text:
Jackson Pollock

Paul Jackson Pollock (January 28, 1912 – August 11, 1956) was an American painter active in the Abstract Expressionist movement.

Quotes

 * sorted chronologically, by date of the quotes of Jackson Pollock

1925 - 1940

 * As to what I would like to be. It is difficult to say. An Artist of some kind. If nothing else I shall always study the Arts. People have always frightened and bored me, consequently I have been within my own shell and have not accomplished anything materially.
 * Quote in Pollock's letter, Los Angeles (October 22, 1929) to Charles and Frank published in Jackson Pollock & Family (2011) American Letters: 1927-1947, Cambridge, UK & Malden, Mass.: Polity Press, p. 16

1940s

 * I believe easel painting to be a dying form, and the tendency of modern feeling is toward the wall picture or mural..
 * In his application for a grant given by the Guggenheim Foundation 1944; as quoted in Barbara Hess Abstract expressionism, Cologne: Taschen (2006), p. 9

 * It came into existence because I had to paint it. Any attempt on my part to say something about it, to attempt explanation of the inexplicable, could only destroy it. [1947, on his painting 'She wolf']
 * As quoted in David Anfam Abstract Expressionism, London: Thames and Hudson (1990), p. 87

 * My painting does not come from the easel. I hardly ever stretch my canvas before painting. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. This is akin to the method of the Indian sand painters of the West.
 * Quote from 'Possibilities' Vol. 1, no 1, winter 1947-48, p. 79; as cited in "Jackson Pollock: is he the greatest living painter in the United States?", Life (8 August 1949), pp. 42-45

 * When I am in my painting, I am not aware of what I'm doing. It is only after a short of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
 * In 'Possibilities', Vol. 1, no 1, winter 1947-48, p. 79; as quoted in Elizabeth Frank Jackson Pollock (1983), p. 68

 * Technic is the result of a need new needs demand new technics total control denial of the accident States of order organic intensity energy and motion made visible memories arrested in space, human needs and motives acceptance
 * Quote around 1948-'49; as cited in David Anfam Abstract Expressionism (1990), p. 121
 * Pollock wrote this text on the back of a photo of himself taken in his own studio.

 * I can control the flow of paint; there is no accident..
 * Quoted in Ines Janet Engelmann Jackson Pollock and Lee Krasner, Munich: Prestel Verlag (2007), p. 54

Art and Architecture (1944)
Quotes of Jackson Pollock in: Art and Architecture (February 1944), Vol. 61 no. 2
 * My work with Benton was important as something against which to react very strongly, later on; in this, it was better to have worked with him than with a less resistant personality who would have provided a much less strong opposition. At the same time Benton introduced me to Renaissance art. [remark on his former art-teacher Thomas Hart Benton ]
 * As quoted in Clifford Ross (ed.) Abstract Expressionism: Creators and Critics, New York: Abrahams Publishers (1990), p. 137

 * I accept the fact that the important painting of the last hundred years was done in France. American painters have generally missed the point of modern painting from beginning to end.. .Thus the fact that good European moderns [European artists who lived in the U.S. because of the Nazi-regime] are now here is very important, for they bring with them an understanding of the problems of modern painting. I am particularly impressed with their concept of the source of art being the unconscious. These idea interests me more than these specific artists do, for the two artists I admire most, Picasso and Joan Miró, are still abroad.
 * As quoted in Clifford Ross (ed.) Abstract Expressionism: Creators and Critics, New York: Abrahams Publishers (1990), p. 138

 * The idea of an isolated American painting, so popular in this country during the thirties, seems absurd to me, just as the idea of a purely American mathematics or physics would seem absurd.. .And in another sense, the problem doesn't exist at all; or, if it did, would solve itself: An American is an American and his painting would naturally be qualified by the fact, whether he wills or not. But the basic problems of contemporary painting are independent of any one country.
 * As quoted in Clifford Ross (ed.) Abstract Expressionism: Creators and Critics, New York: Abrahams Publishers (1990), p. 138

 * I have a definite feeling for the West, the vast horizontality of the land, for instance.. .I have always been very impressed with the plastic qualities of American Indian art. The Indians have the true painter's approach in their capacity to get hold of appropriate images, and in their understanding of what constitutes painterly subject-matter. Their colour is essentially Western, their vision has the basic universality of all real art. Some people find references to American Indian art and calligraphy in parts of my pictures. That wasn't intentional; probably [it] was the result of early memories and enthusiasm.
 * Quote of Pollock, from Gail Levin Twentieth-century American painting, London: The Thyssen-Bornemisza collection (1987), p. 267

1950s

 * Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was. It was a fine compliment. Only he didn't know it.
 * In 'Unframed Space' interview with Berton Roueché, The New Yorker (5 August 1950); as quoted in Martin Gayford and Karen Wright (eds.) The Grove Book of Art Writing: Brilliant Words on Art from Pliny the Elder to Damien Hirst, New York: Grove Press, (1998), p. 546

 * I've had a period of drawing on canvas in black – with some of my early images coming thru -, think the non-objectivists will find them disturbing – and the kids who think it simple to splash a 'Pollock' out.
 * Quote from Pollock's letter to Alfonso A. Ossorio and Edward Dragon (1951); as quoted in David Anfam Abstract Expressionism (1990), p. 175

 * The thing that interests me is that today painters do not have to go to a subject-matter outside themselves. Modern painters work in a different way. They work from within.
 * Pollock in a radio interview (1951), as quoted in Edward Lucie-Smith ''Lives of the Great Twentieth Century Artists' (1986), p. 263

 * The important thing is that Clyff Still – you know his work? – and Rothko, and I – we've changed the nature of painting.. .I don't mean there aren't any other good painters. Bill [ Willem the Kooning ] is a good painter, but he's a 'French' painter [Pollock meant: a French-abstract style]. I told him so, the last time I saw him after his last show,.  ..all those pictures in his last show start with an image. You can see it even though he's covered it up, or tried to..  ..Style – that's the French part of it. He has to cover it up with style.. [answering Seldon Rodman's question]
 * In an interview (1956); published in Seldon Rodman Conversations with Artists, New York: Capricorn Books (1961), pp. 84-85

 * I don't care for 'Abstract expressionism'.. ..and it is certainly not 'non-objective', and not 'non-representational' either. I'm very representational some of the time, and a little all of the time. But when you're painting out of your consciousness, figures are bound to emerge. We're all of us influenced by Freud, I guess. I've been a Jungian for a long time..  .Painting is a state of being..  .Painting is self-discovery. Every good artist paints what he is.
 * In an interview (1956); published in Seldon Rodman Conversations with Artists, New York: Capricorn Books (1961), pp. 84-85

Interview by William Wright (Summer 1950)
Quotes of Pollock, from an interview by William Wright, Summer 1950 (for broadcasting, but never used); as quoted in Clifford Ross (ed) Abstract Expressionism: Creators and Critics, New York: Abrahams Publishers (1990)

 * It seems to me that the modern painter cannot express his age, the airplane the atom bomb, the radio, in the old forms of Renaissance or of any past culture. Each age finds its own technique...
 * p. 17

 * I think they [the public] should not look for, but look passively — and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for ... and I think the unconsciousness drives do mean a lot in looking at paintings ... I think it should enjoyed just as music is enjoyed — after a while you may like it or you may not. But it doesn't seem to be too serious. I like some flowers, and others, other flowers I don't like. I think at least it gives — at least give it a chance.
 * pp. 139-140

 * The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world – in other words – expressing the energy, the motion and the other inner forces ... the modern artist is working with space and time, and expressing his feelings rather than illustrating.
 * pp. 139-140

 * Modern art to me is nothing more than the expression of contemporary aims of the age we're living in ... All cultures have had means and techniques of expressing their immediate aims – the Chinese, the Renaissance, all cultures. The thing that interests me is that today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source, they work from within.
 * p. 140

