I never found him. And I never will; if you're the last, he must be dead.
 * Draco: (smiling awkwardly) Oh, yes. Tell me - what was he like, this, uh, dragon that you hated?
 * Bowen: He only had half a heart. But even that was enough to pollute an innocent boy.
 * Draco: (suddenly angry) Einon was no innocent! He polluted the heart!
 * Bowen: How do you know that?! How do you know that, dragon?
 * Draco: (scratches his head evasively) All dragons know that story! What was to be their hope became their doom! A spoiled, ungrateful child was given a great gift and destroyed it!
 * Bowen: No! I knew Einon. I was his teacher. I taught him the ways of honor, of right.
 * Draco: Then he betrayed you, just as he betrayed the dragon whose heart he broke.
 * Bowen: That's a lie, dragon!
 * Draco: STOP CALLING ME "DRAGON"! I have a name!
 * Bowen: (after a short silence) Well, what is it?
 * Draco: Huh. You couldn't possibly pronounce it in your tongue.
 * Bowen: (smirking) Try me!
 * Draco: It's-- (suddenly roars in pain and clutches at his shoulder; in Einon's castle, Kara has stabbed him)

 * Draco: Have you been watching over me all night?
 * Bowen: I've been thinking.
 * Draco: Yes? About what?
 * Bowen: Many things. Mostly about what to call you. I think I've found you a name.
 * Draco: You say that as though you reached up and plucked it from the sky.
 * Bowen: I did. Up there. Do you see that group of stars? (points at the Draco constellation)
 * Draco: I know those stars very well.
 * Bowen: Do you see the shape that they make?
 * Draco: Mm-hmm, a dragon.
 * Bowen: Yes. They call it Draco. It means "dragon" in the scholars' speech.
 * Draco: (chuckling) So instead of calling me "dragon" in your tongue, you'll call me "dragon" in some other tongue?
 * Bowen: You're right, it's silly.
 * Draco: No! No, I would be honored to be named after those stars. I... I truly would. Thank you, Bowen. "Draco"...

 * Kara: In your kingdom, Einon, there are worse fates than death.
 * Einon: I'll think one up for you.

 * Draco: Who's the girl?
 * Bowen: A nuisance! Get rid of her!
 * Draco: Why?
 * Bowen: They're trying to placate you with a sacrifice.
 * Draco: (sarcastically) Oh, now whoever gave them that bright idea?
 * Bowen: Never mind! Just get rid of her!
 * Draco: How?
 * Bowen: Eat her!
 * Draco: Oh, please. Yuck!
 * Bowen: Aren't we squeamish? You ate Sir Eglamore, hypocrite!
 * Draco: I merely chewed in self-defense, but I never swallowed.
 * Bowen: Improvise!
 * Draco: All right, all right!

 * Kara: You have a beautiful voice.
 * Draco: Oh, thank you. We dragons love to sing when we're happy.
 * Kara: Well, you're not like a dragon at all.
 * Draco: Well, how many dragons do you know?
 * Kara: Well, you're the first.
 * Draco: You should never listen to minstrels' fancies. A dragon would never hurt a soul, unless they tried to hurt him first.

 * Gilbert: Well done, Bowen! You've done it again! What a brute! That's even bigger than the last one!
 * Bowen: Actually, he's about the same size.

 * Einon: Times have not been kind to you, Bowen. You should have never broke with me.
 * Bowen: It was you who broke with me!
 * Einon: And yet, you returned to me with this girl I lost.
 * Bowen: (Kara shakes her head and raises her dagger) I think she wants to stay lost.
 * Einon: Not her decision, I'm afraid! [draws his sword] I'm ready for my lesson now, knight!

 * Einon: Lay down, Bowen! You're the sad remains of dead systems and dead beliefs!
 * Bowen: They were your beliefs!
 * Einon: Never! Never mine!
 * Bowen: [heartbroken] But... you spoke the words...you spoke them from your heart!
 * Einon: I vomited them up because I couldn't stomach them! Because I knew it was what you wanted to hear!
 * Bowen: Lies! Liar! I taught you!
 * Einon: You taught me to fight, that's all! I took what I needed from you. You taught me to fight! [stabs Bowen in the shoulder, disarming him] You taught me well.

 * [Bowen stands in the former place of the Round Table on Avalon.]
 * King Arthur: A knight is sworn to valor.
 * Bowen: A knight is sworn to valor!
 * King Arthur: His heart knows only virtue.
 * Bowen: His heart knows only virtue!
 * King Arthur: His blade defends the helpless.
 * Bowen: His blade defends the helpless!
 * King Arthur: His might upholds the weak.
 * Bowen: His might upholds the weak!
 * King Arthur: His word speaks only truth.
 * Bowen: His word speaks only truth!
 * King Arthur: His wrath undoes the wicked.
 * Bowen: His wrath undoes the wicked!

 * (Draco has been chained down by Einon)
 * Draco: I can't see! Are the stars shining tonight?
 * Queen Aislinn: Brightly, my lord! Brightly!
 * Draco: Then let us end it.

 * King Einon: I know why you brought me the dragonslayers. You wanted them to kill him because you wanted me dead.
 * Queen Aislinn: I wanted to correct a mistake made years ago, when I saved a creature not worth saving.
 * King Einon: How un-motherly of you.

 * Draco: Now it's you, Bowen. It's you that has to do it.
 * Bowen: What are you talking about?
 * Draco: As the heart binds Einon to me in life, it binds us in death.
 * Bowen: [lifting a chain off Draco's head] That's not... true!
 * Draco: You've seen that it is! Through the heart, we share each other's pains and power. But in my half beats the life source! For Einon to die, I must die!
 * Bowen: Einon is dead!
 * Draco: HE LIVES!
 * Bowen: It doesn't matter. Don't you hear it? Our rebels have stormed the castle; alive or dead, Einon's beaten! We've won!
 * Draco: You will never win until Einon's evil is destroyed, and to do that, you must destroy me!
 * Bowen: No.
 * Draco: Once you swore your sword and service were mine, to call when I had need of you, to ask what I would of you. I hold you to your vow, knight! [looking aside] He's coming. Coming to stop you! Strike before it's too late!
 * [Kara approaches, shaking her head and trying to dissuade Bowen]
 * Bowen: You are the last.
 * Draco: My time is over! Strike!
 * Bowen: You are my friend.
 * Draco: Then as my friend, STRIKE, PLEASE!
 * Bowen: I can't.
 * Draco: Then I will make you! [starts snarling and clawing at Bowen] Fight back, dragon-slayer! Defend yourself!

 * Bowen: [distraught] What now, Draco? Without you, what do we do? Where do we turn?
 * Draco's voice: [comforting] To the stars, Bowen. To the stars.

