text:
Dawn of the Dead (2004 film)

Dawn of the Dead is a 2004 horror film about a small band of survivors who take refuge in a shopping mall as a plague of zombies overruns the Earth. A remake of Dawn of the Dead, the 1978 George Romero film of the same name.
 * Directed by Zack Snyder. Written by James Gunn, based on Dawn of the Dead by George A. Romero.

When the undead rise, civilization will fall.

Ana

 * [While her husband tries to staunch the flow of blood from a bite to his throat, Ana desperately dials 911, only to get repeated "busy" signals.] Don't do this to me! Please, don't DO this to me!
 * The bites killed her, the bites brought her back.

Andre

 * [Zombie has slammed itself against a glass door at the mall from the outside] Shatterproof, asshole
 * I feel like I'm here for another reason. I feel like I'm here to bring that baby on this earth, and give it everything that I never had. I just want the opportunity... to change things.

Glen

 * I don't believe in God. I don't see how anyone could.

Kenneth

 * [About the deaths of Luda, Andre and Norma] There's nothing to be said. I been to a lot of funerals, folded the flags, givin' them to mothers, wives, sons, and told them how sorry I was. But that's not what I was really feeling. In the back of my mind, I was always thinking better them than me. But I don't believe that now. And now I know that there are some things worse than death. And one of them is sitting here waiting to die.
 * [En route to the marina, zombies swarm against Kenneth's bus.] They're trying to turn us over! Hit them with the saw!
 * "Andy... I'm sorry brother..

CJ

 * I don't want to shit on anyone's riff, but let me see if I grasp this concept, okay? You’re suggesting that we take some fucking parking-shuttles and reinforce them with some aluminum siding, and then just head on over to the gun-store and watch our good friend Andy play some cowboy-movie-jump on the covered wagon-bullshit. Then, we're gonna drive across the ruined city through a welcome-committee of a few hundred-thousand dead cannibals, all so that we can sail off into the sunset on this fuckin' asshole's boat? [The group nods] Alright I'm in.
 * [To Steve after he abandoned his post and allowing the zombies overtake the mall] I'll deal with you later you motherfucker!
 * [Just before committing suicide to save the other survivors] Fuckin' Figures!
 * “ [ After Luda asked for a bathroom & Andre says she’s not going anywhere alone] “ she’s not going anywhere.. THIS IS A FUCKING NURSERY SCHOOL! “

Others

 * Televangelist: Hell is overflowing! And Satan is sending his dead to us! Why? Because...you have sex out of wedlock. You kill unborn children. You have man-on-man relations; same sex marriage! How do you think your God will judge you? Well, friends, now we know. When there is no more room in hell, the dead will walk the earth.
 * Sheriff Cahill: [on TV] Danny, put another round in that woman over there! Look! She's a twitcher!
 * President of the United States: My fellow Americans, this Republic faces a crisis like no other in its history. While the lights across this great land dim and the darkness of an uncertain future descends, let us not forget the words that led our country through another great challenge: 'We have nothing to fear, but fear itself.' We will endure, we will rebuild, we will drive away the night and warm our children in the dawn of a new day. God bless you all, and god bless the United States of America.

Media

 * CDC official: I'll take your questions.
 * Reporter: Is it a virus?
 * CDC official: We don't know.
 * Reporter: How does it spread? Is it airborne?
 * CDC official: Airborne is a possibility; we don't know.
 * Reporter: Is this an international health hazard or a military concern?
 * CDC official: Both.
 * Reporter: Are these people alive or dead?
 * CDC official: [pause] We don't know.

 * Press secretary: Yes, I have just spoken with the president. He is in constant contact with both the CDC as well as FEMA. No more questions!

 * White House Press Secretary: A state of emergency has been declared in the United States of America, including all overseas dependencies, and the Commonwealth of Puerto Rico. We face- We, uh- For reasons yet to be determined, the bodies of the recently deceased are returning to life and attacking the living. The scope of this eci- epidemic is now reaching global proportions. The President has sent to Congress a package of initiatives which will be explained by the Secretary of Defense, Mr. Martin Emery. Mr. Secretary?
 * U.S. Secretary of Defense: As of 8 a.m., Eastern Standard Time, the president has declared the continental United States under martial law. A nationwide curfew of 7 p.m., tonight, has been put into effect, and any citizen caught outdoors between 7 p.m. and 7 a.m. is subject to arrest, and detention without counsel. All reserve military personnel and National Guard are ordered to report for immediate deployment. All law enforcement, firefighting and emergency personnel will be federalized, effective immediately. All communications facilities, including the use of landline and cellular telephone facilities will be reserved for military and rescue operations. In order to halt the spread of this contagion, our nation's borders with Canada and Mexico have been sealed. No longer seek shelter in private residences no matter how safely protected or well stocked. Retain all ownership records of private property but do not attempt to transport or defend such property. Rest assured looters will be prosecuted with deadly force, as will any attempts at vigilantism or secessionist political activity. No questions.

Dialogue

 * [Kenneth and Ana meet three other survivors traveling the opposite direction.]
 * Michael: You do not want to go that way.
 * Ana: What's that way?
 * Michael: Officer? Sir? You do not want to go that way.

 * Ana: Get the fucking gun out of my face!
 * CJ: Oh. You got a quite mouth on you.
 * Bart: Somebody should show her how to use it.

 * [Kenneth and Andre are in the washroom by themselves]
 * Andre: You're the type of cat that goes to church and all that shit, right?
 * Kenneth: Yeah, I do all that shit.
 * Andre: So what do you think? What is this? Is this the end of times? 'Cause if it is, I'm fucked. I'm serious. I've done some bad things.
 * Kenneth: Oh, I get it. You saw hell yesterday, now you're scared of going to hell for all the bad things you've done. Go in the stall, say five Hail Marys, wipe your ass, and you and God can call it even.

 * CJ: Terry, go shut 'em off.
 * Terry: It's Bart's turn.
 * CJ: You're the trainee, man.
 * Terry: Shit rolls downhill.

 * [Mall security and Andy play game of sniping zombies that look like celebrities]
 * Ana: You guys had rough childhoods? A little bit rocky?
 * Steve: Hey, sweetheart, let me tell you something. You have my permission - if I ever turn into one of those things, blow my fucking head off.
 * Ana: Oh, yeah, you can count on that.

 * Glen: I guess the first time I knew I was gay I was 13. This guy, Todd, he was building a deck in our backyard...
 * CJ: Ok, just, please, stop.
 * Glen: He had the most astonishing blue eyes.
 * CJ: Oh, my God! I'm in hell. [Starts doing pushups]

Last words

 * Frank: You want... every... single second. [about life as he dies of the infection.]
 * Bart: CJ, wait up, wait! [as he is chased down by a zombie horde.]
 * Andre: You wanna kill Luda? You wanna kill my family? [to Norma before they exchange gunshots.]
 * Norma: Son of a bitch shot me! [to Ana after Andre shoots her.]
 * Andy:[on radio] Hey, does this dog got a name? [to camera] I'm not gonna tell 'em how bad it is. I won't worry 'em. It's, it's gonna be okay. I think I'm just gonna rest here a minute.[after being bitten severely, becomes zombie shortly after lying down.]
 * Tucker: Shoot me! Shoot me! [to CJ while he is devoured by zombies.]
 * Monica: You've got to drive faster, man. [to Kenneth before being accidentally hacked to death by Glen.]
 * Glen: I've got 'em. [about a zombie before accidentally killing Monica and crashing the bus.]
 * Steve: [before being pounced on by a zombie] What the fuck?
 * CJ: [before killing himself and the zombies grabbing him by blowing up the bus he is in.] Fuckin' figures.
 * Michael: Yeah, I think I'll just stay here awhile. Enjoy the sunrise. [to Kenneth before they leave him and he shoots himself in the head due to him being infected.]

Taglines

 * When the undead rise, civilization will fall.
 * When there's no more room in hell, the dead will walk the earth.
 * How do you kill what's already dead?
 * 36 billion people have died since the reign of humanity. For the new Dawn, there's a reunion...

About Dawn of the Dead (2004 film)

 * The Walking Dead, Gencarella asserts, “is part of another shift, post-9/11, in which the ghouls fill in for presumed ‘outsiders’ to the nation — but a nation that is limited only to a worthy few.” 9/11 imagery cropped up unintentionally, and largely incidentally, in Danny Boyle’s innovative fast-zombie film 28 Days Later, made before the attacks; its sequel, 28 Weeks Later, was in essence a critique of America’s militaristic overreach in the attacks’ wake. But the opening credits of Zack Snyder’s Dawn of the Dead remake wed the terror of its depiction of the zombie apocalypse’s first harrowing hours with pointed stock imagery and mockumentary footage of Muslims and Arabs, setting a precedent for the rightward swing of the subgenre’s “us against them” political undertones.
 * Sean T. Collins, "The Fascism of The Walking Dead", Vulture, (Dec. 13, 2016).