 * Well, method is, it seems to me, a natural growth out of a need, and from a need the modern artist has found new ways of expressing the world about him. I happen to find ways that are different from the usual techniques, which seems a little strange at the moment, but I don't think there's anything very different about it. I paint on the floor and this isn't unusual – the Orientals did that.
 * pp. 142-143

 * Most of the paint I use is a liquid, flowing kind of paint. The brushes I use are more a sticks rather than brushes – the brush doesn't touch the surface on the canvas, it's just above ... [so] I am able to be more free and to have greater freedom and move about the canvas, with greater ease.
 * p. 144

 * With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use – I don't use the accident – 'cause I deny the accident ... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.
 * p. 144

 * I don't work from drawings and colour sketches into a final painting. Painting, I think, today – the more immediate, the more direct – the greater the possibilities of making a direct – of making a statement.
 * p. 144

 * Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here – is – away from the easel – into some sort, some kind of wall, wall painting...
 * p. 144

 * Naturally, the result is the thing [in painting] and it doesnvery vibrantt make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.
 * p. 145

in posthumous publications

 * I am nature.
 * Attributed by Lee Krasner (1964) in "Oral history interview with Lee Krasner, 1964 Nov. 2-1968 Apr. 11", interview with Dorothy Seckler for the Smithsonian Institution Archives of American Art.
 * In Krasner's words: 'When I brought Hofmann up to meet Pollock and see his work which was before we moved here, Hofmann's reaction was — one of the questions he asked Jackson was, do you work from nature? There were no still lifes around or models around and Jackson's answer was, 'I am nature.' And Hofmann's reply was, 'Ah, but if you work by heart, you will repeat yourself.' To which Jackson did not reply at all.'

 * Each age finds its own technique.. .I mean, the strangeness will wear off and I think we will discover the deeper meanings in modern art.
 * As quoted in Francis V. O'Connor (1967) Jackson Pollock, p. 79

 * My concern is with the rhythms of nature.. .I work inside out, like nature.
 * Quoted in Leonhard Emmerling (2003) Jackson Pollock: 1912-1956 Taschen, p. 48

Quotes about Jackson Pollock

 * sorted chronologically, by date of the quotes about Jackson Pollock

1940–1950s

 * [visiting Pollock's studio]: You do not work from nature. This is no good, you will repeat yourself. You work by heart, not from nature. [Pollock answered: 'I am nature']
 * Quote of Hans Hofmann (c. 1944), as quoted in Jackson Pollock, Ellen G Landau, 1989 p. 259

 * He [Pollock] has broken the ice.
 * Quote of Willem de Kooning (1948), his comment on Pollock's drip paintings, shown for the very first time at Betty Parsons Gallery, in New York in 1948; as quoted in Abstract Expressionism (1990), David Anfam, p. 130

 * He [Pollock] just jumps in before he knows how to swim. [his reaction, when Morandi sees paintings of Pollock for the first time in his life, c. 1950]
 * Quote of Giorgio Morandi, in Morandi 1894 – 1964, published by Museo d’Arte Moderna di Bologna, ed: M. C. Bandera & R. Miracco - 2008; p. 298

 * Jackson Pollock's Scent is a heady specimen of what one worshiper calls his "personalized skywriting." More the product of brushwork than of Pollock's famed drip technique, it nevertheless aims to remind the observer of nothing except previous Pollocks, and quite succeeds in that modest design. All it says, in effect, is that Jack the Dripper, 44, still stands on his work.
 * "Art: The Wild Ones" Time (February 20, 1956)

 * If you're a painter, you are not alone. There's no way to be alone. You think and you care and you're with all the people who care. You think you care and you're with all the people who care, including the young people who don't know they do yet. Tomlin in his late paintings knew this. Jackson always knew it: that if you meant it enough...
 * Quote of Franz Kline (1958), in Evergreen Review, vol. II, no 6 (Autumn 1958), p. 11-15

 * Pollock ... left us [c. 1958] at the point where we must be preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-Second Street [New York] ... Objects of every sorts are materials for the new art, paints, chairs, food, electric and neon-lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists ... All will become materials for this new concrete art.
 * Quote of Allan Kaprow (1958), in his essay "The legacy of Jackson Pollock", published in 'ARTnews' (Fall 1958); as quoted by Christina Bryan Rosenberger, in "Drawing the Line: The Early Work of Agnes Martin", University of California Press (July 2016), p. 121
 * this essay of 1958 became more or less an art-manifesto for the generation American artists after Abstract Expressionism

 * When Jackson talked about painting he didn't usurp anything that wasn't himself. He didn't want to change anything, he wasn't using any outworn attitude about it, he was always himself. He just wanted to be in it because he loved it. The response in the person's mind to that mysterious thing that has happened before has nothing to do with 'who did it first'.
 * Quote of Franz Kline in Evergreen Review, vol. II, no 6 (Autumn 1958), p. 11-15

1960s

 * Certainly I know that he [Jackson] did see the Indians doing sand paintings. You know, that's a fact. But I don't know why he chose to work on the floor. All I can say is that he did.. .He would never have said, 'That's why I am working on the floor, because I saw the Indians' sand painting.'. But I've heard him say that he did see the Indians' sand painting. I think by now that's been established. I wouldn't know why he worked on the floor, but obviously that was the way he worked. And that's that!..  .No, I didn't work on the floor.
 * Quote of Lee Krasner (1964), in 'Oral history interview with Lee Krasner', conducted by Dorothy Seckler, 1964 Nov. 2 - 1968 Apr. 11, in Archives of American Art, Smithsonian Institution

 * There is a painting called 'Prophecy' which I did just before I left for Europe. Every time the work broke, it sent me into a tailspin because I couldn’t tell what was happening. I asked Jackson to come and look at this painting and he did and said I needn't be nervous about it. He thought it was a good painting and the only thing that he objected to was this image in the upper right hand which I had scratched in with the back of a brush. It made a kind of an eye form. He advised me to take it out. I said that I didn't agree with him and left it in.. ..it is the change that I had to get used to and accept. It frightened me..  ..it frightened me, particularly because it happened just before I left for Europe. Jackson looked at it, said what he said, and I went off to Europe. Jackson was killed in the automobile accident [Aug. 1956] while I was there and when I came back I had to confront myself with this painting before I was able to start again..
 * Quote of Lee Krasner (1964), 'in Oral history interview with Lee Krasner', conducted by Dorothy Seckler, 1964 Nov. 2 - 1968 Apr. 11', Archives of American Art, Smithsonian Institution; conducted by Dorothy Seckler

 * The first Pollock show I saw was in 1951 at Betty Parson's gallery, early in the fall, probably September or October. It was staggering. I really felt surrounded. I went with Clement Greenberg [famous art-critic of American Abstract Expressionism / New York School] who threw me into the room and seemed to say 'swim'. By then I had been exposed to enough of it so it hit me and had magic but didn't puzzle me to the point of stopping my feelings.
 * Quote of Helen Frankenthaler (1965), in 'Interview with Helen Frankenthaler', Henry Geldzahler; in 'Artforum' 4. no. 2, October 1965, p. 36

 * I went out to Springs and saw Pollock and his work, not only the shows [Frankenthaler frequently visited Pollock, and his wife Lee Krasner ]. In 1951 I looked at de Kooning as much as at Pollock.. ..but these came after all the [her] Cubist training and exercise. It all combined to push me on. Like Cubism..  ..I felt many more possibilities in Pollock's work. That is, I looked..  ..and was influenced by both Pollock and De Kooning and eventually felt that there were many more possibilities for me out of the Pollock vocabulary..  .de Kooning made enclosed linear shapes and 'applied' the brush. Pollock used shoulder and ropes and ignored the edges and the corner. I felt I could stretch more in the Pollock framework. I found that in Pollock I also responded to a certain Surreal element – the understated image that was really present: animals, thoughts, jungles, expressions. You could become a de Kooning disciple or satellite or mirror, but you could depart from Pollock.
 * Quote of Helen Frankenthaler (1965), in 'Interview with Helen Frankenthaler', Henry Geldzahler; ''Artforum' 4. no. 2, October 1965, p. 37