Cast

 * Dennis Quaid - Bowen
 * David Thewlis - King Einon
 * Pete Postlethwaite - Gilbert of Glockenspur
 * Dina Meyer - Kara
 * Jason Isaacs - Lord Felton
 * Brian Thompson - Brok
 * Lee Oakes - Young Einon
 * Wolf Christian - Hewe
 * Terry O'Neill - Redbeard
 * Eva Vejmelková - Felton's Minx
 * Milan Bahúl - Swamp Village Chief
 * Peter Hric - King Freyne
 * Sandra Kovacicova - Young Kara
 * Kyle Cohen - Boy in Field
 * Thom Baker - Aislinn's Chess Partner
 * Julie Christie - Queen Aislinn
 * Sean Connery - Draco (voice)
 * John Gielgud - King Arthur (voice)
 * Buddy Quaid - Cook/Servant

title: Dragonheart


text:
User talk:165.21.154.115

~ MosheZadka (Talk) 09:49, 26 October 2005 (UTC)

title: User talk:165.21.154.115


text:
User:Diomidis Spinellis

You can find more about me through my home page.

title: User:Diomidis Spinellis


text:
A Knight's Tale

A Knight's Tale is a 2001 film about a peasant squire who takes up the identity of his master after an untimely demise so that he can compete in jousting tournaments.
 * Written and directed by Brian Helgeland.

He Will Rock You.taglines

Geoffrey Chaucer

 * My lords, my ladies, and everybody else here not sitting on a cushion! [crowd roars] Today... today, you find yourselves equals. [crowd roars] For you are all equally blessed. For I have the pride, the privilege, nay, the pleasure of introducing to you to a knight, sired by knights. A knight who can trace his lineage back beyond Charlemagne. I first met him atop a mountain near Jerusalem, praying to God, asking his forgiveness for the Saracen blood spilt by his sword. Next, he amazed me still further in Italy when he saved a fatherless beauty from the would-be ravishing of her dreadful Turkish uncle. [crowd, boo] In Greece he spent a year in silence just to better understand the sound of a whisper. And so without further gilding the lily and with no more ado, I give to you, the seeker of serenity, the protector of Italian virginity, the enforcer of our Lord God, the one, the only, Sir Ulllrrrich von Lichtenstein! [crowd roars] Thank you, thank you, I'll be here all week.

 * I will eviscerate you in fiction. Every pimple, every character flaw. I was naked for a day; you will be naked for eternity.

 * Good people, I missed my introduction! But please... Please I pray you, hear it now, for I would lay rest the grace in my tongue and speak plainly. Days like these are far too rare to cheapen with heavy handed words, and so, I'm afraid without any ado whatsoever...[passes in front of Prince Edward] Excuse me My Lord, Here he is, one of your own, born a stone's throw from this very stadium, and here before you now, the son of John Thatcher... Sir Wiiiiiilliam Thatcheeer!

Count Adhemar

 * You have been weighed, you have been measured, and you have been found wanting. In what world could you possibly beat me?

Dialogue

 * William: I'll ride in his place.
 * Roland: What's your name, William? I'm asking you, William Thatcher, to answer me with your name. It's not Sir William. It's not Count, or Duke or Earl William. It's certainly not King William.
 * William: I'm aware of that.
 * Roland: You have to be of noble birth to compete!
 * William: A detail. The landscape is food. Do you want to eat or don't you?
 * Roland: If the nobles find out who you are there'll be the devil to pay.
 * William: Then pray that they don't.

 * [William and his friends first meet Geoffrey Chaucer, walking naked down the road]
 * William: Oi, sir! What are you doing?
 * Chaucer: Uh... trudging. You know, trudging? [pause] To trudge: the slow, weary, depressing yet determined walk of a man who has nothing left in life except the impulse to simply soldier on.
 * William: Uhhh... were you robbed?
 * Chaucer: [laughs] Uh, interesting question actually. Yes, and then at the same time a huge, resounding no. It's more a sort of involuntary vow of poverty... really. But you know, on the brighter side, trudging does represent pride. Pride, resolve and faith in the [unhappily] Good Lord Almighty, please, Christ, rescue me from my current tribula-- OW! ...lations. [picks a stone out of his foot with his teeth]

 * William: I'm Ulrich von Lichtenstein, from Gelderland, and these are my faithful squires. [gestures to Roland] Delves, of Dodgington, [gestures to Wat] and Falhurst, of Crew.
 * Chaucer: I'm Richard the Lionheart, pleased to meet you. No, wait a minute, I'm Charlemagne! No, I'm Saint John the Baptist!
 * William: [drawing a dagger] All right, hold your tongue, sir, or lose it.
 * Chaucer: Now, you see, that I do believe... Sir Ulrich.

 * [Count Adhemar takes note of William's armor]
 * Adhemar: Your armour, sir.
 * William: What about it?
 * Adhemar: How stylish of you to joust in an antique. You'll start a new fashion if you win. My grandfather will be able to wear his in public again, and a shield, how quaint.
 * William: [Angrily] Hyah! [William rides off]
 * Adhemar: Some of these poor country knights, little better than peasants.

 * Adhemar: Colville withdraws. Ulrich advances. Why didn’t Ulrich finish him?
 * Jocelyn: He showed mercy.
 * Adhemar: Then he shows his weakness. That’s all mercy is.

 * Old Bishop: [after William rides into the cathedral on a horse to woo Jocelyn] Does this not shock you, ladies?
 * Jocelyn: Certainly, my lord, I just, I only laugh just to keep from weeping.
 * Old Bishop: [Understandingly] Beauty is such a curse. Pray your years come swiftly for you, pray your beauty fades that you may better serve God.
 * Jocelyn: Oh, and I do, my lord. I pray for it all the time. Why, God, did you curse me with this face?
 * Old Bishop: God's will has a purpose, but we may not know it. [Extends his hand so that she may kiss his ring]
 * Jocelyn: [goes to kiss hand, but instead admires the costly ring on his finger] Oh, that is lovely... [laughs as the bishop briefly sputters before singing a hymn]

 * Jocelyn: I've come to see what you'll wear to banquet tonight.
 * William: Nothing.
 * Jocelyn: Well, then we'll cause a sensation, for I'll dress to match.
 * William: Don't you ever get tired of putting on clothes?
 * Chaucer: [mutters to William] Um, I believe she's talking about taking them off, my lord.
 * Jocelyn: A flower is only as good as its petals. Don't you think?
 * William: A flower is good for nothing.
 * Jocelyn: Really?
 * William: You can't eat a flower, a flower can't keep your warm...
 * Jocelyn: And a rose never knocked a man off a horse either.
 * William: You're just a silly girl, aren't you?
 * Jocelyn: Better a silly girl with a flower, than a silly boy with a horse and a stick... [walks away]
 * Wat: It's called a lance... hello... ?

 * [William and the gang practice dancing upon receiving Jocelyn's invite for her banquet, with Geoffrey Chaucer keeping beat in practice]
 * Chaucer: And one and two and three and four and your hands should be light like a birdie on a branch. And one and two and three and four and Wat doesn't lead he follows like a girl. [Wat punches him] And one and two and twirlie twirlie twirlie! And one and two and you're still getting it wrong! And one and two and three and four you can hit me all day cause you punch like a... what?
 * Roland: [while sewing William's tunic] A girl!

 * [William has been unmasked as a fake knight and Jocelyn asks him to run away with her]
 * Jocelyn: Damn your pride, William. It is you and only you that will not see you run.
 * William: My pride is the only thing that they can't take from me.
 * Jocelyn: They can take it away from you, they can and they will. Oh, they will. But love they cannot take.