 * The contrast between this new version of "Dawn of the Dead" and the 1979 George Romero original is instructive in the ways that Hollywood has grown more skillful and less daring over the years. From a technical point of view, the new "Dawn" is slicker and more polished, and the acting is better, too. But it lacks the mordant humor of the Romero version, and although both films are mostly set inside a shopping mall, only Romero uses that as an occasion for satirical jabs at a consumer society. The 1979 film dug deeper in another way, by showing two groups of healthy humans fighting each other; the new version draws a line between the healthy and the zombies and maintains it. Since the zombies cannot be blamed for their behavior, there's no real conflict between good and evil in Zack Snyder's new version; just humans fighting ghouls. The conflict between the two healthy groups in the Romero film does have a pale shadow in the new one; a hard-nosed security guard (Michael Kelly) likes to wave his gun and order people around and is set up as the bad guy, but his character undergoes an inexplicable change just for the convenience of the plot.
 * Unlike the tight little group of survivors in "28 Days Later," this one expands to the point where we don't much care about some of the characters (the blonde with the red lipstick, for example). But we do care about Kenneth (Ving Rhames), a gravel-voiced cop with hard-edged authority. We care about Michael (Jake Weber), a decent guy who tries to make the right decisions. And we care about Andre (Mekhi Phifer), whose wife Luda (Inna Korobkina) is great with child and will give birth at any moment; the way that plot plays out is touching and horrifying. We even work up some feeling for the guy marooned on the roof of the gun shop across the street, who communicates with Kenneth by holding up signs.
 * Roger Ebert, "Dawn of the Dead", Rogerebert.com, (March 19, 2004).

 * Polley, whose career has found footing in smaller projects outside the studio system (including roles in Atom Egoyan's The Sweet Hereafter and Isabelle Coixet's My Life Without Me), explained that she needed a bit of coaxing from the filmmakers before she'd sign onto the film. "I met with Zack [Snyder, the director,] and Eric [Newman, the producer] one night at a restaurant, and they convinced me they were going to make a really sort of daring, sick, twisted movie that was going to be true to the allegory of consumerism that was in the original."
 * Like Polley, the rest of the cast members joined the film for reasons other than fealty to Romero's classic. Rhames looked at the story as a metaphor for tumultuous times rather than a literal interpretation of the source material, which itself is ripe with social commentary. "I didn't see the original, and in general I'm not a fan of the horror genre," admitted Rhames. "But from reading the script, I don't really put this film in that category. To me, it just so happens that our nemeses are zombies, but it could be any life-threatening situation." Rhames observed that the cast of characters reflected a decidedly more multi-cultural slant than in other recent films. "What I liked about it was, I thought it's bringing people from different ethnicities, different cultures together who need each other. So when I look at the world, I really say unfortunately, sometimes it's an atrocity; let's say 9/11; that forces us to come together. When I read the script I had no concept of what the zombies would look like; I just said, it's interesting to find these groups of characters in the situation." As he also acknowledged, it didn't hurt to have a steady hand behind the camera to keep the proceedings organized: "I also looked at Zack's reel, he has a very good commercial reel, and what I did was I turned down the volume, and I just watched how he moved the camera, and how the camera told the story. After that, I said, you know, I think this guy has a lot of potential, and I'd like to be a part of the project."
 * Jake Weber's motives for signing on to a Dead remake were a little less obvious: "I wanted to make an art film." Weber was kidding, but he did go on to reveal that he, like Polley, was convinced by the picture's directing-producing team to take on a role that might not naturally receive; much less deserve; his attention. "I met these guys in New York, and they were talking about Philip Kaufman's Invasion of the Body Snatchers, and I loved that movie. I loved the idea of making a smart horror movie, a movie that was a lot of fun and is punk rock and fierce and wild but also is about real people." Having completed the film, Weber set his sights high on the predecessors whose company this new Dawn of the Dead keeps. "I think the bar for this movie is Phil Kaufman's Invasion of the Body Snatchers, Halloween, I think 28 Days Later gets in there. I think Alien, which kind of a little more sci-fi, but still has elements of this, [or] The Shining." His comparisons, he clarified, were not so much qualitative as they were examples of effective approaches to a clich-laden genre: "I mean, those are the kinds of movies that are quality films that are in that genre that are terrifying."
 * Polley's taste for horror, somewhat unsurprisingly, ran to more obscure movies than those of her costars, and found that their unconventional pleasures gave her better motivation than if she'd merely researched the endless string of slasher movies that have proliferated over the last two decades. "I love movies like Peeping Tom and those sort of classic movies, and I actually thought of that movie a lot while we were shooting this, about what is the most frightening thing is the look of fear. You realize as an actor you can just sort of wander through a movie like this, but actually you have to work harder in a movie like this than in any small character-driven piece, because your fear sells the audience on being afraid." Polley admitted that she did occasionally lose her way while filming the many scenes of death and dismemberment, but felt confident that the finished film was something George Romero would be proud of. "As we were shooting, I often wondered what was I doing, but I saw the movie last night for the first time, and I was shocked to see that the movie was exactly what they described to me that first time. Completely sick and twisted, and made by incredibly perverse people."
 * Sarah Polley, Ving Rhames, Jake Weber, "INTERVIEW: THE CAST OF DAWN OF THE DEAD", IGN, (18 Mar 2004).

 * Q: You've said somewhere that you felt Zack Snyder”s 'Dawn of the Dead' remake was a bit like a video game in itself? “I thought it was, yeah. I sort of thought it lost its reason for being. I know a lot of people really like it very much – Stephen King, for example. I didnt like it very much. Basically, because I was using the idea for satire. My film needed to be done right when it was done, because that sort of shopping mall was completely new. It was the first one in Pennsylvania that we had ever seen. The heart of the story is based in that. And I didn”t think the remake had it.” – November 2013 interview with the Telegraph
 * George Romero in ”George A Romero: the Sight & Sound Interview” by James Blackford, BFI.com, (17 July 2017).

 * The idea of Zack Snyder being a political filmmaker is hilarious in any respect. He is stereotyped more for being so in awe with the art direction, production design and costumes of his films that he never realises how lacking in quality the final products are. But ever since his debut film, his 2004 remake of George A Romero’s Dawn of the Dead, a right-wing political allegory has always been so central to the narratives of his works it can hardly be described as subtext. The time has come for us to now understand that this is more than mere coincidence. As The Telegraph’s Robbie Collin wrote in a recent appraisal of Snyder as a “latter-day Ken Russell”; “Romero’s original was a bleak and timely consumerist satire, in which zombies shamble around a suburban shopping mall on lizard-brain instinct. Snyder’s version abandons that, and instead uses zombies as an allegory for western fears of “otherness” – immigrants, refugees, Muslims, you name them. This time, civilisation is the mall, about to be swamped by a rising tide of subhumans – although as the film’s ultra-bleak finale makes clear, any distinctions between “them” and “us” are ultimately meaningless”. Despite this allegory, the subversive screenplay by Guardians of the Galaxy director James Gunn\James Gunn ensures there was an intended satirical bite, that Snyder’s overwrought direction rendered moot. One of the complaints of his remake was the refusal to linger on the faces of the zombies, therefore “dehumanising” them in the eyes of Romero.
 * Alistair Ryder, "Zack Snyder: The Master of Right-Wing Propaganda", Film Inquiry, (April 22, 2016).

 * Q: The most common criticism of your film is that it doesn't go as deeply into sociology as Romero's film—I disagree with that read, I don't think the original is all that deep and, in fact, I think that your picture has a broader, subtler, more satirical edge.
 * Snyder: I feel like it does, too. One of the comments I've made is that when Romero made his movie, mass consumerism was a really fresh topic, y'know, something that we were first waking up to. People were more unaware that they were living in a mass consumerist society, but now, man, if people don't know that we're living in a commercial, a cynically commercial, society now, a movie ain't gonna wake you up to it. We took a lot of time and effort on the satirical structure--even the construction of the mall was meant to reflect this corporate vision of our world. A sophisticated aesthetic to give the illusion of uniqueness when the truth is that it's mass-produced, manufactured, and given over to the illusion of specialness.

 * Q: The most effective part of the film is told through a walkie-talkie exchange—no gore at all.
 * Snyder: I agree--that whole sequence was a lot different in the script. There was never any kind of communication/interaction with Andy; there was just this extended sequence with like a dozen trained dogs rescued from the mall pet store, outfitted with little wagons that ran across the parking lot and transferred all this ammunition from Andy back to the people at the mall. They'd trot over there, trot back--but on the way back, they're attacked by zombie dogs. It was a huge sequence, twenty pages, and I said first of all, I don't know if we can afford this, it's insane--and second of all, what are my humans doing during all this? We're gonna follow these dogs around for twenty minutes in the middle of all this? [Screenwriter] James [Gunn] did a great job, but he really just went off on this weird kick.