 * I think he [Pollock] could not relate to people. And was very depressed. And Lee [Krasner, Pollock's wife] really functioned beautifully as the mother who held him together, that he could be angry at, that he needed, that he could reject, who kept his particular sick syndrome going.
 * Quote of Helen Frankenthaler (1968), in the interview with Helen Frankenthaler by Barbara Rose, 1968, for the Archives of American Art, Smithsonian Institution

 * in East Hampton where Pollock lived ..  ..if we [the couple then Helen Frankenthaler and Clement Greenberg  arrived in mid-afternoon [for a weekend-stay with the Pollock's] the activity would be going out soberly, everyone, to look at Jackson's new pictures. He always had a very immaculate studio in that barn and would unroll one after another of what he'd been working on and each would walk around it on the floor and occasionally hold a picture up and talk about it. And then, say, if it was a Friday, we'd do the same thing with the same pictures Saturday. And then look again Sunday. And maybe something that didn't look good Friday afternoon had a double take on Sunday.
 * Quote of Helen Frankenthaler (1968), in the interview with Helen Frankenthaler by Barbara Rose, 1968, for the Archives of American Art, Smithsonian Institution

 * I've always thought that with de Kooning you could assimilate and copy. And that Pollock instead opened up what one's own inventiveness could take off from. In other words, given one's own talent for curiosity that you could explore, originate, discover from Pollock as one might, say, Picasso, or [Arshile] Gorky or [Wassily] Kandinsky in a way that de Kooning was a closed oeuvre.
 * Quote of Helen Frankenthaler (1968), in the interview with Helen Frankenthaler by Barbara Rose, 1968, for the Archives of American Art, Smithsonian Institution

 * In the most positive sense [the impact of Jackson Pollock on Helen] I think it was a sense of being as open and free and surprised as possible, with a magic sense of -.. ..being able to know when to stop, when to labor, when to be puzzled, when to be satisfied, when to recognize beautiful or strange or ugly or clumsy, and to be free with what you are making that comes out of you..  ..I didn't paint new long canvases until I had seen his [Pollock] and I'm sure that Pollock's ambiance affected me tremendously. I was much more drawn to Pollock's painting on the raw canvas than I was to de Kooning's easel cuisine and there it's a matter of sensibility. Aesthetically, socially, in every way the de Kooning thing seemed to be much more productive, planned, admirable at the time [early 1950's]. But I didn't think so. I thought that Pollock was really the one living in nature much more than Bill [de Kooning].
 * Quote of Helen Frankenthaler (1968), in the interview with Helen Frankenthaler by Barbara Rose, 1968, for the Archives of American Art, Smithsonian Institution
 * Clem [= Clement Greenberg, her friend then] really recognized and appreciated Pollock's pictures and was one of the first artistic figures in New York to read them for their real value [c. 1950]. And Jackson appreciated, needed, and relied on this. I mean there were very few people around, very few dealers who were around, very few critics around, not very much that was positive.

1970s and later

 * He [Pollock] is the one who would pull me out of a state when I would say, 'the work has changed and I can't stand it. It's just like so and so's work.' Then he would come [they lived and worked together] and look and say, 'You are crazy, It is nothing like so and so's work. Just continue painting and stop hanging yourself up.' We had that kind of rapport.
 * Quote of Lee Krasner (1975), in Art Talk, Conversations with 15 woman artists, Cindy Nemser, 1975, Library of Congress Cataloging-in-Publication Data 1995, p. 83

 * A dripping wet canvas covered the entire floor.. .There was complete silence.. Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee [ Lee Krasner, his wife] and I were there; he did not seem to hear the click of the camera shutter..  .My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity? Finally, he said 'This is it.'
 * Quote of Hans Namuth, who had arranged to photograph Pollock painting, on Pollock suddenly resuming work on the painting 'One: No. 31, 1950', after apologizing for having finished it. Quoted in Pollock Painting (1980), and in [http://query.nytimes.com/gst/fullpage.html?res=950DE6DE143DF936A25751C1A96E958260&sec=&spon=&pagewanted=all "The Photos That Changed Pollock's Life" by Sarah Boxer in The New York Times (15 December 1998)

 * He [Pollock] had an intuitive sense of rhythmical relations. He knew what counted.. .Even as an utter novice he never made anything ugly.
 * His chief difficulty was with the basic art of drawing.
 * Quote of Thomas Hart Benton [Pollock's early art-teacher], in his autobiography, An Artist in America, pp. 333 & 334, p. 332
 * Benton was teaching Pollock in the early 1930's

 * To me, Pollock is the height of American painting. It's very lyrical.
 * Quote of Cy Twombly, in the interview: 'Cy Towmbly, 2000', in June 2000; published in Interviews with American Artists by David Sylvester, David Sylvester, Chatto and Windus – London 2001; p. 179

title: Jackson Pollock


text:
Joycelyn Elders

Minnie Joycelyn Elders (born August 13, 1933) was Surgeon General of the United States from September 8, 1993 to December 31, 1994.

Quotes

 * Handguns are a public health issue.

 * How do you get rid of the trash? It's out there in society, it's going on every day […] You can educate children an awful lot easier than you can get rid of the trash.

 * We've tried ignorance for a thousand years. It's time we try education.
 * On sex education
 * Penn & Teller: Bullshit!, "Abstinence" [4.10], 5 June 2006

 * As long as I was in Washington I never met anybody that I thought was good enough, who knew enough, or who loved enough to make sexual decisions for anybody else.
 * Penn & Teller: Bullshit!, "Abstinence" [4.10], 5 June 2006

 * If men went through menopause, we'd know everything about it, but we still don't even know if we should be taking hormones.

Abortion

 * We must stop this love affair with the fetus.
 * Speech in Austin, Texas, January 21, 1994

 * I want every child that's born in the world to be planned and wanted.

 * If you can't control your reproduction, you can't control your life.

Abstinence education

 * I'm against abstinence programs because I really consider "abstinence only" child abuse.
 * Penn & Teller: Bullshit!, "Abstinence" [4.10], 5 June 2006

 * Condoms will break, but I can assure you that vows of abstinence will break more easily than condoms.

 * They are boycotting common sense.
 * On politicians who promote abstinence-only education

Masturbation

 * We know that more than 70 to 80% of women masturbate, and 90% of men masturbate, and the rest lie.
 * Penn & Teller: Bullshit!, "Abstinence" [4.10], 5 June 2006

 * If you say children wouldn't know anything about masturbation on their own, you've never changed a little boy's diaper.

Quotes about Joycelyn Elders

 * I heard on the way over here, by the way, that they've come up with a new nominee for surgeon general: Pee-Wee Herman, is....You don't think that would have happened if it weren't for the fact that you were all elected do you? This is a sensitive subject and I am not gonna mention it because she got canned for it, but I'll tell ya, she said much worse than this. And she said far stupider things, like “The way to combat crime is with safer bullets, with safer guns.”
 * Rush Limbaugh, Address to Incoming House GOP Freshmen delivered 10 December 1994, Baltimore, MD
 * I certainly agree with the suggestion made by the former surgeon general Joycelyn Elders that a public dialogue on the decriminalization of drugs is absolutely necessary. As it stands today, people are punished because they have done harm to themselves. The "crime problem" can only be addressed ultimately by the eradication of poverty, by the eradication of the circumstances that lead people to commit the kinds of crimes for which most are sent to prison.
 * 1998 interview in Conversations with Angela Davis Edited by Sharon Lynette Jones (2021)

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

title: Joycelyn Elders


text: Category:Films noir

title: Category:Films noir


text:
User:Ofeky~enwikiquote

In hebrew wikiquote (also he wikipedia, he wikibooks and he wikiscore)

he:user:ofeky bg:user:ofeky de:user:ofeky eo:user:ofeky es:user:ofeky fr:user:ofeky gl:user:ofeky pl:user:ofeky pt:user:ofeky ru:user:ofeky

title: User:Ofeky~enwikiquote


text:
User talk:Diablode100

--Aphaia 20:28, 6 August 2005 (UTC)

title: User talk:Diablode100


text:
Joe Orton

John Kingsley "Joe" Orton (1 January 1933 – 9 August 1967) was an English playwright.