 * Prince Edward: [sighs] What a pair we make, huh? Both trying to hide who we are, both unable to do so. Your men love you. If I knew nothing else about you, that would be enough. But you also tilt when you should withdraw... and that is knightly, too. [to guards] Release him. [Edward turns to the crowd] He may appear to be of humble origins, but my personal historians have discovered that he is descended from an ancient royal line. [crowd murmuring] This is my word... and, as such, is beyond contestation. [turns to William] Now, if I may repay the kindness you once showed me... take a knee. [draws his sword] By the power vested in me by my father, King Edward, and by all the witnesses here, I dub thee Sir William. [crowd cheers] Arise... Sir William. Can you joust?
 * William: What?
 * Prince Edward: There's my tournament to finish. Now, are you fit to compete, or shall the forfeit stand?
 * William: No, I'm fit.
 * Prince Edward: I shall have your opponent informed of it. You look for his shield in the lists... at once.
 * William: Thank you, my lord.

 * [Standing over Adhemar]
 * Wat: You have been weighed.
 * Roland: You have been measured.
 * Kate: And you absolutely...
 * Chaucer: Have been found wanting.
 * William: Welcome to the New World. God save you, if it is right that he should do so.

Taglines

 * He Will Rock You.
 * He didn't make the rules. He was born to break them.
 * From peasant to knight; one man can change his stars.

Cast

 * Heath Ledger - William Thatcher/Sir Ulrich von Lichtenstein of Gelderland
 * Rufus Sewell - Count Adhemar of Anjou
 * Shannyn Sossamon - Lady Jocelyn
 * Paul Bettany - Geoffrey Chaucer
 * Laura Fraser - Kate the Farrier
 * Mark Addy - Rolan
 * Alan Tudyk - Wat Falhurst
 * Bérénice Bejo - Christiana
 * James Purefoy - Sir Thomas Colville (Edward the Black Prince)

 * Christopher Cazenove - John Thatcher, William's father
 * Steven O'Donnell - Simon
 * Scott Handy - Germaine
 * Nick Brimble - Sir Ector
 * Roger Ashton-Griffiths - Old Bishop
 * David Schneider - Relic Seller
 * Alice Connor - Lone Girl
 * Berwick Kaler - Man in Stocks
 * Jonathan Slinger - Peter the Pardoner

title: A Knight's Tale


text:
User talk:Diomidis Spinellis

~ MosheZadka (Talk) 11:13, 26 October 2005 (UTC)

title: User talk:Diomidis Spinellis


text:
User talk:203.51.175.96

~ MosheZadka (Talk) 11:14, 26 October 2005 (UTC)

title: User talk:203.51.175.96


text:
Evolution (film)

Evolution is a 2001 film about a fire fighting cadet, two college professors, and a geeky-but-sexy government scientist who are working against an alien organism that has been rapidly evolving ever since its arrival on Earth inside a meteor.
 * Directed by Ivan Reitman. Written by David Diamond, David Weissman and Don Jakoby.

Ira Kane

 * Allow me to share something with the entire class. Last night as I was grading papers, I came across two gems both entitled "Cells are Bad" and both with just one paragraph which I unfortunately committed to memory: "Cells are bad. My uncle lives in a cell. It's ten foot by twelve and he has to read the same old, boring magazine everyday. The end". And although my standards are nowhere near where they used to be, I still could not bring myself to put an "A" on top of those beauties. I hope you understand, guys.

 * Let's shampoo us some aliens!!

Harry Block

 * [during the second expedition to the meteorite cavern, to Ira about Dr. Reed] All she needs is a good humping. [mocks Reed while "demonstrating" sex] Oh Ira! I-i-i-i-ra...OOOH IRA!

Dialogue

 * Harry Block: Keep your chin up. You know she wanted to give you some, didn't you?
 * Ira Kane: Were you even in that courtroom?
 * Block: Getting barbecued like baby back ribs? It's all foreplay, baby.
 * Kane: [upon discovering that their lab's been ransacked] Oh, we've been hit!
 * Block: Forget the foreplay. We just got screwed!

 * [Ira and Harry see a unique organism.]
 * Ira Kane: Hey, cool. Snag one.
 * Harry Block: Snag one?
 * Kane: Yeah, snag one and put it in the bucket.
 * Block: I've seen this movie, the black dude dies first. You snag it.

 * [An alien fly is inside Harry Block and the surgeons debate on how to remove it]
 * Dr. Allison Reed: What do we do?
 * Dr. Paulson: We might have to amputate.
 * Nurse Tate: Saw.
 * Harry Block: Whoa, Doc, don't take my leg! Ira, don't let them take my leg.
 * Ira Kane: Isn't there anything else you can do? He thinks he's an athlete.
 * Nurse Tate: Wait, doctor, look.
 * Paulson: Ooh. [looks in bug inside, crawling] It's headed for his testicles.
 * Block: Take it, take it! Take the leg!!
 * Reed: Wait, wait, wait!
 * Block: No, no, no, no, no, no, no, no!
 * Reed: It's going the other way.
 * Paulson: Alright, give me some forceps. I might be able to catch it in his colon.
 * Reed: How are you going in?
 * Paulson: Rectally.
 * Harry: [squealing] NOOOO!
 * Tate: I'll get the lubricant.
 * Paulson: There's no time for lubricant.
 * Harry: THERE'S ALWAYS TIME FOR LUBRICANT!!

 * [Harry, Wayne, and Irah hunt for an alien dragon-like creature in a shopping mall. Wayne has an idea to tries to get its attention by saying "caw-caw" and "tookie tookie" repeatedly on a live mic]
 * Harry Block: Wayne! I think we've established that "Ca-caw, ca-caw" and "Tookie, tookie" don't work.
 * Wayne Grey: Right. Sorry. [starts singing into the mike] You are so beautiful to me.
 * Ira Kane: Step back, Harry, I'm gonna shoot him.
 * Block: Uh-uh, stand down. I'm taking this one out myself.
 * Grey: You are so beautiful to me.
 * Block: [slightly mutters] Wayne, would you please stop? You're embarrassing me.

 * Ira Kane: Ira Kane, head of the science department, Glen Canyon Community College.
 * Harry Block: Harry Block, United States Geological Survey.
 * Wayne Grey: Wayne Grey. Did some chemistry in high school.

 * Dr. Allison Reed: There's something I've been wanting to tell you, but I don't know exactly how.
 * Ira Kane: Well, we're all adults here, and we're all about to die a very horrible death anyway, so?
 * Reed: I would've rocked your world.
 * Kane: You already have.

Taglines

 * Have a nice end of the world.
 * Coming to wipe that silly smile off your planet.

Cast

 * David Duchovny - Dr. Ira Kane
 * Julianne Moore - Dr. Allison Reed, CDC
 * Orlando Jones - Prof. Harry Phineas Block
 * Seann William Scott - Wayne Grey
 * Ted Levine - General Russell Woodman
 * Dan Aykroyd - Governor Lewis

title: Evolution (film)


text:
Anthony Daniels (psychiatrist)

Anthony Daniels (born 11 October 1949) is an English writer and retired physician (prison doctor and psychiatrist) who frequently uses the pen name Theodore Dalrymple.

Quotes

 * Where fashion in clothes, bodily adornment, and music are concerned, it is the underclass that increasingly sets the pace. Never before has there been so much downward cultural aspiration.
 * Introduction, Life at the Bottom: The Worldview That Makes the Underclass (2001), p. xiv. Google Books.