 * Snyder's career actually began in controversy, with the 2004 remake of Dawn of the Dead. The original Dawn of the Dead is perhaps the greatest zombie movie ever made, a shambling attack on American consumption that shows zombies staggering around a mall, winking at the way many of us anesthetize our deeper feelings and thoughts through buying crap. It seemed an odd fit for a director whose previous credits were all commercials and music videos. And it's fair to say that Snyder's version largely eschews nuance in favor of being awesome. Instead of stumbling and shuffling, his zombies sprint. Instead of a not-so-veiled attack on consumerism, his movie would be more of a take on post-tragedy community building. It was a horror flick, sure, but without any of the psychological tension that propped up the original. Above all, it was a flat-out thrill ride. In Snyder's Dawn of the Dead, the zombies didn't have to mean anything, because they could run, headlong, after their prey. Somewhat fittingly for the diminishing returns Snyder has yielded throughout his career, the best thing he's ever directed are the first 10 minutes of Dawn of the Dead. I've embedded a portion of them below, as well as the film's terrific opening credits. Watching those two clips will give you a good sense of some of Snyder's strengths. For one thing, he's terrific at casting strong actors. (In Dawn of the Dead, that distinction belongs to Sarah Polley, as a young woman watching her world go to hell.) For another, he's a master of montage editing, where seemingly disconnected moments bump up against each other in ways that create new connections and contrasts. (Those opening credits are a tremendous example.) The clips (particularly the first one) also hint at some key elements of Snyder's aesthetic. For one thing, he uses far fewer medium shots than most directors. He likes alternating between wide shots (as when the protagonist observes the chaos devouring her neighborhood) and shots that zoom in close on his actors, to a variety of different degrees (as when we see her worried expression as she takes it all in). When Snyder does use medium shots, he uses them in weird ways. Take the short moment where our hero talks to the man across the street who's holding a gun. Both characters are filmed in mid-shot, but Snyder puts them both in the same frame exactly once (when we see the man across the street over her shoulder, as if we're standing behind her). Blink and you'd miss this shot. Most directors would give us at least a few lines of dialogue while the two shared the same frame, but not Snyder. They're never in the same frame while talking to each other. The medium shot is the cinema's version of normalcy. Certainly, there are several where something huge happens, but a lot of the time, cinema uses the medium shot to break up the "pay attention to me!" panoramas of the wide shot and the forced intimacy of the close-up. That Snyder doesn't really use them in the first place, let alone typically, gives his work a heightened feel — everything subconsciously feels bigger than it otherwise might. Indeed, you'll note that the scene from Dawn of the Dead I've described above mimics the look of another visual medium: comic books.
 * Emily VanDerWerff, “Why Batman v Superman: Dawn of Justice director Zack Snyder keeps ruining comic book movies”, Vox, (Mar 30, 2016).

Cast

 * Sarah Polley — Ana
 * Ving Rhames — Kenneth
 * Jake Weber — Michael
 * Michael Kelly — CJ
 * Mekhi Phifer — Andre
 * Ty Burrell — Steve Markus
 * Kevin Zegers — Terry
 * Lindy Booth — Nicole
 * Michael Barry — Bart
 * Boyd Banks — Tucker
 * Inna Kurobkina — Luda
 * Jayne Eastwood — Norma
 * R.D. Reid — Glen
 * Matt Frewer — Frank
 * Kim Poirier — Monica
 * Bruce Bohne — Andy
 * Ken Foree — Televangelist
 * Tom Savini — Sheriff Cahill

Works Quoted
All context information in [brackets] quoted from www.imdb.com

title: Dawn of the Dead (2004 film)


text:
Phillip E. Johnson

Phillip E. Johnson (born 1940) is an American retired law professor, author and intelligent design proponent. Johnson is considered the father of the intelligent design movement.

1990s

 * Scientists have long known that Darwinism is false. They have adhered to the myth out of self-interest and a zealous desire to put down God.
 * Interview with Claire Cooper, Legal Affairs Writer, published in "Berkeley Law Professor Finds Darwin Wanting: Author Calls Evolution 'Imaginative Story' ", Sacramento Bee, 3 June 1991, p. B5

 * This [origins debate] isn't really, and never has been, a debate about science, it's about religion and philosophy.
 * World Magazine, 30 November 1996

 * If we understand our own times, we will know that we should affirm the reality of God by challenging the domination of materialism and naturalism in the world of the mind. With the assistance of many friends I have developed a strategy for doing this. … We call our strategy the "wedge."
 * Defeating Darwinism by Opening Minds, 1997, pp. 91-92

 * The Intelligent Design movement starts with the recognition that "In the beginning was the Word," and "In the beginning God created." Establishing that point isn't enough, but it is absolutely essential to the rest of the gospel message.
 * Foreword to Creation, Evolution, & Modern Science (2000)

2000s

 * We are removing the most important cultural roadblock to accepting the role of God as creator.
 * Los Angeles Times (25 March 2001)

 * The subject is not just the theory of evolution, the subject is the reality of God.
 * Hank Hanegraaf's "Bible Answer Man" radio program (19 December 2001)

 * We're not trying to prove the character of God through science. That's a bad idea. What I'm trying to do is clear away the misunderstandings, the debris that prevent people from accepting that God who wants to accept them.
 * Hank Hanegraaf's "Bible Answer Man" radio program (19 December 2001)

 * So the question is: "How to win?" That's when I began to develop what you now see full-fledged in the "wedge" strategy: "Stick with the most important thing" — the mechanism and the building up of information. Get the Bible and the Book of Genesis out of the debate because you do not want to raise the so-called Bible-science dichotomy. Phrase the argument in such a way that you can get it heard in the secular academy and in a way that tends to unify the religious dissenters. That means concentrating on, "Do you need a Creator to do the creating, or can nature do it on its own?" and refusing to get sidetracked onto other issues, which people are always trying to do.
 * Touchstone Magazine interview (June 2002)

 * Our strategy has been to change the subject a bit so that we can get the issue of intelligent design, which really means the reality of God, before the academic world and into the schools.
 * American Family Radio (10 January 2003)

 * I also don’t think that there is really a theory of intelligent design at the present time to propose as a comparable alternative to the Darwinian theory, which is, whatever errors it might contain, a fully worked out scheme. There is no intelligent design theory that’s comparable. Working out a positive theory is the job of the scientific people that we have affiliated with the movement. Some of them are quite convinced that it’s doable, but that’s for them to prove…No product is ready for competition in the educational world.

Misattributed

 * The objective is to convince people that Darwinism is inherently atheistic, thus shifting the debate from creationism vs. evolution to the existence of God vs. the non-existence of God. From there people are introduced to 'the truth' of the Bible and then 'the question of sin' and finally 'introduced to Jesus.'
 * This is from a summary of Johnsons ideas on the "Wedge strategy" which appeared in "Missionary Man" by Rob Boston in Church and State Magazine (April 1999), and not a direct quote. See also "Bad Philip Johnson Quote" at Panda's Thumb

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

title: Phillip E. Johnson


text:
William A. Dembski

William Albert "Bill" Dembski (born July 18, 1960) is an American mathematician, philosopher and theologian known for advocating the idea of intelligent design in opposition to the theory of evolution through natural selection.