Quotes

 * I was approached to do a film script for the Beatles. I said it would have to be an absolutely original script. Paul McCartney said do whatever you like. I said that means you'll never be able to do it.
 * Interview with Barry Hanson, programme notes of Peter Gill's Royal Court production of The Erpingham Camp and The Ruffian on the Stair (June 1967)

Act I

 * Fay: You've been a widower for three days. Have you considered remarrying yet? McLeavy: No. Fay: Why not? McLeavy: I've been so busy with the funeral.

 * Fay: The priest at St Kilda's has asked me to speak to you. He's very worried. He says you spend your time thieving from slot machines and deflowering the daughters of better men than yourself. Is this a fact? Hal: Yes. Fay: And even the sex you were born into isn't safe from your marauding. Father Mac is popular for the remission of sins, as you know.  But clearing up after you is a full-time job.  He simply cannot be in the confessional twenty-four hours a day.  That's reasonable, isn't it?  You do see his point?

 * Fay: Have you known him long? Hal: We shared the same cradle. Fay: Was that economy or malpractice? Hal: We were too young then to practice and economics still defeat us.

 * Fay: What will you do when you're old? Hal: I shall die. Fay: I see you're determined to run the gamut of all experience.

 * Hal: Bury her naked? My own mum? It's a Freudian nightmare. Dennis:  I won't disagree. Hal:  Aren't we committing some kind of unforgivable sin? Dennis:  Only if you're a Catholic. Hal:  I am a Catholic.  I can't undress her.  She's a relative.  I can go to Hell for it. Dennis:  I'll undress her then.  I don't believe in Hell. Hal:  That's typical of your upbringing, baby.  Every luxury was lavished on you - atheism, breast-feeding, circumcision.  I had to make my own way.

 * Fay: The Ten Commandments. She was a great believer in some of them.

 * Dennis: She's turned me down. She's broken my heart. Hal: She doesn't know what she is missing, baby. Dennis: But she does! That's what's so humiliating.

 * Fay: Your explanation had the ring of truth about it.. Naturally I disbelieved every word.

 * Truscott: Why aren't you both at the funeral? I thought you were mourners. Fay: We decided not to go.  We were afraid we might break down. Truscott: That's a selfish attitude to take.  The dead can't bury themselves, you know.

 * Truscott (shouting, knocking Hal to the floor): Under any other political system I'd have you on the floor in tears! Hal (crying): You've got me on the floor in tears!

 * Truscott: And you complain you were beaten? Dennis: Yes. Truscott: Did you tell anyone? Dennis: Yes. Truscott: Who? Dennis: The officer in charge. Truscott: What did he say? Dennis: Nothing. Truscott: Why not? Dennis: He was out of breath with kicking.

Act II

 * Truscott: Do you realize what I'm doing here? McLeavy: No. Your every action has been a mystery to me. Truscott: That is as it should be.  The process by which the police arrive at the solution to a mystery is, in itself, a mystery.

 * Fay: I'm innocent till I'm proved guilty. This is a free country. The law is impartial. Truscott: Who's been filling your head with that rubbish? Fay: I can't be had for anything. You've no proof. Truscott: When I make out my report I shall say you've given me a confession. It could prejudice your case if I have to forge one.

 * Hal: God is a gentleman. He prefers blondes.

 * Truscott: I'm no fool. Fay: Your secret is safe with me.

 * McLeavy: My duty is clear. Truscott: Only the authorities can decide when your duty is clear. Wild guesses by persons like yourself can only cause confusion.

 * McLeavy: Where did I go wrong? His upbringing was faultless.  Did you lead him astray? Dennis: I was innocent till I met him. Hal: You met me when you were three days old.

 * Truscott: How dare you involve me in a situation for which no memo has been issued.

 * McLeavy: Has no one considered my feelings in all this? Truscott: What percentage do you want? McLeavy: I don't want money. I'm an honest man. Truscott: You'll have to mend your ways then.

 * Fay: Have you given a thought to the priest? Truscott: We can't have him in on it, miss. Our percentage wouldn't be worth having. Fay: Mr McLeavy threatened to expose us. Truscott: I've been exposed before. Fay: What happened? Truscott: I arrested the man. He's doing twelve years.

 * Truscott: You're fucking nicked, my old beauty. You've found to your cost that the standards of the British police force are as high as ever. McLeavy: What am I charged with? Truscott: That needn't concern you for the moment. We'll fill in the details later. McLeavy: You can't do this. I've always been a law-abiding citizen. The police are for the protection of ordinary people. Truscott: I don't know where you pick up these slogans, sir. You must read them on hoardings.

 * McLeavy: I'm innocent. (A little unsure of himself, the beginnings of panic) Doesn't that mean anything to you?

Act I

 * Geraldine: I've no idea who my father was. Prentice: I'd better be frank, Miss Barclay. I can't employ you if you're in any way miraculous. It would be contrary to established practice. You did have a father? Geraldine: Oh, I'm sure I did. My mother was frugal in her habits, but she'd never economize unwisely.

 * Nick: I've also found someone to take an option on the photographs. Mrs Prentice: What photographs? Nick: I had a camera concealed in the room. Mrs Prentice: When I gave myself to you the contract didn't include cinematic rights. Nick: I'd like a hundred quid for the negatives.  You've got until lunchtime. Mrs Prentice: I shall complain to the manager. Nick: It will do you no good. He took the photographs. Mrs. Prentice: Oh, this is scandalous!  I'm a married woman. Nick: You didn't behave like a married woman last night.

 * Mrs Prentice: You put me in an impossible position. Nick: No position is impossible when you're young and healthy.

 * Mrs Prentice: My uterine contractions have been bogus for some time! Prentice: What a discovery! Married to the mistress of the fraudulent climax.

 * Mrs Prentice: Have you taken up transvestism? I'd no idea our marriage teetered on the edge of fashion.

 * Rance: You may speak freely in front of me. I represent Her Majesty's Government.  Your immediate superiors in madness.  I'm from the Commissioners. Prentice: Which branch? Rance: The mental branch. Prentice: Do you cover asylums proper? Or just houses of tentative madness? Rance: My brief is infinite. I'd have sway over a rabbit hutch if the inmates were mentally disturbed.

 * Geraldine: I'm quite sane! Rance: Pull yourself together. Why have you been certified if you're sane? Even for a madwoman you're unusually dense.

 * Rance: Were your relations with your secretary normal? Prentice: Yes. Rance: Well, Prentice, your private life is your own affair. I find it shocking none the less.

 * Prentice: It's a fascinating theory, sir, and cleverly put together. Does it tie in with known facts? Rance: That need not cause us undue anxiety. Civilizations have been founded and maintained on theories which refused to obey facts.

 * Rance: A search party must be organized. What have you in the way of dogs? Prentice: A spaniel and a miniature poodle. Rance: Let them be unleashed!

 * Rance: How shocking! His abnormal condition has driven him to seek refuge in religion. Always the last ditch stand of a man on the brink of disaster.

 * Mrs Prentice: Are you ashamed of the fact that you write to strange men? Prentice: There's nothing furtive in my relationship with the editor of The Guardian.

 * Nick: I'm sorry if my behaviour last night caused your wife anxiety, but I've a burning desire to sleep with every woman I meet. Prentice: That's a filthy habit and, in my opinion, very injurious to the health. Nick: It is, sir. My health's never been the same since I went off stamp-collecting. Prentice: We have an overall moral policy in this clinic from which even I am not exempt.  Whilst you're with us I shall expect you to show an interest in no one's sexual organs but your own. Nick: I would miss a lot of fun that way. Prentice: That is the object of the exercise.

 * Geraldine: We must tell the truth! Prentice: That's a thoroughly defeatist attitude.

 * Geraldine: At least give me back my clothes. I feel naked without them.