 * Political correctness is communist propaganda writ small. In my study of communist societies, I came to the conclusion that the purpose of communist propaganda was not to persuade or convince, nor to inform, but to humiliate; and therefore, the less it corresponded to reality the better.  When people are forced to remain silent when they are being told the most obvious lies, or even worse when they are forced to repeat the lies themselves, they lose once and for all their sense of probity.  To assent to obvious lies is to co-operate with evil, and in some small way to become evil oneself.  One's standing to resist anything is thus eroded, and even destroyed.  A society of emasculated liars is easy to control. I think if you examine political correctness, it has the same effect and is intended to.
 * Frontpage Magazine interview (August 31, 2005). Archived from the original on June 29, 2013.

 * Childhood in large parts of modern Britain, at any rate, has been replaced by premature adulthood, or rather adolescence. Children grow up very fast but not very far. That is why it is possible for 14 year olds now to establish friendships with 26 year olds - because they know by the age of 14 all they are ever going to know.
 * Frontpage Magazine interview (August 31, 2005).

 * Optimism is the parent of despair, while pessimism allows the mind to accustom itself to the inevitable disappointments of human existence by degrees, just as some drugs induce a state of tolerance. Pessimists, moreover, have the better sense of humour, for they have a livelier apprehension of pretension and absurdity. In a meritocracy, furthermore, those who fail must either indulge in elaborate mental contortions to disguise reality from themselves or sink into a deep melancholy.
 * British Medical Journal Views and Reviews: Desperate house calls (BMJ 2009;338:b212).

 * Multiculturalism as an official doctrine, complete with enforcing bureaucracies, undermines the rule of law because it seeks to divide people, formalise their cultural differences and enclose them in moral and intellectual ghettoes. As a result, as Bhiku Parekh puts it, ‘The idea of national culture makes little sense.’ But the rule of law requires a common cultural understanding, not merely the means of repression to enforce a legal code. Once that basic cultural understanding is lost, all that remains is repression, effective or ineffective as the case may be, and experienced by many as alien and unjust.
 * "Why Borders Matter", The Spectator (September 1, 2012).

 * Compassionate fellow-feeling ... can soon become self-indulgent and lead to spiritual pride. It imparts an inner glow, like a shot of whiskey on a cold day, but like whisky it can prevent the clear-headedness which we need at least as much as we need warmth of heart.
 * Migration: Multiculturalism and its Metaphors (2016)

 * Nothing is easier - or more gratifying - than to apologise for what your ancestors, enemies or political opponents have done or omitted to do. We get the kudos for having apologised, they get the blame for what we apologise for.
 * Migration: Multiculturalism and its Metaphors (2016)

 * Humor, fearlessness, seriousness, and honesty: the qualities that are hated with an equal hatred by all the smelly little orthodoxies that are contending for tenure in the humanities departments of our universities.
 * Migration: Multiculturalism and its Metaphors (2016)

 * When the Berlin Wall was dismantled I, like many other naive observers, supposed that the age of ideology was at an end. On the contrary, ideology proliferated, blossomed and balkanised; we underestimated people’s need, quasi-religious in nature, for an all-encompassing cause.
 * "Missing Communism", Quadrant (April 14, 2016)

 * Just imagine what the pattern of taking meals I have described actually means. The child who is subjected to it learns that, in the matter of when and how and what to eat, his appetite and opportunity are the only things he has to consult. Meals for him are not social occasions but nasty, solitary, British and short (and, I might add, frequent). He does not learn that, for the sake of the convenience or wishes of others, he sometimes has to refrain from eating or even to eat when he is not fully hungry. He does not learn to wait till others are served, or to share what food is on the table. He does not learn how to converse. These are very elementary social requirements that he does not acquire.
 * "Society Is Broken". CIS Occasional Paper 146, June 2016. The Centre for Independent Studies Limited, Sydney, NSW. PDF

 * Education is not a shield against stupidity, much less against brutality. Indeed, one might almost define an intellectual as someone who can witness a massacre and see a principle.
 * "The Great Hate Debate", Taki's Magazine (July 13, 2019).

 * With carefully nourished resentment, a man can go through his life blaming someone or something else for his failures. This enables him to be a failure and to feel morally superior to the world at the same time.
 * "Private Clubs and the Sour Pleasures of Resentment", The Epoch Times (August 19, 2021).

 * It is surely almost self-evident that the strongest political emotions are negative: for example, the rich are hated much more than the poor are loved.
 * "The Unseemliness of Incontinent Emotions", Quadrant, January-February 2022, p. 8.

 * The absurdity of modern ideological enthusiasms is evident, but while those who promote them make them the focus of their existence and the whole meaning of their lives, better-balanced people try to get on with their lives as normal. No one wants to spend his life arguing, let alone fighting, against sheer idiocy, and thus, sheer idiocy wins the day.
 * "Ideological Guerrillas Are Winning the War", The Epoch Times (November 13, 2022)

 * I am hesitant to write in a satirical vein because, as I and others have remarked, satire is prophecy. A number of current policies would have been regarded as satirical exaggeration only a few years ago. Who would have thought, say a decade ago, that a serious, or at any rate a prominent and powerful female politician (I refer here to the First Minister of Scotland), would argue that a man convicted of rape was actually, that is to say in reality, in fact, in every sense, a woman? Such propositions now elicit only irritation, not laughter; and irritation declines before long to resignation. Absurdity is first discussed, then adopted by a vanguard of intellectuals in search of a cause, and finally becomes an orthodoxy that it is socially unacceptable to question.
 * "The Triggers of History", Taki's Magazine (February 24, 2023).

City Journal (1998 - 2008)
Daniels' City Journal essays have also been collected in three books: 1) Not With A Bang But A Whimper: The Politics and Culture of Decline; 2) Our Culture, What's Left of It: The Mandarins and the Masses; and 3) Life at the Bottom: The Worldview that Makes the Underclass.

 * What is the point of restraint and circumspection, if such stream-of-consciousness vulgarity can win not merely wealth and fame but complete social acceptance?
 * Uncouth Chic (Autumn 1998).

 * There is no such thing, wrote Oscar Wilde, as a moral or an immoral book. Books are well written, or badly written.  Presumably, then, Mein Kampf would have been all right had it been better written.
 * Trash, Violence, and Versace: But Is It Art? (Winter 1998).

 * When every benefit received is a right, there is no place for good manners, let alone for gratitude.
 * What is Poverty? (Spring 1999).

 * Henceforth there are to be no fixed or inviolable principles of law at all—only an endlessly changing legal response to the fashionable causes of the moment.
 * All Our Pomp of Yesterday (Summer 1999).

 * There is nothing an addict likes more, or that serves as better pretext for continuing his present way of life, than to place the weight of responsibility for his situation somewhere other than on his own decisions.
 * Addicted to Addicts (Winter 1999).

 * I have never understood the liberal assumption that if there were justice in the world, there would be fewer rather than more prisoners.
 * Policeman in Wonderland (Spring 2000).

 * In the modern view, unbridled personal freedom is the only good to be pursued; any obstacle to it is a problem to be overcome.
 * All Sex, All the Time (Summer 2000).

 * Mere absurdity has never prevented the triumph of bad ideas, if they accord with easily aroused fantasies of an existence freed of human limitations.
 * All Sex, All the Time.

 * Having been issued the false prospectus of happiness through unlimited sex, modern man concludes, when he is not happy with his life, that his sex has not been unlimited enough. If welfare does not eliminate squalor, we need more welfare; if sex does not bring happiness, we need more sex.
 * All Sex, All the Time.