1990s

 * As far as design theorists are concerned, theistic evolution is American evangelicalism's ill-conceived accommodation to Darwinism.
 * , May/June 1995

 * Design theorists are no friends of theistic evolution.
 * , May/June 1995

 * The fine-tuning of the universe, about which cosmologists make such a to-do, is both complex and specified and readily yields design. So too, Michael Behe's irreducibly complex biochemical systems readily yield design. The complexity-specification criterion demonstrates that design pervades cosmology and biology. Moreover, it is a transcendent design, not reducible to the physical world. Indeed, no intelligent agent who is strictly physical could have presided over the origin of the universe or the origin of life.
 * "The Act of Creation: Bridging Transcendence and Immanence", presented at Millstatt Forum, Strasbourg, France, 1998-08-10

Intelligent Design: The Bridge Between Science & Theology (1999)

 * The question rather is how we should do science and theology in light of the impending collapse of Enlightenment rationalism and scientific naturalism. These ideologies are on the way out. They are on the way out.
 * p. 14

 * My thesis is that all disciplines find their completion in Christ and cannot be properly understood apart from Christ.
 * p. 206

 * If we take seriously the word-flesh Christology of Chalcedon (i.e., the doctrine that Christ is fully human and fully divine) and view Christ as the telos toward which God is drawing the whole of creation, then any view of the sciences that leaves Christ out of the picture must be seen as fundamentally deficient.
 * p. 206

 * Christ is indispensable to any scientific theory, even if its practitioners do not have a clue about him.
 * p. 210

 * The scientific picture of the world championed since the Enlightenment is not just wrong but massively wrong. Indeed entire fields of inquiry, especially in the human sciences, will need to be rethought from the ground up in terms of intelligent design.
 * p. 224

2000s

 * How a designer gets from thought to thing is, at least in broad strokes, straightforward: (1) A designer conceives a purpose. (2) To accomplish that purpose, the designer forms a plan. (3) To execute the plan, the designer specifies building materials and assembly instructions. (4) Finally, the designer or some surrogate applies the assembly instructions to the building materials. What emerges is a designed object, and the designer is successful to the degree that the object fulfills the designer's purpose
 * Opening words of

 * Intelligent Design opens the whole possibility of us being created in the image of a benevolent God.
 * "Defeating Darwinism in Our Culture" panel discussion, National Religious Broadcasters meeting, Anaheim, 2000-02-06, as quoted in

 * The job of apologetics is to clear the ground, to clear obstacles that prevent people from coming to the knowledge of Christ.... And if there's anything that I think has blocked the growth of Christ as the free reign of the Spirit and people accepting the Scripture and Jesus Christ, it is the Darwinian naturalistic view.... It's important that we understand the world. God has created it; Jesus is incarnate in the world.
 * "Defeating Darwinism in Our Culture" panel discussion, National Religious Broadcasters meeting, Anaheim, 2000-02-06, as quoted in

 * The world is a mirror representing the divine life...
 * with A., Kushiner, James M., (editors),

 * The mechanical philosophy was ever blind to this fact. Intelligent design, on the other hand, readily embraces the sacramental nature of physical reality. Indeed, intelligent design is just the Logos theology of John's Gospel restated in the idiom of information theory.
 * with A., Kushiner, James M., (editors),

 * Intelligent design is eminently falsifiable. Specified complexity in general and irreducible complexity in biology are within the theory of intelligent design the key markers of intelligent agency. If it could be shown that biological systems like the bacterial flagellum that are wonderfully complex, elegant, and integrated could have been formed by a gradual Darwinian process (which by definition is non-telic), then intelligent design would be falsified on the general grounds that one doesn't invoke intelligent causes when purely natural causes will do. In that case Occam's razor finishes off intelligent design quite nicely.
 * The fact is that for complex systems like the bacterial flagellum no biologist has or is anywhere close to reconstructing its history in Darwinian terms. Is Darwinian theory therefore falsified? Hardly. I have yet to witness one committed Darwinist concede that any feature of nature might even in principle provide countervailing evidence to Darwinism. In place of such a concession one is instead always treated to an admission of ignorance. Thus it's not that Darwinism has been falsified or disconfirmed, but that we simply don't know enough about the biological system in question and its historical context to determine how the Darwinian mechanism might have produced it.
 * responding to Eugenie Scott's 2001-01-18 lecture at U.C. Berkeley, "Icons of Creationism: The New Anti-Evolutionism and Science"
 * responding to Eugenie Scott's 2001-01-18 lecture at U.C. Berkeley, "Icons of Creationism: The New Anti-Evolutionism and Science"

 * From our vantage, materialism is not a neutral, value-free, minimalist position from which to pursue inquiry. Rather, it is itself an ideology with an agenda. What’s more, it requires an evolutionary creation story to keep it afloat. On scientific grounds, we regard that creation story to be false. What’s more, we regard the ideological agenda that has flowed from it to be destructive to rational discourse. Our concerns are therefore entirely parallel to the evolutionists’. Indeed, all the evolutionists’ worst fears about what the world would be like if we succeed have, in our view, already been realized through the success of materialism and evolution. Hence, as a strategy for unseating materialism and evolution, the term "Wedge" has come to denote an intellectual and cultural movement that many find congenial.
 * , also published in

 * I think the opportunity to deal with students and getting them properly oriented on science and theology and the relation between those is going to be important because science has been such an instrument used by the materialists to undermine the Christian faith and religious belief generally.

 * This is really an opportunity to mobilize a new generation of scholars and pastors not just to equip the saints but also to engage the culture and reclaim it for Christ. That's really what is driving me.

 * But there are deeper motivations. I think at a fundamental level, in terms of what drives me in this is that I think God's glory is being robbed by these naturalistic approaches to biological evolution, creation, the origin of the world, the origin of biological complexity and diversity. When you are attributing the wonders of nature to these mindless material mechanisms, God's glory is getting robbed...And so there is a cultural war here. Ultimately I want to see God get the credit for what he's done - and he's not getting it.
 * And another thing I think we need to be aware of is that not every instance of design we see in nature needs to be directly attributed to God. Certainly as Christians we believe there is an angelic hierarchy - it's not just that there's this physical material world and there's God. There can be various hierarchies of intelligent beings operating, God can work through what can be called derived intelligences - processes which carry out the Divine will, but maybe not perfectly because of the fall.
 * address given at Fellowship Baptist Church, Waco, Texas, 2004-03-07, quoted in

 * In the next five years, molecular Darwinism—the idea that Darwinian processes can produce complex molecular structures at the subcellular level—will be dead. When that happens, evolutionary biology will experience a crisis of confidence because evolutionary biology hinges on the evolution of the right molecules. I therefore foresee a Taliban-style collapse of Darwinism in the next ten years. Intelligent design will of course profit greatly from this.
 * "|The Measure of Design: A Conversation About the Past, Present & Future of Darwinism & Design" Touchstone, volume 17, issue 6, pages 60-65, at page 64 (July/August 2004).

 * Theism (whether Christian, Jewish, or Muslim) holds that God by wisdom created the world. The origin of the world and its subsequent ordering thus results from the designing activity of an intelligent agent—God. Naturalism, on the other hand, allows no place for intelligent agency except at the end of a blind, purposeless material process. Within naturalism, any intelligence is an evolved intelligence. Moreover, the evolutionary process by which any such intelligence developed is itself blind and purposeless. As a consequence, naturalism makes intelligence not a basic creative force within nature but an evolutionary byproduct. In particular, humans (the natural objects best known to exhibit intelligence) are not the crown of creation, not the carefully designed outcome of a purposeful creator, and certainly not creatures made in the image of a benevolent God. Rather, humans are an accident of natural history.
 * p. 8-9
 * Thus, in a crucial way, the Kansas hearings repeat the pattern set by the Scopes Trial, which has been repeated many times since, namely, evolutionists escaped critical scrutiny by not having to undergo cross-examination. In this case, they accomplished the feat by boycotting the hearings. I therefore await the day when the hearings are not voluntary but involve subpoenas that compel evolutionists to be deposed and interrogated at length on their views.

 * What I propose, then, is a strategy for interrogating the Darwinists to, as it were, squeeze the truth out of them.

 * Thus, in its relation to Christianity, intelligent design should be viewed as a ground-clearing operation that gets rid of the intellectual rubbish that for generations has kept Christianity from receiving serious consideration.
 * Reponding to
 * Reponding to

 * Even many Christians who have been raised and indoctrinated in a secular mindset … will say, 'Look, we're just going to have to accept the science of the day and try to make our peace with it theologically.' … And there is no peace theologically … ultimately with this view [Darwinian evolution]. But they accept it. And so, this idea of intelligent design becomes very threatening.

 * The mountains of evidence are already there. The problem is that evidence is itself inherently hermeneutical, influenced by cognitive predispositions to interpret certain types of data as supporting/confirming certain types of conclusions. If one wears materialistic blinders, there can be no evidence for ID hence the constant refrain by people like Barbara Forrest and Eugenie Scott that there is no evidence for ID. There is none for them because they have shut their eyes to it.
 * comment dated 2009-06-29 on

title: William A. Dembski


text:
Talk:Donnie Darko

Verbatim Transcription of Smurf Discussion
Hello. It's November 2006. I rewrote the Smurf discussion under dialouge to reflect a verbatim transcription of the dialouge as found in the movie. There were many errors and additions I corrected. Anybody wants to listen to the scene and read it to double check that will be great. Y'know what's the point of living...if you don't have a dick? Best line ever. What I put:

 * Sean Smith: Beer and pussy. That's all I need.
 * Ronald Fisher: Well we gotta find ourselves a Smurfette.
 * Sean Smith: Smurfette?
 * Ronald Fisher: Mmm-hmm [gulps beer]. Not some like tight-ass Middlesex chick, y'know?  Like this cute little blonde that'll get down and dirty with the guys.  Like Smurfette does.
 * Sean Smith: [Nods Agreement] Hmm.
 * Donnie: Smurfette doesn't fuck.
 * Ronald Fisher: That's bullshit. Smurfette fucks all the other Smurfs.  Why do you think Papa Smurf made her?  It's because all the other Smurfs were getting too horny.
 * Sean Smith: No, no, no, not Vanity. I heard he was a homosexual.
 * Ronald Fisher: Okay well you know what then, she fucks them while Vanity watches, okay?
 * Sean Smith: Well what about Papa Smurf? I mean, he must get into all the action.
 * Ronald Fisher: Yeah. What he does: He films the gangbang, later on...he beats off to the tape.
 * Donnie: [earnestly] First of all: Papa Smurf didn't create Smurfette - Gargamel did! She was sent in as Gargamel's evil spy with the intention of destroying the Smurf village.  But the overwhelming goodness of the Smurf way of life transformed her.  And as for the whole gangbang scenario - Huh!  I - it just couldn't happen.  Smurfs are asexual, th-they don't even have...reproductive organs under those little...white...pants.  That's what's so illogical, y'know, about being a Smurf.  Y'know what's the point of living... if you don't have a dick?
 * Sean Smith: [sighs] Dammit Donnie wh-why you gotta get so smart on us?