 * Mrs. Prentice: Are you Geraldine Barclay? Nick: Yes. Mrs. Prentice: Where have you been? Nick: I've been attending to the thousand and one duties that occupy the average secretary during her working hours. Mrs Prentice: It doesn't take the whole morning to file your nails, surely? Nick: I had to lie down. I was sick. Mrs. Prentice: Are you pregnant? Nick: I can't discuss my employer's business with you.

 * Prentice: This appalling situation is the result of my lax moral code. It's clean living and Teach Yourself Woodwork for me from now on!

Act II

 * Prentice: What this young woman claims is a tissue of lies. Match: This is a boy, sir. Not a girl. If you're baffled by the difference it might be as well to approach both with caution.

 * Prentice: It's ridiculous. I'm a married man. Match: Marriage excuses no one the freaks' roll-call.

 * Prentice: My nerves are on edge. Rance: You should consult a qualified psychiatrist. Prentice: I am a qualified psychiatrist. Rance: You're a fool. That isn't quite the same thing. Though, in your case, the two may have much in common.

 * Prentice: Unnatural vice can ruin a man. Rance: Ruin follows the accusation not the vice.

 * Prentice: I'm not mad. It only looks that way. Rance: Your actions today would get the Archbishop of Canterbury declared non-compos. Prentice: I'm not the Archbishop of Canterbury. Rance: That will come at a later stage of your illness.

The Orton Diaries (1986)

 * Edited by John Lahr, Minerva, ISBN 0-7493-9005-0]

 * Usual messages from the heads of the establishment. The Queen from Windsor, the Pope from Rome: Pilate and Caiaphas celebrating the birth of Christ.
 * Sunday 25 December 1966 (p. 38)

 * On the bus going home I heard a most fascinating conversation between an old man and woman. "What a thing, though," the old woman said.  "You'd hardly credit it." "She's always made a fuss of the whole family, but never me," the old man said. "Does she have a fire when the young people go to see her?" "Fire?" "She won't get people seeing her without warmth." "I know why she's doing it.  Don't think I don't," the old man said.  "My sister she said to me, 'I wish I had your easy life.' Now that upset me.  I was upset by the way she phrased herself.  'Don't talk to me like that,' I said.  'I've only got to get on the phone and ring a certain number,' I said, 'to have you stopped.'" "Yes," the old woman said, "And you can, can't you?" "Were they always the same?" she said. "When you was a child?  Can you throw yourself back? How was they years ago?" "The same," the old man said. "Wicked, isn't it?" the old woman said.  "Take care, now" she said, as the old man left her.  He didn't say  a word but got off the bus looking disgruntled.
 * Wednesday 18 January 1967 (p. 66)

 * On our way home we were waiting for the bus when a very fat, pompous-looking woman reeled out of a pub shouting, "Melancholia? Ad nauseam."
 * Saturday 15 April 1967 (p. 137)

The Edna Welthorpe letters

 * Sir — In finding so much to praise in Entertaining Mr. Sloane, which seems to be nothing more than a highly sensationalized, lurid, crude and over-dramatised picture of life at its lowest, surely your dramatic critic has taken leave of his senses. The effect this nauseating work had on me was to make we want to fill my lungs with some fresh, wholesome Leicester Square air. A distinguished critic, if I quote him correctly, felt the sensation of snakes crawling around his ankles while watching it. Yours truly, Peter Pinnell
 * This letter was written by Orton under a pseudonym and was published by The Daily Telegraph (p. 283 of the Orton Diaries)

 * Sir — As a playgoer of forty years standing, may I say that I heartily agree with Peter Pinnell in his condemnation of Entertaining Mr Sloane. I myself was nauseated by this endless parade of mental and physical perversion. And to be told that such a disgusting piece of filth now passes for humour! Today's young playwrights take it upon themselves to flaunt their contempt for ordinary decent people. I hope that the ordinary decent people of this country will shortly strike back! Yours truly, Edna Welthorpe (Mrs)
 * See above (p. 283 of the Orton Diaries)

The Erpingham Camp
 * With insanity, as with vomit, it is the passerby who receives the inconvenience.

Quotes about Orton

 * The Oscar Wilde of Welfare State gentility.
 * Ronald Bryden, review of Loot in The Observer ( 2 October 1966)

title: Joe Orton


text:
User:ZeroOne

My user page at Wikipedia

title: User:ZeroOne


text:
Sister Act

Sister Act is a 1992 American film that tells the story of a worldly singer named Deloris (Whoopi Goldberg) who witnesses a mob crime. To protect her identity in the run up to the trial, the police hide her as a nun in a traditional convent where she has trouble fitting in. It was followed by a 1993 sequel Sister Act 2: Back in the Habit.
 * Directed by Emile Ardolino. Written by Joseph Howard.

No booze! No sex! No drugs!... No Way!

Deloris Van Cartier

 * [says grace] Bless us, O Lord, for these, thy gifts, which we are about to receive...and...yea though I walk through the valley of the shadow of no food...I will fear no hunger. We want you to...give us this day our daily bread, and to the republic for which it stands. By the power invested in me I now pronounce us ready to eat. Amen.
 * [last words to Vince, who is arrested] Bless you!

Reverend Mother

 * From what I hear, your singing career is almost non-existent and your married lover wants you dead. If you're fooling anybody, it is only yourself. God has brought you here - take the hint.
 * [about Deloris] That is not a person you can hide, that is a conspicuous person designed to stick out.
 * [in a casino, to a group of nuns all dressed in full habit] Brace yourself, sisters. Spread out and look for Mary Clarence. Try to blend in.

Dialogue

 * [in a classroom in 1968]
 * Nun: Who can name all the apostles?
 * [Deloris raises her hand]
 * Nun: Yes, Deloris?
 * Deloris: John, Paul, George, and... Ringo!
 * [the other students laugh]
 * Nun: Deloris Wilson, you are the most unruly, disobedient girl in this school. Now, I want you to march right up to that blackboard and write the names of all the apostles alphabetically.
 * [Deloris walks up to the blackboard and writes "John", "Paul", "Peter", and "Elvis" in big letters, underlined; the other students laugh again]
 * Nun: This is enough! You are hopeless, and I wash my hands of you. Mark my words, Deloris, if you continue on this disruptive track, it will lead straight to the devil! Have you any idea what girls like you become?
 * [Deloris says nothing, but smiles]

 * Eddie: Can I call you Deloris?
 * Deloris: You can call me anything you want as long as you keep me alive.

 * Deloris: What am I gonna do here? I'm gonna go crazy! There's nothing but a lot of white women dressed as nuns! What am I gonna do here?
 * Eddie: Pray.
 * Deloris: Pray?

 * Eddie: Nice church, huh?
 * Deloris: Yes, very nice. Look, what am I gonna be? Quasimodo in the belfry? What is this?
 * Eddie: I want you to stay here for a while.
 * Deloris: Where?
 * Eddie: In the convent. It's the safest place in the world. You think Vince is gonna look for you in a convent?
 * Deloris: Wh... in the what?
 * Eddie: The convent.
 * Deloris: You must be out of your... You know what? I'm gonna go back and work this out with Vince. You're a lunatic! I'm not gonna be in no damn convent with these people. These people don't even have sex!

 * [talks to the Monsignor about not wanting Delores]
 * Monsignor: You took a vow of hospitality for all in need.
 * Reverend Mother: I lied.

 * Deloris: [after putting on the habit] Oh, no! No, no, no! I can't do this. I'm sorry. This is fine for covering a little bulge, but now I've got holster hips.
 * Reverend Mother: People wish to kill you. Anyone who's met you I imagine. A disguise is necessary to protect us all. While you are here you will conduct yourself as a nun. Only I will know who and what you truly are. You will draw no attention to yourself whatsoever.
 * Deloris: But look at me! I'm a nun! I'm a-- I'm a penguin!
 * Reverend Mother: As from now and until you leave you are Sister Mary Clarence.
 * Deloris: Mary Clarence? Like Clarence Williams III from The Mod Squad?
 * Reverend Mother: Mary is in deference to our Holy Mother. Clarence is in honor of Saint Clarence of Concordia. There are three vows every nun must accept. The vow of Poverty.
 * Deloris: Mmm-hmm...
 * Reverend Mother: The vow of Obedience...
 * Deloris: Mmm-hmm...
 * Reverend Mother: And the vow of Chastity.
 * Deloris: I am outta here with that.
 * [she starts to turn and walk away, but Reverend Mother grabs her arm and pulls her back]
 * Deloris: Oh, man!