 * The intellectual's struggle to deny the obvious is never more desperate than when reality is unpleasant and at variance with his preconceptions and when full acknowledgment of it would undermine the foundations of his intellectual worldview.
 * Seeing Is Not Believing (Autumn 2000).

 * Never has so much indifference masqueraded as so much compassion; never has there been such willful blindness. The once pragmatic English have become a nation of sleepwalkers.
 * Seeing Is Not Believing.

 * It seems that when an impending catastrophe will affect them personally, in their very flesh and blood, intellectuals start to think more clearly about the legal and institutional prerequisites of a free society.
 * Ideas That Kill (Winter 2000).

 * The victory over cruelty is never final, but, like the maintenance of freedom, requires eternal vigilance.
 * How—and How Not—to Love Mankind (Summer 2001).

 * Even [Marx], whose information about people came mainly from books, must have known that the Manifesto’s depiction of the relations between men and women was grossly distorted. His rage was therefore—as is so much modern rage—entirely synthetic, perhaps an attempt to assume a generosity of spirit, or love of mankind, that he knew he did not have but felt he ought to have
 * How—and How Not—to Love Mankind.

 * Where hopes are unrealistic, fears often become exaggerated; where dreams alone are blueprints, nightmares result.
 * The Dystopian Imagination (Autumn 2001).

 * Orwell's 1984 refers more directly to contemporary events than does Huxley's book: the narrative takes place in the near rather than the distant future and obviously sets its sights on Stalinism. When I traveled in the communist world before the fall of the Berlin Wall, I found that everyone I met who had read the book (clandestinely, of course) expressed immeasurable admiration for it and marveled that a man who had never set foot inside a communist country could not only describe the physical environment so well—the universal smell of cabbage, the grayness of the dilapidated buildings—but also its mental and moral atmosphere. It was almost as if the communist regimes had taken 1984 as a blueprint rather than as a warning.
 * The Dystopian Imagination (Autumn 2001).

 * I was in the enormous and almost deserted square in front of the Great People's Study House—all open spaces in Pyongyang remain deserted unless filled with parades of hundreds of thousands of human automata—when a young Korean slid surreptitiously up to me and asked, "Do you speak English?" An electric moment: for in North Korea, unsupervised contact between a Korean and a foreigner is utterly unthinkable, as unthinkable as shouting, "Down with Big Brother!" "Yes," I replied. "I am a student at the Foreign Languages Institute. Reading Dickens and Shakespeare is the greatest, the only pleasure of my life." It was the most searing communication I have ever received in my life. We parted immediately afterward and of course will never meet again. For him, Dickens and Shakespeare (which the regime permitted him to read with quite other ends in view) guaranteed the possibility not just of freedom but of truly human life itself.
 * The Dystopian Imagination (Autumn 2001).

 * Civilization is the sum total of all those activities that allow men to transcend mere biological existence and reach for a richer mental, aesthetic, material, and spiritual life.
 * What We Have To Lose (Autumn 2001).

 * Equality is the measure of all things, and bad behavior is less bad if everyone indulges in it.
 * The Economist Sees No Evil (February 20, 2002).

 * Nationalism is fraught with dangers, of course, but so is the blind refusal to recognize that attachment to one’s own culture, traditions, and history is a creative, normal, and healthy part of human experience.
 * How PC Boosts Le Pen (April 25, 2002).

 * For the sake of democracy, vigorous, civilized debate must replace the law of silence that political correctness has imposed.
 * How PC Boosts Le Pen.

 * Henceforth, there is to be no testing oneself against the best, with the possibility, even the likelihood, of failure: instead, one is perpetually to immerse oneself in the tepid bath of self-esteem, mutual congratulation, and benevolence toward all.
 * The Rage of Virginia Woolf (Summer 2002).

 * The real and most pressing question raised by any social problem is: “How do I appear concerned and compassionate to all my friends, colleagues, and peers?”
 * The Starving Criminal (Autumn 2002).

 * It is better to be opposed by an enemy than to be adrift in meaninglessness, for the simulacrum of an enemy lends purpose to actions whose nihilism would otherwise be self-evident.
 * The Barbarians at the Gates of Paris (Autumn 2002).

 * Political abstractions can disguise or change the meaning of the most elementary realities.
 * Gillray’s Ungloomy Morality (Winter 2002).

 * It is, of course, a common prejudice that censorship is bad for art and therefore always unjustified: though, if this were so, mankind would have little in the way of an artistic heritage and we should now be living in an artistic golden age.
 * What’s Wrong with Twinkling Buttocks? (Summer 2003).

 * It is only by having desire thwarted, and thereby learning to control it—in other words, by becoming civilized—that men become fully human.
 * Sex and the Shakespeare Reader (Autumn 2003).

 * When a population feels alienated from the legal system under which it lives, because that system fails to protect it from real dangers while lending succor and encouragement to every possible kind of wrongdoing, the population may well lose faith in the very idea of law. That is how civilization unravels.
 * Prison Porn (Winter 2003).

 * To make up for its lack of a moral compass, the British public is prey to sudden gusts of kitschy sentimentality followed by vehement outrage, encouraged by the cheap and cynical sensationalism of its press. Spasms of self-righteousness are its substitute for the moral life.
 * Who Killed Childhood? (Spring 2004).

 * In a democratic age, only the behavior of the authorities is subject to public criticism; that of the people themselves, never.
 * Who Killed Childhood?

 * In Britain, journalists often view comparisons with our society going back two, three, or seven centuries as more relevant than comparisons going back two, three, or seven decades. Drunkenness centuries ago is more illuminating than comparative sobriety 30 years ago. The distant past, selectively mined for evidence that justifies our current conduct, becomes more important than living memory.
 * Selective Memory (July 6, 2004).

 * For intellectuals, everyone’s mind is closed but their own.
 * Les intellos Speak (November 10, 2004).

 * Unilateral tolerance in a world of intolerance is like unilateral disarmament in a world of armed camps: it regards hope as a better basis for policy than reality.
 * Why Theo Van Gogh Was Murdered (November 15, 2004).

 * The nearer emotional life approaches to hysteria, to continual outward show, the less genuine it becomes. Feeling becomes equated with vehemence of expression, so that insincerity becomes permanent.
 * A Neglected Genius (Winter 2004).

 * In the welfare state, experience teaches nothing.
 * A Murderess’s Tale (Winter 2005).

 * Frivolity without gaiety and earnestness without seriousness—a most unattractive combination.
 * It’s This Bad(Spring 2006).

 * The refusal of free inquiry derives from an awareness of the fragility of the basis of religious faith; and since certainty is psychologically preferable to truth, the former often being willfully mistaken for the latter, anything that threatens certainty is anathematized with fury.
 * The Terrorists Among Us (Summer 2006).

 * Experience rarely teaches its lessons directly but instead requires interpretation through the filter of preconceived theories, prejudices, and desires. Where these are invincible, facts are weak things.
 * Less Liberté Means Less Egalité (Winter 2006).

 * If all our political and intellectual elite offers by way of a national culture is “pop music, gambling, fashionable clothes or television,” then we can neither mount a convincing intellectual defense against our enemies, nor hope to integrate intelligent, inquiring, and unfulfilled Muslim youths—young men principally, of course—to our way of life.
 * The Cost of Frivolity (February 1, 2007).