I got here because googling for what I knew to be the exact exchange heard during this scene turned up a plethora of inconsistent and incorrect transcriptions, so the misinformation has spread pretty far already. And I fear there could be just as many errors in all the other transcriptions due to lazy copy and pasting of dialouge and no actual listening and proofing. I'll look at a few others, but time is on my side.

We'll never get out of this life alive.

Philosophy of Time Travel
I was thinking about including the entire text of the Philosophy of Time Travel written for the movie into the article. Some of the text is shown in the director's cut and the full text is available on the Donnie Darko website for those who can figure it out. Would this be an appropriate thing to do considering this website is more for listing quotes rather than text? If no one objects in a few days I'll just put it in. -Ryan Lynch —The preceding unsigned comment was added by 63.149.110.206 (talk • contribs) 19:25, 2 August 2005 (UTC)

Please do not do this. See WQ:NOT. ~ MosheZadka (Talk) 20:47, 2 August 2005 (UTC)

 * More specifically, that information is protected by copyright. Anything but small samples would be in clear violation and not protected by any conceivable interpretation of fair use. Don't confuse easily accessible with freely used. ~ Jeff Q (talk) 21:09, 2 August 2005 (UTC)

Quotes from Wikipedia
These were removed fromt he wikipedia article.

 * Kitty [to Donnie's Mother]: Rose! Sometimes I doubt your commitment to Sparkle Motion!

 * Donnie: Why do you wear that stupid bunny suit? Frank: Why are you wearing that stupid man suit?

 * Principal Cole: Now let’s go over this again. So what exactly did you say to Mrs. Farmer? Kitty Farmer: I’ll tell you what he said, he asked me to forcibly insert the lifeline exercise card into my anus!

 * Gretchen: What if you could go back in time, and take all those hours of pain and darkness and replace them with something better?

 * Karen Pomeroy: I don’t think you have a clue what it's like to communicate with these kids. We are losing them to apathy and this prescribed nonsense. They are slipping away.

 * Donnie [to Cunningham]: You're right actually, I am pretty troubled and I am pretty confused and I'm afraid, really, really afraid, but I think you're the fucking anti-christ. [applause]

 * Donnie: You're such a fuck-ass. Elizabeth: (laughing) What? Did you just call me a fuck-ass? You can just go suck a fuck! Donnie: Please tell me, Elizabeth, how exactly does one suck a fuck? Elizabeth: You want me to tell you? Rose Darko: We will not have THIS at the dinner table. Donnie: I'm all ears. (Pause) Samantha: What's a fuck-ass?

 * Karen Pomeroy: A famous linguist once said that of all the phrases in the English language .  . . of all the endless combinations of words in history, that "cellar door" was the most beautiful. Donnie: . . . cellar door . ..

 * Frank: Twenty eight days, six hours, forty two minutes, twelve seconds...that is when the world will end... Donnie: . . . why?

 * Frank: Wake up, Donnie . . . I've been watching you . . . Come closer . . . closer . . . closer. . ..

 * Donnie: So why'd you move here? Gretchen: My parents got divorced, my mom had to get a restraining order against my stepdad, he has emotional problems.  Donnie: Hey I have those too, what kind of emotional problems does your dad have?  Gretchen: He stabbed my mom four times in the chest.

 * Grandma Death (Roberta Sparrow): Every living creature on this earth dies alone.

 * Donnie: What will happen if you tell mom and dad about this? Samantha: You'll put Ariel in the garbage disposal. Donnie: Goddamn right, I will.

 * Donald: Hey, Cherita, you want a cigarette? Cherita: Chut up. Sean: (imitating) Chut up. Donald: Go back to China, bitch.

 * Donnie: I just turn down the volume and think about fucking Christina Applegate. Dr. Lilian Thurman: I asked you about your family, Donnie. Donnie: No. I don't think about fucking my family ... that's gross.

 * Gretchen: Donnie Darko? What the hell kind of name is that? It's like some sort of superhero or something. Donnie: What makes you think I'm not?

Cherita: Chut up!
 * Sean: Porky pig, I hope you get MOLESTED.

—The preceding unsigned comment was added by 130.184.11.128 (talk • contribs) 20:41, 26 June 2006 (UTC)

Not in correct order
Some of the quotes don't fit where they are in the movie could someone edit so they are? ~
 * I've added an unsorted tag to the article. ~ UDScott 18:46, 15 March 2007 (UTC)

Scripts as sources
Hey, I'm going to bookmark this page. I have the actual script of Donnie Darko that I won on an Ebay thing. I could make sure all of the quotes and transcriptions are 100% correct if you guys want. . . —The preceding unsigned comment was added by 64.91.70.98 (talk • contribs) 07:03, 6 April 2007 (UTC)

 * Published scripts can be useful in discerning difficult passages, but they frequently don't list all the actual dialog accurately. Use them with caution. ~ Jeff Q (talk) 10:31, 6 April 2007 (UTC)

DVD commentary
July 22 2007 Does anyone know if it would be appropriate to put quotes from the DVD commentary of the film on the film’s quote page or should it be under a separate page for the speaker.

title: Talk:Donnie Darko


text:
User:Ndc~enwikiquote

My name is Nate. The letters ndc are my initials. I exist on Wikiquote to contribute to the following:

 * Phil Hendrie (talk)

I also occasionally edit Wikipedia, where you may find more information about me.

Please leave communication regarding my Wikiquote edits on the talk page of the article in question. If I don't seem to notice that communication, feel free to notify me via my talk page.

title: User:Ndc~enwikiquote


text:
Phish

Phish is an American rock band noted for jamming and improvisation. The band's four members performed together for the better part of 21 years until their breakup in August 2004, but have since reunited in 2009. Their music has elements of a wide variety of genres, including rock, jazz, bluegrass, heavy metal, folk, blues, progressive rock, reggae, acoustic music, and European classical music. Each Phish concert is original in terms of the songs included, the order in which they appear, and the way in which they are performed: most of their songs are never played the same way twice. Although the group receives little radio play or MTV exposure, Phish has developed a large following by word of mouth and the exchange of live recordings.

The following quotes are from a variety of Phish songs performed throughout their history. The majority of Phish lyrics are penned by lyricist Tom Marshall, a childhood friend of founding member Trey Anastasio.

The following lyrical excerpts are listed in alphabetical order.

Lyrics

 * All of These Dreams
 * If you go there, and after you do
 * All of these dreams would be yours to pursue
 * The rest of your lifetime devoid of a care
 * If you keep your eyes open, you may find yourself there

 * Anything But Me -
 * You've become an island in the hazy world surrounding me
 * Offering a vast reward each time I safely cross the sea
 * All too often I become lost in the fog and haze
 * Clinging still against my will to promises of clearer days

 * Back on the Train -
 * When I jumped off, I had a bucket full of thoughts
 * When I first jumped off, I held that bucket in my hand
 * Ideas that would take me all around the world
 * I stood and watched the smoke behind the mountains curl
 * It took me a long time to get back on the train

 * Brian and Robert -
 * If you're just staring at your walls
 * Observing echoing footfalls from tenants wandering distant halls
 * Then this one is for you
 * If children playing all around to you is noise, not pleasant sound
 * And you feel lost on the playground...
 * Then this one is for you

 * Bug -
 * Nothing I see can be taken from me

 * Bye Bye Foot -
 * Where I end and you begin
 * I wanna find that line and cross it back and forth
 * Until it's erased by our footsteps

 * Crowd Control -
 * It's crowded in the lowlands but the fools stay on the hill
 * You control us now, you have the reins
 * Do something or we will

 * The Curtain -
 * As he saw his life run away from him
 * Thousands ran along
 * Chanting words from a song.
 * 'Please me have no regrets'