 * Sister Mary Robert: Reverend Mother says Mary Clarence's background is in music.
 * Sister Mary Patrick: Really, Mary Clarence. Were you a choir mistress?
 * Deloris: Sort of freelance.
 * Sister Mary Lazarus: Freelance? Really? Oh, you don't think I see. You think I took vows yesterday? I know what you're up to. You and Reverend Mother.
 * Deloris: What?
 * Sister Mary Lazarus: You're a ringer! She brought you here to replace me! Out with the old.

 * Deloris The next thing you have to learn how to do is listen to each other. That's a big key. Big key! You must listen to listen to each other, if you're going to be a group.
 * Sister Mary Lazarus: I knew that.
 * Deloris: Mary Lazarus, as soon as I walked through the door, I knew that you knew this. Now, you're somebody who's into hard work and discipline, aren't you?
 * Sister Mary Lazarus: Of course. I'm a nun. Four Popes now.
 * Deloris: 4?! Wow! How often do they rehearse?
 * Sister Mary Lazarus: Twice a week, couple hours.
 * Deloris: Not enough. I mean, listen to 'em. They really need a lotta work! They gotta rehearse every day.
 * Sister Mary Lazarus: She's good. Do you think they could get better?
 * Deloris: I don't know. They pretty raw.
 * Sister Mary Lazarus: Wet behind the ears.
 * Sister Mary Patrick: Oh, please, let us try.
 * Deloris: This is gonna be hell.
 * Sister Mary Lazarus: Tell me about it.

 * Delores: [to Sister Mary Robert] I noticed that you're movin' your mouth, but nothin's coming out. So I'd like to just hear you by yourself, if you don't mind. Sister Alma, can you give me an A, please?
 * [Sister Alma does not answer]
 * Delores: ALMA! [stomps her foot; Sister Alma reacts] Check your battery! Give me an A, please.
 * [Sister Alma gives an A; Mary Robert sings that note in a whisper]
 * Delores: Okay. Try this. Close your eyes. Visualize yourself in room full of people, lots of silverware, people dropping stuff, talking loud, drunks, women with trays goin' "Whattaya gonna have?!". Your voice has to carry over the din. You have to get up over all of that to be heard in the back of the room where I'm sitting, listening, straining to hear you. Okay? Keep that in your mind when we do this.

 * Sister Mary Robert: I'd rather sing then do anything.
 * Sister Mary Patrick: It's better then ice cream.
 * Sister Mary Robert: It's better than springtime.
 * Deloris: Better than sex. [the other nuns react] No. No. I've heard.

 * Willy: What is she doing?
 * Joey: Oh my God, she's praying.
 * Deloris: Lord, I want you to forgive Willy and Joey, because they know not what they do. They're only doin' what Vince told 'em to do, because Vince is too chicken to do it himself! So he's called upon these two men to take care of his business! So I want you to forgive them, Lord. Espectum, espertum, cacoomb, toutu, eplubium. Amen!
 * Willy and Joey: [cross themselves] Amen.
 * [Deloris whacks them in their crotches and darts off]

 * Vince: [prepares to shoot Deloris] Joey, do it.
 * Joey: I can't, Vince. She's still a nun.
 * Vince: She's a broad. Y'got it? Just a broad!
 * Reverend Mother: I guarantee you she is no broad! She is Sister Mary Clarence of St. Katherine's convent. She's a model of generosity, virtue, and love! You have my word for it, gentlemen, she is a nun!
 * Willy: Ya hear that? Now, aren't you glad we didn't shoot her?

 * Reverend Mother: Girl groups?! Boogie-woogie on the piano?! What were you thinking?!
 * Deloris: I was thinkin' more like Vegas. Y'know, get some butts in the seats.
 * Reverend Mother: And what next? Popcorn? Curtain calls? This is not a theater or a casino.
 * Deloris: Yeah, but that's the problem. See, people like going to theaters, and they like going to casinos. But they don't like coming to church. Why? Because it's a drag. But we could change all that. See, we could-- We could pack this joint.
 * Reverend Mother: Through blasphemy?! You have corrupted the entire choir!
 * [Monsignor O'Hara enters the hall]
 * Monsignor: Excuse me.
 * [he overhears Deloris' chat with Reverend Mother]
 * Deloris: How can you say that?! I worked my butt off with these women! They've given up their free time to do this, and they're GOOD! I mean, Sister, we could-- We could ROCK this place!
 * Reverend Mother: OUT of the question! As of tomorrow, Mary Lazarus resumes her leadership of the choir.
 * [the Monsignor knocks on the door]
 * Reverend Mother: COME IN!!

 * [Vince is seen with Willy, Joey and Larry heading out of the Reno Police Station.]
 * Vince: How can you let them grill me for 6 hours?!
 * Larry: Hey, I can't control how long they're gonna question you.
 * Vince: You went to law school, Larry.
 * Larry: Yes, I went to law school, Vince.
 * Vince: Did you graduate?!
 * Larry: I'm a lawyer. Of course I graduated.

Taglines

 * No Sex. No Booze. No Men. No Way.

Cast

 * Whoopi Goldberg - Deloris Van Cartier/Sister Mary Clarence
 * Maggie Smith - Reverend Mother
 * Kathy Najimy - Sister Mary Patrick
 * Wendy Makkena - Sister Mary Robert
 * Mary Wickes - Sister Mary Lazarus
 * Harvey Keitel - Vince LaRocca
 * Bill Nunn - Lt. Eddie Souther
 * Robert Miranda - Joey
 * Richard Portnow - Willy

title: Sister Act


text:
The Real Ghostbusters

The Real Ghostbusters is a cartoon series based on the hit 1984 movie Ghostbusters which ran from 1986 until 1991 and was produced by Columbia Pictures Television and DiC Entertainment.
 * ''Created by Dan Aykroyd and Harold Ramis.

They're here to save the world again! (taglines)

"Ghosts R Us" [1.01]

 * Peter Venkman: Don't fear... Dr. Venkman and his STAFF are here!

"Mrs. Roger's Neighborhood" [1.03]

 * Peter Venkman: [looking over a haunted house] Talk about UGLY with a capital UGH!

 * Ray Stantz: Mrs. Roger's dress is WHAT?
 * Egon Spengler: No, Ray. Mrs. Rogers is WHAT.

"Troll Bridge" [1.05]

 * Peter Venkman: Come back here, nice troll!
 * Egon Spengler: I gotta say this, Peter, you really should get into better shape!
 * Peter Venkman: And I gotta say this, Egon, I never liked you, or your family, or your dog!

 * Ray Stantz: Remember there could always be giant ants, like in Santa Clara in 1950!

"The Boogieman Cometh" [1.06]

 * Egon Spengler: We've gotta go after it.
 * Winston Zeddemore: No, we don't. Show me where it says that.

 * Ray Stantz: I want a glass of water.
 * Peter Venkman: [gives him glass] Here. Now get to sleep.
 * Ray Stantz: [drinks; Peter nearly closes the door] Oh, Peter.
 * Peter Venkman: What?
 * Ray Stantz: Tell me a story.
 * [Peter growls]
 * Winston Zeddemore: He's just getting into the role.
 * Peter Venkman: He's gonna be in a body cast if he keeps this up. [opens door; to Ray] Once upon a time, there were four Ghostbusters who had a job to do but they couldn't do it because one of 'em couldn't go to sleep! The end! [slams door]

 * [the Boogieman is advancing on the unarmed Ghostbusters]
 * Egon Spengler: I'll hold him off!
 * Peter Venkman: Yeah? You and what Starfleet?