 * We are like creatures so dazzled with our own technological prowess that we no longer think it necessary to consider the obvious.
 * Modern Predestination (February 6, 2007).

 * Mediocrity triumphs because it presents itself as democratic and because it is dull, and so for many does not seem worth struggling against.
 * Leveling Britain (March 22, 2007).

 * When the cold war ended, I thought, as no doubt did many others, that the age of ideology was over. Again like many others, I underestimated man’s need for transcendence, which, in the absence of religion or high culture, he is most likely to find in a political or social cause.
 * The appeal of political correctness is that it attempts to change men’s souls by altering how they speak. If one sufficiently reforms language, certain thoughts become unthinkable, and the world moves in the approved direction.
 * Engineering Souls (March 22, 2007).

 * Reason can never be the absolute dictator of man’s mental or moral economy.
 * What the New Atheists Don't See (Autumn 2007).

 * It is hard to oppose an ideology with a tradition.
 * A Confusion of Tongues (Spring 2008).

New Criterion (2000 - 2005)

 * The tattoo has a profound meaning: the superficiality of modern man’s existence.
 * Exposing Shallowness (June 2000).

 * What youth considers liberation, maturity considers tasteless excess.
 * Discovering LaRochefoucauld (April 2001).

 * There is no smoke without fire, and there is no ethically repugnant principle without logic.
 * How to murder a Bolivian boy (June 2001).

 * To deal with the problems of modern society, hard thought, confrontation with an often unpleasant reality, and moral courage are needed, for which a vague and self-congratulatory broadmindedness is no substitute.
 * An imaginary “scandal” (May 2005).

 * Whereas fortitude was once regarded as a virtue, it has come to be regarded as a kind of reprehensible and deliberate obtuseness, to be utterly condemned as treason to the self (there is no fury like a non-judgmentalist scorned).
 * Bad counsel (June 2005).

The Social Affairs Unit (2006 - 2008)

 * If a lack of money had prevented people from improving their lot, then mankind would still be living in the caves: unless you believe that investment capital first arrived from outer space.
 * Theodore Dalrymple remembers Ken Saro-Wiwa - and asks, if unearned income from oil has done so much harm to Nigeria, will increased unearned aid flows not do similar harm to Africa as a whole? (January 3, 2006).

 * Modernity is the most transient of qualities.
 * The aesthetics of the A55: Theodore Dalrymple finds that everything built along the A55 since the First World War has been a scar on the landscape and explores why our architecture has been so bad (May 22, 2006).

 * It is curious how an age of public self-revelation, and of the use of psychological jargon, should also be an age when self-examination is rarely practised.
 * Psychiatric drug promotion and the politics of neoliberalism: The British Journal of Psychiatry is wrong to blame neoliberalism for the over-prescription of antidepressants (May 24, 2006).

 * Truth is not the first casualty of war alone: it is the first casualty of populism.
 * It is the inescapable duty of every decent citizen to express no interest in or enthusiasm for football and the World Cup (June 7, 2006).

 * Loose language suggests loose thought.
 * Victim impact statements represent the sentimentalisation - the Diana-ification - of the criminal justice system, argues Theodore Dalrymple (December 11, 2006).

 * If we can sympathise only with the utterly blameless, then we can sympathise with no one, for all of us have contributed to our own misfortunes - it is a consequence of the human condition that we should. But it does nobody any favours to disguise from him the origins of his misfortunes, and pretend that they are all external to him in circumstances in which they are not.
 * Addiction and the Ipswich Murders: Theodore Dalrymple argues that the five murdered women were driven on to the streets not by addiction itself, but by myths about addiction (December 14, 2006).

 * Children in school are not students, they are pupils. It is typical of certain kinds of politicians that they should regard children as adults, the better subsequently, and consequently, to regard adults as children.
 * Mr Brown's self-esteem issue - or, asks Theodore Dalrymple, does Gordon Brown really believe that he can solve the problems of the world? (January 24, 2007).

 * In the British public service nothing succeeds like failure: indeed, failure is success, if looked on in the right way, namely as something requiring yet further intervention in people's lives to amend.
 * Mr Brown's self-esteem issue - or, asks Theodore Dalrymple, does Gordon Brown really believe that he can solve the problems of the world.

 * In a corporate state, all attempts to reduce bureaucracy increase it.
 * Theodore Dalrymple finds a cure for the German malady of low blood pressure: read The Guardian's job advertisements (February 5, 2007).

 * Equality can only be measured by outcome: and this means the imposition of racial quotas. The job of the Senior Executive is therefore to be a senior racist.
 * Theodore Dalrymple finds a cure for the German malady of low blood pressure: read The Guardian's job advertisements.

 * Where tax is solidarity, the national sport is tax evasion.
 * "Tax is solidarity" - Theodore Dalrymple diagnoses France's malaise: Their intellectuals' belief that tax is solidarity and justice is fairness - but the national sport is tax evasion (February 28, 2007).

 * Henceforth, virtue was not the exercise of discipline, self-control or benevolence for the sake of others, but the expression of the right opinions of the moment.
 * Good people have become a defeated class in Blair's Britain, argues Theodore Dalrymple (March 29, 2007).

 * It is strange, is it not, how the more strenuously we deny the importance of race in human affairs, the more obsessed with it and the touchier on the subject we grow.
 * Theodore Dalrymple is outraged to be asked his ethnicity by officialdom - but remembers that it is our social duty to grin and bear insults (January 23, 2008).

 * The attempt to regulate relations between people too closely, by means of the law, in the name of an abstraction such as equality, leads to both absurdity and cruelty.
 * The British are fast turning themselves into a nation of slaves, where even the slave-masters are not free.
 * Obsessive gambling is now regarded as a mental illness - but, argues Theodore Dalrymple, does that not mean that the Disability Discrimination Act makes it illegal for bookies to discriminate against obsessive gamblers by banning them from their shops? (February 19, 2008).

 * It is easy to be lenient at other people's expense, and call it generosity of mind.
 * It is right to imprison drug addicts - argues Theodore Dalrymple (March 18, 2008).

 * Blanket compassion will shift the distribution decisively towards the manipulative end of the spectrum, and may paradoxically decrease the compassion with which the genuinely despairing are treated: for they are apt to get lost in the great mass of pseudo-distress and manipulation, and often their conduct draws less attention precisely because it is less attention-seeking.
 * Theodore Dalrymple on Terence Rattigan, Suicide and Prison - or how incontinent compassion has become a Keynesian stimulus to the economy of the caring profession (April 18, 2008).

CBC Ideas Interview (podcast) (September 25, 2006)
Link Archive.org

A wide-ranging interview (.mp3 file, 24.1 MB, 52 min. 34 sec.) by Paul Kennedy on the CBC Radio program Ideas audio Best of Ideas. podcast. Where noted, shown are minutes and seconds from the beginning of the podcast.

 * Resentment is one of the few emotions that never lets you down, but it’s useless. In fact, it’s worse than useless, it’s harmful, and we all suffer from it at some time in our lives.

 * The main difference between working in an NHS hospital in Britain and a prison is that prison is much safer.