 * Dear Mrs. Reagan -
 * Dear Mrs. Reagan, I hope you're feeling well
 * Fighting drugs and abortion will keep you out of Hell
 * Send in the troops, they'll shut the system down
 * Take away their leaders and replace them all with clowns
 * Out in the Rose Garden, time for a speech
 * Make up your face so it looks like a peach
 * Aw, Nancy dear, what shall I say?
 * Tell ol' Ronnie it's all okay

 * Destiny Unbound -
 * She started the ignition and without permission, the two of them flew down the dusty road
 * But the road wasn't finished and the pavement diminished
 * They soared off the edge and they plunged in the sludge
 * She said, "There isn't even any road, our destiny was bound
 * We were the ones for us, but now we're in the ground"

 * Dirt -
 * I'd like to live beneath the dirt
 * A tiny space to move and breathe is all that I would ever need
 * I wanna live beneath the dirt
 * Where I'd be free from push and shove like all those swarming up above
 * Beneath their heels I'll spend my time
 * I'll wriggle in the earth and dew
 * And sometimes I will think of you
 * And if you ever think of me, kneel down and kiss the earth
 * And show me what this thought is worth
 * I'll never hear your voice again

 * Discern -
 * I think I hear a whisper around nearly every turn
 * But what the voice is saying, I barely can discern
 * The echoes that are following the contours of the ground
 * Ebb and flow and ease into a tidal wave of sound

 * Dog-Faced Boy -
 * Whenever I think of you it only makes me feel sad
 * Whenever I think of you....the best friend I ever had
 * Before I give it up all for nothing:
 * Well, I lied and I cheated, and it made me feel bad
 * It made me feel guilty for not being true
 * For the months I spend trying for a way to explain
 * In the end all I could do was turn my head in shame

 * Down With Disease -
 * Waiting for the time when I can finally say
 * That this has all been wonderful, but now I'm on my way
 * But when I think it's time to leave it all behind
 * I try to find a way to, but there's nothing I can say to make it stop

 * Driver -
 * I'll tell you about the driver who lives inside my head
 * He starts me up and stops me, then puts me into bed
 * He opens up my mouth when it's time for me to talk
 * He fires up my legs when he wants me to walk
 * He keeps my eyes open for most of the day
 * Adds to my memories the things that people say
 * And when he makes decisions, I don't have to wait
 * But sometimes it seems that he's got too much on his plate
 * Like this morning when I woke up and he dressed me in this shirt
 * That looks a little ragged where he dragged me through the dirt
 * I'm moving through this life and I'm thinking about the next
 * And hoping when I get there, I'll be better dressed

 * Farmhouse
 * Each betrayal begins with trust, every man returns to dust

 * Fast Enough for You -
 * If time were only part of the equation and you could draw the boundaries of our cage
 * You wouldn't pile another stone upon me, and I'd be happy just to watch you age
 * But everything is in its own dominion, and waiting in the shadows as I do
 * Appeases me as water slowly trickles out, which isn't nearly fast enough for you

 * Frankie Says -
 * Relax
 * The world will spin beside itself and suck you in
 * With threats and hopes beyond compare
 * I change the landscape as I pass, meandering from sand to glass
 * I suction there for one whole day, until the feeling goes away

 * Free -
 * I feel no curiosity, I see the path ahead of me
 * In a minute I'll be free, and you'll be splashing in the sea
 * We hear a tiny cry as the ship goes sliding by

 * Mountains in the Mist
 * Rain falls on my shoulders, sun rises in the east
 * I'm worn and bruised, but I am here at least

 * Friday -
 * I crashed, I burned
 * But then I learned to keep my eye on you
 * You always say you'll lead the way
 * But then you never do

 * Heavy Things -
 * Things are falling down on me, heavy things I could not see
 * When I finally came around, something small would pin me down
 * And when I tried to step aside I moved to where they'd hoped I'd be

 * The Horse -
 * It's time I sling the baskets off this overburdened horse
 * Sink my toes into the ground and set a different course
 * Because if I were here and you were there, I'd meet you in between
 * And not until my dying day confess what I have seen

 * If I Could -
 * Stay with me till time turns over
 * I wanna feel my feet leave the ground
 * Take me where the whispering breezes
 * Can lift me up and spin me around
 * If I could I would, but I don't know how

 * It's Ice -
 * Slipping on the friction slide, my skin peels to the bone
 * The flesh I leave behind is something that is not my own
 * I beg my mirror image for a moment with my soul
 * He's pleading back, it's time to attack
 * It's me who's in control
 * With every move I make, he's got a hand up just in time
 * He's throwing several punches and he's blocking most of mine
 * Defeated now, I sulk and squirm in mud with frozen mice
 * Waiting, calculating 'til next he ventures onto the ice

 * Julius -
 * 'Cause a week is a month and an hour a day
 * When your reaching just pushes it further away now
 * With your past and your future precisely divided
 * Am I at that moment? I haven't decided, I haven't decided

 * Jennifer Dances -
 * You ought to know from long ago to listen to the winds that blow
 * Cause when the past creeps up at last, you'll see the landscape open fast
 * And you'll be standing on a landing, crumbling despite your demanding

 * Lifeboy -
 * When the line is breaking and when I'm near the end
 * When all the time spent leading, I've been following instead
 * When all my thoughts and memories are left hanging by a thread
 * God never listens to what I say

 * Limb by Limb -
 * I never want my hand cut off, I never want a hacking cough
 * I never need a cliffside push, I never turn my brain to mush
 * Always give me what I lack, always take the best parts back
 * Always recognize your fate, always just a moment late
 * Left is where I always turn, left is how I'm forced to learn
 * Left the route my walking takes, left alone with my mistakes
 * Up against the person who up 'til now I never knew
 * Up from hell the answer blew, up or down...it's up to you

 * The Mango Song -
 * Your hands and feet are mangos, but you're gonna be a genius anyway

 * Maze -
 * The torrent of helplessness swept me away to the cavern of shame and the hall of dismay
 * Inside me a voice was repeating the phrase, "You've lost it, you'll never get out of this maze"

 * Meat -
 * I need a different life, I think
 * Perhaps I'll be the missing link
 * I treasure moments as I drink away the memories
 * Let them sink

 * The Meatstick -
 * Long before this scene concludes, the end I'm seeking still eludes
 * My every effort to apply, my will to moments passing by
 * But everytime we say goodbye, there's a pain I can't identify
 * That reveals to me the hidden door that leads to several moments more

 * Mike's Song -
 * Trapped in time and I don't know what to do
 * These friends of mine, I can see right through 'em
 * You don't gotta tell me, cause I don't gotta move
 * I'm sittin' back here just sharin' in the groove

 * The Moma Dance -
 * All throughout I gaze and glimpse you
 * Loving never did convince you
 * I see you when you're all alone
 * It's like a person I've not known
 * The moment ends though I feel winds
 * Blowing differently than ever before, and then pushing me further from shore

 * Mound -
 * Ice is all he was made of
 * The bitter blue had frozen through
 * He went over to the mound
 * Reclining down his final thoughts
 * were drifting to a time this life had shined

 * Never -
 * Never is that point in time that doesn't have dimension
 * Always is the measure of how long time's been around

 * Nothing -
 * I stand on a featureless sheet of blue stone
 * And then for one instant I'm not quite alone
 * Your hand is extended but then you rescind
 * And you, like my thoughts, are borne off by the wind

 * Pebbles and Marbles -
 * She started a blaze from one tiny spark I didn't even detect
 * She loved the light, was dismayed by the dark, the stars, though, she seemed to respect
 * The faint light that flutters at night to the earth would land in her eyes and collect
 * Luminous creatures she'd find in the surf I never thought to inspect
 * Pebbles and marbles, like things on my mind, seem to get lost and harder to find
 * When I am alone, I am inclined, if I find a pebble in the sand, to think that it fell from my hand
 * She gave me ideas and planted the seed, but she never stopped to reflect
 * The course that she's on, wherever it leads, I never would redirect
 * Pebbles and marbles, like words from a friend, make us hold tight but are lost in the end
 * When we're alone, we all seem to tend, if we find a marble in dust, to wish someone left it for us

 * Prep School Hippie -
 * Prep school hippie, or hip school preppie
 * I can't decide
 * Should I spend my adolescent days wearing tie dyes or Vuarnets
 * I can't decide
 * A big ten kegger at the frat, or watching Jerry shake his fat
 * Prep school hippie, or hip school preppie
 * I can't decide

 * Rift -
 * Silence contagious in moments like these
 * Consumed me and strengthened my will to appease
 * The passion that sparked me one terrible night
 * Had shocked and persuaded my soul to ignite