"Mr. Sandman, Dream Me a Dream" [1.07]

 * Egon Spengler: [waking from a dream] It's E=MC2. Listen to me. It's E=MC... [the street crowd watches Egon for a few moments before going on with their own business] Never mind, just never mind... it would take far too long to explain anyway.

 * Peter Venkman: No way! I'm not going anywhere until I've had my breakfast.

 * Egon Spengler: [translating Peter's grunts after he has just woken up] Sounded like "coffee". Possibly "cookie". [Peter grunts again]
 * Ray Stantz: Translation, Egon?
 * Egon Spengler: Get out of my face or eat flaming terror.

When Halloween Was Forever [1.08]

 * Ray Stantz: Only one chance. I just hope we've bought Egon enough time. SLIMER! PIZZA!

"Look Homeward, Ray" [1.09]

 * Egon Spengler: I have a plan.
 * Peter Venkman: No electric shock, Egon.
 * Egon Spengler: ...I have another plan.

"Take Two" [1.10]

 * Man: I'd like to welcome you to the studio.
 * Ray Stantz: Wow! This is really fantastic! It looks just like the real thing!
 * Man: That's why we wanted you here to advise us, make sure we're doing it right. After all, this is your life story.
 * Peter Venkman: No problem. As long as you got the right people to play us. Admit it, Redford was dying to play me, right?
 * Man: Not exactly. Here's the cast list.
 * Winston Zeddemore: Murray, Aykroyd and Ramis? What's that, a law firm?

 * Janine Melnitz: [said in 5 seconds] Ghostbusters. No, they're not here. That's right. They all went to California to make a movie and I can't come with them so I can answer your crummy call.

 * Peter Venkman: [about Bill Murray] He doesn't look a thing like me.

"Citizen Ghost" [1.11]

 * Egon Spengler: Transtator?
 * Peter Venkman: Check.
 * Egon Spengler: Field Generator?
 * Peter Venkman: Check.
 * Egon Spengler: Ionization Decaymeter?
 * Peter Venkman: Check.
 * Egon Spengler: Plasmatic Refractor? Anti Ecto Plasm Destruct Mechanism? Bypolar Adjuster?
 * Peter Venkman: Check, check and [yawns] check.
 * Egon Spengler: Transwarp Drive?
 * Peter Venkman: Check.
 * Egon Spengler: Ah-ha! Caught you. We don't have a Transwarp Drive.
 * Peter Venkman: If we don't have one, then it can't malfunction. If it's not malfunctioning, then nothing's wrong. And if nothing's wrong, then it checks, right?
 * Egon Spengler: I'm not going to talk to you again for at least a week. It's not good for me.
 * Peter Venkman: Hey, don't make fun. This is how I got through college.

 * Winston Zeddemore: Man, this job was a lot easier when these things didn't shoot back!

"Janine's Genie" [1.12]

 * Winston Zeddemore: Relax, folks, we're just browsing.
 * Ray Stantz: Yeah, anybody seen a ghost?
 * Passengers: Ghost!?
 * Peter Venkman: Silver tongue strikes again.

"Xmas Marks The Spot" [1.13]

 * Ray Stantz: We just killed Christmas.

"Knock, Knock" [S.01]

 * Peter Venkman: [backing away from a pink-haired, skull-faced ghost] Say, now when was the last time you saw your dentist, hmm?

 * Peter Venkman: [after narrowly saving the world] That was great. Can we do it again?
 * Doomsday door: Do Not Open Until Doomsday!
 * Peter Venkman: It was just an idea.

 * Egon Spengler: It's Sumerian.
 * Winston Zeddemore: Can you read Sumerian?
 * Egon Spengler: In my sleep. Underwater with the lights off. Of course I can read Sumerian.

"Station Identification" [S.02]

 * Peter Venkman: Just what do you expect to find at the end of the cord, Egon?
 * Egon Spengler: My first guess would be a terminus of such unimaginable densely packed evil energy that it could fry a psychic researcher without blinking.
 * Peter Venkman: What's your second guess?

"Play Them Ragtime Boos" [S.03]

 * Janine Melnitz: That's mine!

"Adventures in Slime and Space" [S.07]

 * Peter Venkman: I prefer my own method of communication. [adopts Scottish accent] Aye aye, Cap'n. Settin' the phasers to stun! [whips out his proton thrower and aims it at Slimer]

 * Ray Stantz: Hey, he was only kidding!
 * Peter Venkman: No I wasn't.

 * Egon Spengler: Oh no. This is worse than I thought.
 * Peter Venkman: What? we're finally gonna be rid of Slimer. What could be worse than that?
 * Egon Spengler: We're not going to be rid of Slimer. We're going to be inundated with hundreds of thousands of millions of Slimers.
 * Peter Venkman: I'm sorry I asked.

 * Peter Venkman: Egon, remember what I said? If you're gonna stay on this planet, you have to speak our language.

 * Peter Venkman: This is not fun! I've had fun, this isn't it!! [screams after slipping on some slime]

"Night Game" [S.08]

 * [the Ghostbusters are watching a baseball game between good and evil spirits]
 * Peter Venkman: But I just want to point out, seeing as you're new to this game and all, that Evil just cheated.
 * Ray Stantz: Full tilt, flat out, no doubt about it!
 * Egon Spengler: Doesn't that call for a forfeiture of the game?
 * Umpire: You mean declare Evil the losers for cheating?
 * Peter Venkman: That about sums it up, yeah.
 * Umpire: But Evil cheats. That's its nature. It does whatever unscrupulous or immoral thing it has to in order to win. That's why we call them Evil. Only Good is not allowed to cheat. If Good adopts the ways of Evil, then it becomes Evil. So if Good cheats, Evil automatically wins. Got it? PLAY BALL!
 * Ray Stantz: I wonder if Good is allowed to steal bases.
 * Peter Venkman: Maybe Good just borrows 'em, Ray.

Who're You Calling Two-Dimensional? [S.12]

 * Egon Spengler: Peter, do you know how to set your proton pack on explosive overload?
 * Peter Venkman: No.
 * Egon Spengler: I do.
 * Ray Stantz: Dopey Dog Dopey Dog flying through the air, Dopey Dog Dopey Dog flying everywhere, come on boy we need you don't let us down, "Dopey Dog Dopey Dog we need you!

"A Fright at the Opera" [S.13]

 * [Egon takes Peter to the opera]
 * Peter Venkman: The Met? I thought you said the Mets.

"Chicken, He Clucked" [S.18]

 * Morganon: So we made a deal, and I gave him the power to make anything vanish, and he used it on... chickens! I could've given him wealth, power, fame! But he wastes it! Wastes ME on chickens! CHICKENS! (catches Ray making the crazy gesture about him) I need you, but don't push it.
 * Peter: What I can't figure is what do you need us for? I mean, you've fulfilled your half of the deal, why the concern?
 * Fat demon: (appears at the door) Hey Morganon! Seen any chickens lately? Eh hahahahaha! Oh! Hey! The boss was looking for someone to handle a new deal, but he couldn't use you! The King of Rowdania doesn't have feathers! But I just want to say... Ah hahahahahaha! (leaves)
 * Morganon: Does that answer your question? For a demon of my status to strike a bargain over... chickens... is embarrassing. It's ruining my reputation!
 * Ray: How did they find out?
 * Morganon: (glares at his imprisoned imp) I have a pretty good idea.

"Ragnarok and Roll" [S.19]

 * [a PKE meter explodes after scanning a letter]
 * Ray Stantz: Do you know what kind of power he must have been in contact with for a single sheet of exposed paper to do that?
 * Winston Zeddemore: Uhhh... do I want to?
 * Ray Stantz: Only if you want nightmares for the rest of your life!
 * Winston Zeddemore: I'll pass.

 * Ray Stantz: That thing hurt Ecto-1!
 * Peter Venkman: The world's being destroyed and he worries about Ecto-1. We should really speak to him later about his priorities.
 * Winston Zeddemore: If there is a later.
 * Peter Venkman: Y'know, you're really no fun anymore.