 * <14:06> ...Of course I made it quite clear to the women that I thought that the way that they had been abused was terrible and completely unjustifiable. However, I thought that it was very important that they should understand their own complicity in it; so that, for example, they understood that the way they chose men, and their refusal to see signs (which they were capable of seeing) resulted in their misery… <14:40> To give you a concrete example, I would say to them, ‘This man of yours, who’s very nasty to you, and drags you across the floor, and puts your head through the window, and sometimes even hangs you out of the window by your ankles: How long do you think it would take me to realise he was no good, as he came through the door? Would it take me a second, or half a second, or an eighth of a second, or would I not notice that there was anything wrong with him at all?’ And they’d say, ‘Oh, an eighth of a second, you’d know immediately.’ And I would say to them, ‘Well, if you know that I would know immediately, then you knew immediately as well.’ It’s a logical consequence, really. And they would accept that. ‘And yet, you chose to associate with him, knowing full well that he was no good; and I tell you this, because it’s very necessary you should understand your own part in the predicament you now find yourself in, because if you don’t understand it, or don’t think about it, you’re just going to repeat it.’ which is of course, a very, very common pattern.
 * Daniels on helping victims of abuse understand how they can help to break the cycle.

Romancing Opiates: Pharmacological Lies and the Addiction Bureaucracy (2006)

 * Over and over again, medical writers liken withdrawal [from heroin], at worst, to a dose of flu. … Let me ask the reader this: if you were given a choice between suffering a bout of flu in the above sense, or avoiding it by robbing someone in the street or breaking into a house and stealing its contents, which would you choose?

 * There is something deeply attractive, at least to quite a lot of people, about squalor, misery, and vice. They are regarded as more authentic, and certainly more exciting, than cleanliness, happiness, and virtue.

 * His greatest fear, or nightmare, is not to be thought hip or cool, and if to avoid that terrible fate it means that he has to glamorize evil--well, so be it.

 * If consequences are removed from enough actions, then the very concept of human agency evaporates, life itself becomes meaningless, and is thenceforth a vacuum in which people oscillate between boredom and oblivion.

 * There is nothing an official hates more than a person who makes up his own mind.

 * Wisdom and good governance require more than the consistent application of abstract principles.

C-SPAN: Romancing Opiates (May 30, 2006)

 * The withdrawal symptoms from opiates are not severe and never dangerous, though of course they do exist. Insofar as they are genuinely feared, there has been a campaign of exaggeration about them for nearly 200 years.

 * People who are given opiates after operations — sometimes for days — do not become addicts in the sense that I’m talking about. Moreover, it’s been shown that heroin addicts have to make considerable efforts — in other words to be determined — to become addicts, and addicted; and on average it takes them about a year or so. In other words, heroin does not hook them, they hook heroin. And this, I think should suggest, is a typical example of the way that when we think about social problems, or the way many of us think about social problems, we ascribe agency not to agents but to inanimate objects and substances, and forces.

 * And the fact is that millions of opiates addicts having given up their habit without medical assistance.

 * Incidentally, many thousands of American servicemen addicted themselves to heroin in Vietnam, but two years after their repatriation their rate of addiction was no greater than that of draftees who were to go to Vietnam, but never did go because the war had ended.

 * Addicts, to this day, claim that they are they are the only people qualified to speak of the seriousness of withdrawal effects; as if only people with cerebral malaria or bowel cancer could speak of their seriousness.

 * I’m not actually against, for example, people going into rehabilitation, provided it is understood that this is not really a medical procedure. Often what happens is that people who are addicted to a substance — alcohol or opiates — have comprehensively messed up their lives, and since life is biography and not just a series of unconnected moments, it may be that they require some assistance in getting their lives together. But I don’t regard that as really a medical procedure.

title: Anthony Daniels (psychiatrist)


text:
Shakespeare in Love

Shakespeare in Love is a 1998 film about a young William Shakespeare, out of ideas and short of cash, who then meets his ideal woman and is inspired to write one of his most famous plays.
 * Directed by John Madden. Written by Marc Norman and Tom Stoppard.

A Comedy About the Greatest Love Story Almost Never Told... taglines

Richard Burbage

 * The Master of the Revels despises us all for vagrants and peddlers of bombast. But my father, James Burbage, had the first license to make a company of players from Her Majesty, and he drew from poets the literature of the age. We must show them that we are men of parts. Will Shakespeare has a play. I have a theatre. The Curtain is yours.

Viola De Lesseps

 * I would stay asleep my whole life, if I could dream myself into a company of players.
 * [to her Nurse] I will have poetry in my life. And adventure. And love. Love above all. No... not the artful postures of love, not playful and poetical games of love for the amusement of an evening, but love that overthrows life. Unbiddable, ungovernable - like a riot in the heart, and nothing to be done, come ruin or rapture. Love - like there has never been in a play.
 * Write me well.

Queen Elizabeth

 * I know something of a woman in a man's profession. Yes, by God, I do know about that.
 * [to Lord Wessex] Have her then, but you're a lordly fool. She's been plucked since I saw her last, and not by you... it takes a woman to know it.
 * Master Kent, as I foretold, Lord Wessex has lost his wife to the theater. Go, make your farewell, and send her out.

William Shakespeare

 * Love denied blights the soul we owe to God.
 * You see? The comsumptives plot against me. "Will Shakespeare has a play, let us go and cough through it."
 * [last lines] My story starts at sea... a perilous voyage to an unknown land... a shipwreck... The wild waters roar and heave... The brave vessel is dashed all to pieces, and all the helpless souls within her drowned... all save one... a lady... whose soul is greater than the ocean... and her spirit stronger than the sea's embrace... Not for her a watery end, but a new life beginning on a stranger shore. It will be a love story... for she will be my heroine for all time. And her name will be... Viola.

Dialogue

 * Philip Henslowe: Mr. Fennyman, allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.
 * Hugh Fennyman: So what do we do?
 * Philip Henslowe: Nothing. Strangely enough, it all turns out well.
 * Hugh Fennyman: How?
 * Philip Henslowe: I don't know. It's a mystery. (recurring line)

 * Lord Wessex: [about Viola] Is she obedient?
 * Sir Robert de Lesseps: As any mule in Christendom - but if you are the man to ride her, there are rubies in the saddlebag.
 * Lord Wessex: I like her!

 * Viola de Lesseps: [as Thomas Kent] Tell me how you love her, Will.
 * William Shakespeare: Like a sickness and its cure together.

 * Viola De Lesseps: I have never undressed a man before.
 * William Shakespeare: It is strange to me, too.

 * [Will and Violet have just had sex]
 * Viola De Lesseps: I would not have thought it: there IS something better than a play!
 * William Shakespeare: There is.
 * Viola De Lesseps: Even your play.
 * William Shakespeare: Hmm?
 * Viola De Lesseps: And that was only my first try.

 * William Shakespeare: I'm done with theater. The playhouse is for dreamers. Look what the dream brought us.
 * Viola De Lesseps: It was we ourselves did that. And for my life to come, I would not have it otherwise.

 * Philip Henslowe: The show must... you know...
 * William Shakespeare: [prompting him] Go on!

 * Lord Wessex: How is this to end?
 * Queen Elizabeth: As stories must when love's denied: with tears and a journey.

Taglines

 * A Comedy About the Greatest Love Story Almost Never Told...
 * Love is the only inspiration.