 * Roggae -
 * If life were easy and not so fast, I wouldn't think about the past
 * I can't forget to turn the earth so both sides get their share of darkness and of light

 * Round Room -
 * If I pass out, take me to the round church
 * Where echoes resound and my spirit is found
 * And when I float high, take my arm and I'll fly you by
 * To the outskirts of town to a garden that's round

 * Run Like an Antelope -
 * Set the gearshift to the high gear of your soul
 * You've got to run like an antelope out of control

 * Sample in a Jar -
 * You tricked me like the others and now I don't belong
 * The simple smiles and good times seem all wrong

 * Sand -
 * I will choose my own religion and worship my own spirit
 * And if you ever preached to me, I wouldn't want to hear it

 * Scents and Subtle Sounds -
 * If you would only start to live one moment at a time
 * You would, I think, be startled by the things that you would find
 * Like scents you never noticed, and many subtle sounds
 * Like colors in the landscape and textures of the town
 * Then the winds would lift you up into the sky above
 * And you'd be treated to a view of everything you love
 * And if the moment passes, you should try it once again
 * For if you do it right, you'll find the moment never ends

 * Shafty -
 * The terrible thing about Hell is that when you're there, you can't even tell
 * As you move through this life you love so, you could be there and not even know
 * But you say, "So what, I'm doing just fine"
 * The irony is that it's all in your mind
 * That's why Hell is so vicious and cruel, but you'll just go on an oblivious fool

 * Silent in the Morning -
 * You're silent in the morning, suspended in the trees
 * Lunch time comes, you've found your voice, it brings me to my knees
 * The volume just increases and the resounding echoes grow
 * Until once again, I bask in morning stillness I love so
 * The target that I shoot for seems to move with every breath
 * I tighten all my arteries and make one last request
 * Divine creation hears me, and he squashes me with fear
 * I think that this exact thing happened to me just last year

 * Sleep -
 * I can't describe the feeling when I'm in my bed asleep, and then
 * I wake up with a vision blurred and all my efforts are deterred
 * To reconstruct this image lost
 * There're certain things my mind won't do, and even though they're very few
 * The image glistens like a gem, repairing is not one of them
 * So I'm awake, though in my mind, the image that so unrefined
 * Is calling to me from the deep, tempting me to fall asleep

 * Spices -
 * A single cloud within a storm descends and leaves behind a form
 * Someone that you knew appears in front of you: a woman's figure, rain-cloud-born
 * She blinks but doesn't see you yet, she shivers and is soaking wet
 * You cross the sand and take her hand, a lifetime passed since last you met
 * Centuries now fall away, seems so long since yesterday
 * When you were young and in the sun, you let your woman slip away
 * You take the hands that you have missed and kiss the lips you haven't kissed
 * For many years, taste the tears
 * Spices that you can't resist

 * Split Open and Melt -
 * I wake up on my stomach with my face between my hands
 * And crawl along the floor toward the doorway
 * Jumping to my feet, I try to put myself together
 * But I feel it in my knees and the room begins to spin
 * I slip and bump my head and raise a welt, split open and melt

 * Spread it Round -
 * Together we are all alone, united on a spinning stone
 * So if your love is running down, don't concentrate it....spread it round

 * Steep -
 * Much ado is all I see, in fact, it is surrounding me
 * The seething crowd intrudes all day until I'm finally swept away
 * Although I thought my roots were deep, I sank them into hillsides steep
 * And riverbanks that soon erode and canyons that have overflowed

 * Strange Design -
 * Dripping in this strange design, none is yours and far less mine
 * Hold the wheel, read the sign, keep the tires off the line
 * Just relax, you're doing fine
 * Swimming in this real thing I call life
 * Can I bring a few companions on this ride

 * Taste -
 * I'm down, and I will drag you along and around
 * Until you burst into song and unwind, and leave your new life behind for a while
 * Cause I can see through the lines

 * Tela -
 * As I look into her eyes, my frozen heart begins to thaw
 * And burn, 'til layer after layer melts away into a pool
 * The sky blue mirror of her eyes
 * And my soul is made of marble, but in her gaze I crumble into dust
 * And drift away on the wind: the wind from beyond the mountain

 * Theme From the Bottom -
 * Pantomime mixtures of heaven and earth
 * Jumbled events that have less than no worth
 * Time in the forest to dig under rocks
 * Or float in the ocean asleep in a box
 * Or sink just below all the churning and froth
 * And swim to the light source or fly like a moth
 * So toss away stuff you don't need in the end
 * But keep what's important and know who's your friend

 * Thunderhead -
 * I need a new way to express myself
 * So you don't need to guess what otherwise I'd say aloud
 * And watch it float just like a cloud, high up above you like a thunderhead
 * But you would just look down instead and wait 'til foggy skies appear
 * And vapor clouds all disappear
 * And with them, all my words for you have softly sublimated too
 * And you'll just hope that I've moved on, so you'll look up and find me gone

 * Train Song -
 * The glass on the lantern casts back the sight of a drive-in movie, we drove by below
 * We saw where we'd been in the pictures within, projecting all the places we would go
 * So we followed the scene and flowed up your steps to a smooth wooden floor in a trance
 * The train whistle melody woved through the trees and in through the door to signal the turns of a dance

 * Two Versions of Me -
 * Ten mountains stand tall, nine seasons since fall
 * Eight eons of sand, seven oceans began
 * Now there is none, no more light from the sun
 * Now waters run free, no more phish in the sea
 * One more name on the slate, one less minute to wait
 * Too busy to see two versions of me
 * One more bottle is dry, one less reason to try
 * Six feet underneath, five fingers don't reach
 * Four seconds it seems for all of our dreams
 * Three oceans away, two children at play
 * Too bust to see two versions of me

 * Vultures -
 * Blind me with ambition like a razor to the throat
 * Cast aside your foolish pride, I'll cast the final vote
 * The feelings you've been waiting for are clawing thru your skin
 * And if you look above, you'll see the vultures moving in

 * Wading in the Velvet Sea -
 * I took a moment from my day and wrapped it up in things you say
 * Mailed it off to your address, you'll get it pretty soon...unless
 * The packaging begins to break and all the points I tried to make
 * Are tossed with thoughts into a bin, time leaks out my life leaks in
 * You won't find moments in a box, nd someone else will set your clocks
 * I took a moment from my day and wrapped it up in things you say
 * And mailed it off to you.....

 * Walls of the Cave -
 * I'm leaving you a message, I'm leaving you a trace
 * I'm leaving thoughts for you I hope that time will not erase
 * And when the moment comes to read the words that I engrave
 * You'll find them on the walls of the cave
 * I know you heard the question but you didn't make a sound
 * And when it fell you caught my heart before it hit the ground
 * But if you ever need the names of those you couldn't save
 * You'll find them on the walls of the cave

 * Waste -
 * Don't want to be a farmer working in the sun
 * Don't want to be an outlaw always on the run
 * Don't want to be a climber reaching for the top
 * Don't want to be anything where I don't know when to stop
 * A dream, it's true
 * But I'd see it through if I could be wasting my time with you
 * So if I'm inside your head, don't believe what you might have read
 * You'll see what I might have said
 * To hear it, come waste your time with me

 * Water in the Sky -
 * Listen as she speaks to you
 * Hear the voices flutter through the barriers arranged by you
 * Close the shutters, draw the shades
 * Filter out the everglades, glistening with evening dew
 * Thunder calls through waterfalls, rising tides, and ocean walls
 * I can hear you when you sigh
 * Listen as she speaks to you, hear the voices flutter through
 * Watch them fall and let them lie

 * Waves -
 * How is it I never see the waves that bring her words to me
 * For though unseen, they drift around, they catch my breath and knock me down
 * I feel them quickly swirling by as they withdraw with my reply
 * And slip into the dark of night as I attempt to stay upright
 * Instead I'm stranded on my knees as words depart upon the breeze
 * Which quickly drifts away from here and possibly won't reach her ear
 * If we could see the many waves that flow through clouds and sunken caves
 * She'd sense at least the words that sought her on the wind and underwater

 * The Wedge -
 * It's the ocean flowing in our veins and it's the salt that's in our tears
 * We could have come so very far in at least as many years

 * Wolfman's Brother -
 * I might be on a side street or a stairway to the stars
 * I hear the high pitched cavitation of propellers from afar
 * So with meaningless excitement and a smooth atonal sound
 * It's like a cross between a hurricane and a ship that's run aground

title: Phish


text:
User talk:69.172.214.5

An editor using this IP address has made repeated edits to Dawn of the Dead that replaced content verified through IMDb with unsourced information, and has performed wholesale restructuring of the article admittedly based on their own personal preferences and not according to Wikiquote guidelines. (Wikiquote guidelines for editing can be found starting in Help:Contents, and film-specific information is available at Templates.) These edits have been reverted twice now. If this person wishes to make further controversial contributions, please post explanations of why these should be considered valid on the article talk page. If more such inaccuracies are added to the article, this IP address will be blocked from editing. ~ Jeff Q (talk) 20:23, 2 August 2005 (UTC)

title: User talk:69.172.214.5


text:
Sylvia (ballet)

Sylvia, a ballet with music by Léo Delibes, was premiered in 1876.