 * Peter Venkman: You've got an idea don't you, you kidder you. A way we can take this guy out.  C'mon, fill us in.
 * Egon Spengler: There's only one way. We'll have to set our proton packs on simultaneous overload.
 * Ray Stantz: Oh great, Egon. We do that and it'll take Jeremy out all right.  And the building.  There'll be a blast crater half a mile wide!
 * Winston Zeddmore: And since we'll have to keep hold of 'em until they blow, to make sure they aren't turned off…oh man.
 * Egon Spengler: We take out everything within a quarter mile, ourselves with it, and hope it's enough to destroy him too before he can destroy the rest of the world.
 * Peter Venkman: It's a great plan! Count me in.

"Don't Forget the Motor City" [S.20]

 * [the Ghostbusters watch as the gremlins try to damage the car built as a lure, their efforts frustrated when it changes before they can even scratch it]
 * Winston Zeddemore: I don't believe it, the thing just keeps getting uglier!
 * Egon Spengler: Nobody said that science was pretty, Winston.

"Hanging By A Thread" [S.23]

 * Peter Venkman: People are always suggesting that I should come here

"The Collect Call of Cathulhu" [S.28]

 * Note: The name of Cthulhu is deliberately misspelled in the title, perhaps to avoid copyright problems.

 * Ray Stantz: [referring to the Necronomicon] I bet the copyright page alone has a PKE valence of 9.9!

 * Winston Zeddemore: Cathulhu…I've heard of him. He's bad news, right?
 * Egon Spengler: He makes Gozer look like Little Mary Sunshine.

 * Peter Venkman: [about Cathulhu] Anything that looks like Godzilla wearing an octopus hat shouldn't be hard to find.

 * Peter Venkman: Hey squidface! I'm gonna make calamari outta you!

 * Alice Derleth: I'll take the Necronomicon back to the Miskatonic University with me, where it can't be used for evil.

"Bustman's Holiday" [S.29]

 * Scotsman: Excuse me, but would ye be Mister Raymond Stantz?
 * Egon Spengler: No. Not by choice.

"The Thing in Mrs. Faversham's Attic" [S.31]

 * Peter Venkman: [having a conversation with himself] 'So, Peter, did you have a nice day?' Oh, yeah. I argued with a hat and coat rack. 'Oh, really?' Yeah.

 * Peter Venkman: Seven years of college and I can never remember if it's positive to negative or positive to positive.

 * Egon Spengler: Maybe the noise was physical in origin. Squirrels on the roof, perhaps.
 * [a huge pounding sound starts to shake the whole house]
 * Peter Venkman: Squirrels, Egon?
 * Egon Spengler: Okay, fat squirrels, playing basketball. Satisfied?

 * Peter Venkman: How come whenever we go into these situations, we never find anything cute? It's always big and mean with lots of teeth.
 * Ray Stantz: I agree. We're definitely falling into a rut.

 * Ghost: Your time has ended.
 * Egon Spengler: Not mine. Yours. Smile for the birdie.

Janine Melnitz, Ghostbuster [S.35]

 * Peter Venkman: This is almost as much fun as catching bowling balls with my teeth.
 * Janine Melnitz: Hey, what're you guys doing in that mirror? Is Lewis Carroll in there with you?

The Scaring of the Green" [S.40]

 * Egon Spengler: You know, we're all descendants from fish. It would be no trouble at all to flip back in time, find the fish you descended from, and stuff it into a Cuisinart.

"Last Train to Oblivion" [S.42]

 * Peter Venkman: I've always loved trains, ever since I was a little boy. I used to dream about driving a big locomotive. I studied engineering in college for two years before I found out it didn't have anything to do with trains.

"Ghost Fight at the O.K. Corral" [S.47]

 * Peter Venkman: What happens if we cross the streams?
 * Egon Spengler: All of our molecules go on separate vacations.

 * All the ghosts: Aces and Eights. Dead man's hand.
 * Virgil Earp ghost: What have you got, stranger?
 * Peter Venkman: Uh, four aces?
 * Ghost 1: That's a lot of aces.
 * Ghost 2: You know what this means?
 * Peter Venkman: We're using a canasta deck?
 * Ghost 2: Someone at this table is a cheat.
 * Peter Venkman: [dives out the doors] Good thing I didn't show them that fifth ace.

 * Ghost 2: Dance.
 * Peter Venkman: Only if I can lead.

"Ghostbuster of the Year" [S.48]

 * Ray Stantz: Anybody having any luck?
 * Peter Venkman: That depends. You mean, like, good luck?

 * Peter Venkman: We've got you surrounded pal, next time leave the driving to us.

"The Cabinet of Calamari" [S.50]

 * Egon Spengler: Notice the vacant stare, the completely mindless look. That could only mean one thing.
 * Winston Zeddemore: She's from California?
 * Egon Spengler: No. She's been hypnotized.

"The Revenge of Murray the Mantis" [S.52]

 * [After Egon rates Murray the Mantis's power]
 * Janine Melnitz: What does that mean?
 * Peter Venkman: It means that if Darth Vader were willing to loan us the Death Star, we might have a chance... might.
 * Winston Zeddemore: Then you know what that means... the big guy.
 * Peter/Ray/Egon: "The big guy"?!
 * Janine Melnitz: Just when I thought it couldn't get any worse...

 * Winston Zeddemore: Is it over?
 * Peter Venkman: No, I think I'm still alive.

"The Devil to Pay" [S.58]

 * Winston Zeddemore: I have sold my soul to the devil. I have sold my soul to the devil. I have sold my soul to the devil.
 * Ray Stantz: Actually, Winston, Dib is a minor demon, not the devil per se.
 * Winston Zeddemore: I have sold my soul to a minor demon. I have sold my soul to a minor demon.

 * [the Devil Asks for a secret that they all have]
 * Egon Spengler: One time I got an A− and my parents wouldn't talk to me for a week.
 * Winston Zeddemore: I used twenty dollars of petty cash on a present for my girlfriend.
 * Ray Stantz: Okay, Slimer ate half a cookie and got slime all over the other half but on accident without thinking I ate it.
 * Crowd: Eww!

Victor the Happy Ghost" [S.62]

 * [the Ghostbusters respond to a false alarm]
 * Peter Venkman: We should have charged her for the call.
 * Winston Zeddemore: Come on, Peter. She was someone's grandmother.
 * Peter Venkman: As long as she wasn't mine.

Egon's Dragon" [S.63]

 * Egon Spengler: Do you talk about the loons and the scoundrels in your family tree?
 * Peter Venkman: If I didn't, I wouldn't have anybody to talk about.

"The Hole in the Wall Gang" [S.65]

 * Charles Von Limberger: [after the accidental destruction of his home to stop a large ghost] That does it! I'm tired of hiring cheap labor! Next time, let's call the real Ghostbusters.
 * Madam Von Limberger: But... I thought those were the real Ghostbusters!

 * Ray Stantz: [falsetto voice] I think I shall never see a poem as lovely as a tree.
 * Peter Venkman: Ray's fine now.

"Transylvanian Homesick Blues" [2.12]

 * Peter Venkman: It's times like this that I wish I'd listened to what my dad used to tell me.
 * Winston Zeddemore: Yeah? What was that?
 * Peter Venkman: I don't know. I never listened.

"Partners in Slime" [4.05]

 * Peter Venkman: Rub-a-dub-dub you big, slimey tub! I got an offer you can't refuse!

"Ghostworld" [5.03]

 * Ghost: But you are my servants.
 * Peter Venkman: Sorry big fella. It's servant's night off.

"The Haunting of Heck House" [5.04]

 * Peter Venkman: I've come here to chew bubblegum and kick ecto-plasm, and I'm all out of bubblegum!
 * This quote is a play on the famous Nada quote from They Live.

Taglines

 * They're here to save the world again!
 * We're Back!

title: The Real Ghostbusters