Cast

 * Joseph Fiennes - Will Shakespeare
 * Gwyneth Paltrow - Viola De Lesseps
 * Judi Dench - Queen Elizabeth
 * Geoffrey Rush - Philip Henslowe
 * Colin Firth - Lord Wessex
 * Tom Wilkinson - Hugh Fennyman
 * Ben Affleck - Ned Alleyn
 * Steve O'Donnell - Lambert
 * Tim McMullen - Frees
 * Steven Beard - Makepeace
 * Patrick Barlow - Will Kempe
 * Martin Clunes - Richard Burbage
 * Rupert Everett - Christopher Marlowe
 * Sandra Reinton - Rosaline
 * Simon Callow - Edmund Tylney
 * Imelda Staunton - Nurse
 * Jill Baker - Lady De Lesseps
 * Nicholas Le Prevost - Sir Robert De Lesseps
 * Joe Roberts - John Webster

Quotes about Shakespeare in Love

 * I have always liked movies, and sometimes an image or a scene or a character stays with me for years and inspires me when I write. For example: the magic in Fanny and Alexander or the story within a story of Shakespeare in Love.
 * Isabel Allende Interview

title: Shakespeare in Love


text:
Key Largo (film)

Key Largo is a 1948 film noir about a veteran soldier who visits the family of an army buddy killed in the war, only to find that their Key West hotel has been taken over by a bunch of exiled gangsters who are orchestrating their own comeback.
 * Directed by John Huston. Written by Maxwell Anderson, Richard Brooks and John Huston.

A cast as explosive as its story!

Frank McCloud

 * You don't like it, do you Rocco, the storm? Show it your gun, why don't you? If it doesn't stop, shoot it.
 * When your head says one thing and your whole life says another, your head always loses.
 * One Rocco more or less isn't worth dying for!

Johnny Rocco

 * After living in the USA for more than thirty-five years they called me an undesirable alien. Me. Johnny Rocco. Like I was a dirty Red or something!
 * You'd give your left arm to nail me wouldn't you? I could see the headlines now, 'Local Deputy Captures Johnny Rocco'. Your picture'd be in all the papers. You might even get to tell on the newsreels how you pulled if off, yeah. Listen hick, I was too much for any big city police force to handle. It took the United States Government to pin a rap on me. And they won't make it stick. You hick! I'll be back pulling strings to get guys elected mayor and governor before you ever get a 10-buck raise. Yeah, how many of those guys in office owe everything to me. I made them. Yeah, I made 'em, just like a-like a tailor makes a suit of clothes. I take a nobody, see? Teach him what to say. Get his name in the papers and pay for his campaign expenses. Dish out a lotta groceries and coal. Get my boys to bring the voters out. And then count the votes over and over again till they added up right and he was elected. Yeah- then what happens? Did he remember when the going got tough, when the heat was on? No, he didn't wanna. All he wanted was to save his own dirty neck. . . . Yeah, `Public Enemy,' he calls me. Me, who gave him his `Public' all wrapped up with a fancy bow on it.
 * Nothing to stop me from wiping you all out!

 * [to Frank] If you want to find out how good you are at taking it, we'll accommodate you. But let me warn you. Toots is a little rusty. Might slip. And that'd be tooo baaad.

James Temple

 * [to Johnny Rocco] You’re right, you shouldn’t have been deported, you should have been exterminated.

 * [praying] Make a big wave. Send it down on us. Destroy us all if need be, but punish HIM.

Nora Temple

 * Charlie! Charlie Winook and his family, Crawfish Island. Charlie's a prince of the Seminole Nation. His ancestors go back to the gods. He sells sea shells by the sea shore.

Other

 * Edward "Toots" Bass: I say smack her and let it go at that.
 * Richard "Curly" Hoff: She is a lush, the lady...after she bends the elbow a few times, she begins to see things—rats, roaches, bats, you know...a sock in the kisser is the only thing that will bring her out of it.

Dialogue

 * James Temple: Are you thieves or what? You want money, is this a robbery?
 * Toots: Yeah, Pop, we're gonna steal all your towels.

 * Ralph Feeney: Hey Curly, what all happens in a hurricane?
 * Richard "Curly" Hoff: The wind blows so hard the ocean gets up on its hind legs and walks right across the land.
 * Toots: And singin' this song: Rain rain, go away, little Ralphie wants to play.

 * Deputy Sawyer: Down in the lobby, I ran up against these two. [indicates Toots and Curly] Well, they didn't look right to me, so I asked them a few questions. By the way they answered me, I knew there was something fishy. So I put in a call to Ben Wade, but before I could get through, the lights went out on me. I woke up in there. Rocco was standing over me. I recognized him right away from the pictures. I made a break for the door, and the lights went out again.
 * Toots: I'm the electrician.

 * Johnny Rocco: Thousands of guys have got guns. There's only one Johnny Rocco.
 * James Temple: How do you account for it?
 * Frank McCloud: He knows what he wants. Don't you, Rocco?
 * Johnny Rocco: Sure.
 * James Temple: What's that?
 * Frank McCloud: Tell him, Rocco.
 * Johnny Rocco: Well, I want uh ...
 * Frank McCloud: He wants more, don't you, Rocco?
 * Johnny Rocco: Yeah. That's it. More. That's right! I want more!
 * James Temple: Will you ever get enough?
 * Frank McCloud: Will you, Rocco?
 * Johnny Rocco: Well, I never have. No, I guess I won't. You, do you know what you want?
 * Frank McCloud: Yes, I had hopes once, but I gave them up.
 * Johnny Rocco: Hopes for what?
 * Frank McCloud: A world in which there's no place for Johnny Rocco.

 * Gaye Dawn: [finishes her song and goes over to the bar] Give me that drink now, Johnny.
 * Johnny Rocco: No.
 * Gaye Dawn: Johnny!
 * Johnny Rocco: [louder] No.
 * Gaye Dawn: But you promised!
 * Johnny Rocco: So what?
 * Gaye Dawn: You said that...
 * Johnny Rocco: But you were rotten.

Quotes about Key Largo

 * Hold your course, you're headed straight for Key Largo, Kay Largo...
 * Original release trailer (1948)

 * Key Largo, a lonely island off the coast of Florida, sultry, heat-ridden, cloaked in the strange menace of the sea. But stranger still is the destiny that brings these people to this remote outpost, to be held at bay with a price on their lives, by a man with a price on his head.
 * Original release trailer (1948)

Cast

 * Humphrey Bogart — Frank McCloud
 * Edward G. Robinson — Johnny Rocco
 * Lauren Bacall — Nora Temple
 * Harry Lewis — Edward "Toots" Bass
 * Thomas Gomez — Richard "Curly" Hoff
 * Lionel Barrymore — James Temple
 * William Haade — Ralph Feeney
 * Claire Trevor — Gaye Dawn

title: Key Largo (film)


text:
User talk:Cornell35

Welcome
Hey, I'm Scott and I have joined Wikiquote for one reason and one reason only and that is to contribute my vast knowledge of Movie and Comedy quotes to the world.

 * My quest is to become an administrator
 * Share my knowledge with others
 * Put a stop to vandalism

Anyone wants a chat please contact me.

~ MosheZadka (Talk) 15:26, 26 October 2005 (UTC)

title: User talk:Cornell35


text:
User talk:38.112.113.3

Hi. I have deleted Liam Neeson, the page you created (the only content was Chew on that ). If this was a legitimate attempt to create a stub, you are welcome again adding a short introduction about the person, where the quote comes from, etc. See Templates/People. Thanks ~ MosheZadka (Talk) 15:29, 26 October 2005 (UTC)

title: User talk:38.112.113.3