On the score

 * "Listened to the Leo Delibes' ballet Sylvia. In fact, I actually listened, because it is the first ballet, where the music constitutes not only the main, but the only interest. What charm, what elegance, what richness of melody, rhythm, harmony. I was ashamed. If I had known this music early then, of course, I would not have written Swan Lake." -- Pyotr Ilyich Tchaikovsky to Sergei Taneyev (composer) on December 7, 1877.

 * Swan Lake is "poor stuff in comparison" -- Pyotr Ilyich Tchaikovsky

Plot

 * "Boy loves girl, girl captured by bad man, girl restored to boy by god" -- Sir Frederick Ashton

Choreography

 * "The part has everything for Fonteyn. It exploits her imperiousness, her tenderness, her pathos, her womanliness, her bravura. It gives us Fonteyn triumphant, Fonteyn bewildered, Fonteyn exotic, Fonteyn pathetic, Fonteyn in excelsis. The range of her dancing is unequalled, the heart-splitting significance she can give to a simple movement unsurpassed.  The whole ballet is like a garland presented to the ballerina by her choreographer." -- Clive Barnes

title: Sylvia (ballet)


text:
American Pie (film)

American Pie is a 1999 comedy film about four teenage boys who enter a pact to lose their virginity by prom night. It was followed by its sequel, American Pie 2, in 2001, and American Wedding, in 2003.
 * Directed by Paul Weitz and Chris Weitz, written by Adam Herz.

There's something about your first piece. (taglines)

Jim Levenstein

 * You realize we're all going to go to college as virgins. They probably have special dorms for people like us.

Steve Stiffler

 * I say, why don't you guys locate your dicks, remove the shrink wrap, and fucking use them?

 * I'll see you guys tonight, in the "No Fucking Section", right?

Jim's Dad

 * I have to admit, you know, I did the fair bit of [hesitates] masturbating when I was a little younger. I used to call it stroking the salami. Yeah, you know, pounding the old pud. [pause] I never did it with baked goods, but you know your uncle Mort, he pets the one-eyed snake 5-6 times a day.

Kevin Myers

 * No longer will our penises remain flaccid and unused! From now on, we fight for every man out there who isn't getting laid when he should be! This is our day! This is our time! And by God, we're not gonna let history condemn us to celibacy! We will make a stand! We will succeed! We will get laid!

Dialogue

 * Jim: Guys, uh, what exactly does third base feel like?
 * Kevin: You want to take this one?
 * Oz: Like warm apple pie.
 * Jim: Yeah?
 * Oz: Yeah.
 * Jim: Apple pie, huh?
 * Oz: Uh huh.
 * Jim: McDonald's or homemade?

 * Stifler: [at choir practice] What did you cocks do to him?
 * Oz: You came to see me in action?
 * Jim: Yeah man, I thought you sounded really good!
 * Stifler: Yeah man, I think you need your balls reattached!

 * Oz: [on being sensitive to women] All you got to do is to ask them questions, and listen to what they have to say and shit.
 * Stifler: I dunno man, that...sounds like a lot of work!

 * Stifler: Fuck me! There's gonna be an Eastern European chick naked in your house and you're not going to do anything about it?
 * Jim: What am I supposed to do, Stifler? Broadcast her over the internet?
 * Stifler: Yeah!
 * Kevin: You can do that?
 * Jim: No, I can't do that to her.
 * Stifler: Jim, get some fucking balls. If you can't bring yourself to photograph a naked chick, how the hell are you ever gonna sleep with one?
 * Finch: I don't like the kid, but he's got a point, Jim.
 * Stifler: See? Even Shit Break knows you should do it.

 * Jim: [tries to make a move on a half-naked Nadia] Looks like you could use an extra hand.
 * Nadia: Jim!
 * Jim: Well, uh...oh!
 * Nadia: [puts on a shirt to cover herself] Shame on you!
 * Jim: Yes, shame on me. I'll just go.
 * Nadia: Well...you have seen me. Now it is my turn to see you...strip.

 * Jim's Dad: [about sex] It's like playing a tennis ball against a brick wall, which can be fun. It can be fun, but it's not a game.
 * Jim: Right.
 * Jim's Dad: It's not a game.
 * Jim: No.
 * Jim's Dad: What you want is a partner to return the ball. You want a partner, don't you, son?
 * Jim: Oh yeah, Dad. I wan-I want a partner.
 * Jim's Dad: Good. Good. That's very good.

 * Jessica: You've never had an orgasm? Not even manually?
 * Vicky: I've never tried it.
 * Jessica: You've never double-clicked your mouse?

 * Stifler: Vicky, Jessica, great to see you, glad you could make it! Ha ha, bitches. Sherman!
 * Sherman: Hey!
 * Stifler: What the fuck are you doing here?

 * Finch: So, ah, would you object if I said you were quite striking?
 * Stifler's Mom: Mister Finch, are you trying to seduce me?
 * Finch: Yes ma'am, I am.
 * Finch: You have anything to drink?
 * Stifler's Mom: I believe the kegs are upstairs.
 * Finch: That is what the cretins drink. I'm talking about alcohol, liquor...the good stuff.
 * Stifler's Mom: I've got some Scotch.
 * Finch: Single malt?
 * Stifler's Mom: Aged 18 years. The way I like it.
 * Stifler's Mom: Aged 18 years. The way I like it.

 * Michelle: Oh! And this one time at band camp, I stuck a flute in my pussy!
 * Jim: [taking a drink then realizes what she said and spits it out] Excuse me?
 * Michelle: What? You think I don't know how to get myself off? Hell, that's what half of band camp is: sex-ed. So, are we gonna screw soon? 'Cause I'm getting kind of antsy.

 * Michelle: Now, I have two rubbers. Wear them both. It will desensitize you. I don't want you cumming so damn early this time.
 * Jim: What makes you think that I would cum early?
 * Michelle: Come on, I saw you on the net. Why do you think I accepted this date? You're a sure thing.
 * Jim: Yes I am.

Taglines

 * There's something about your first piece.
 * Fill that sticky hole!
 * Come again!
 * Boy gets girl. Boy loses girl. Boy gets pie.

Cast

 * Jason Biggs - Jim Levenstein
 * Chris Klein - Chris 'Oz' Ostreicher
 * Thomas Ian Nicholas - Kevin Myers
 * Alyson Hannigan - Michelle Flaherty
 * Shannon Elizabeth - Nadia
 * Tara Reid - Vicky Lathum
 * Eddie Kaye Thomas - Paul Finch
 * Seann William Scott - Steve Stifler
 * Eugene Levy - Jim's Dad
 * Natasha Lyonne - Jessica
 * Mena Suvari - Heather
 * Jennifer Coolidge - Stifler's Mom
 * Chris Owen - Chuck Sherman

title: American Pie (film)


text:
Mark Shuttleworth

Mark Richard Shuttleworth (born 18 September 1973) is a South African-British entrepreneur who is the founder and CEO of Canonical, the company behind the development of the Linux-based Ubuntu operating system. In 2002, Shuttleworth became the first South African to travel to space as a space tourist, and indeed the first African from an independent country to travel to space.

Quotes

 * A big part of willpower is having something to aspire to, something to live for.

 * Computer is not a device anymore. It is an extension of your mind and your gateway to other people.

 * There are many examples of companies and countries that have improved their competitiveness and efficiency by adopting open source strategies. The creation of skills through all levels is of fundamental importance to both companies and countries.

 * In the early days of the DCC I preferred to let the proponents do their thing and then see how it all worked out in the end. Now we are pretty close to the end.

 * I urge telecommunications regulators to develop a commercial strategy for delivering effective access to the continent.

title: Mark Shuttleworth


text:
Porphyrios Bairaktaris

Porphyrios Bairaktaris (7 February 1906 – 1991) was a Greek Eastern Orthodox monk and Saint who lived on Mount Athos.

Quotes

 * What is the spiritual battle? Well, the soul is a garden divided into two parts. On one half are planted thorny bushes, and on the other half flowers. We also have a water pump with two taps and two channels. The one guides the water to the thorns and the other to the flowers. I always have the choice to open one or the other tap. I leave the thorns without water and they dry up, I water the flowers and they blossom.
 * Precious Vessels of the Holy Spirit - The Lives and Counsels of Contemporary Elders of Greece, p. 170

title: Porphyrios Bairaktaris