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Audition (1999 film)

Audition (オーディション) is a 1999 film directed by Miike Takashi based off a Murakami Ryu novel of the same title.

Asami Yamazaki

 * Words create lies. Pain can be trusted.
 * Kiri kiri kiri kiri kiri... (Deeper, deeper, deeper...)

Dialogue

 * Asami Yamazaki: I thought you were a busy man, I don't know what you do very well. You may think I am desperate... I was longing for your call. I didn't think I would see you again. Sorry, I'm pretty excited. Living alone was a hassle, I have nobody to talk to. You are the first one... Who is really warmhearted and tries to accept me and tries to understand who I really am.
 * Shigeharu Aoyama: It's hard to overcome that experience, but, someday you'll feel that life is wonderful. That's life, isn't it?

 * Asami Yamazaki: This wire can cut flesh and bones easily.
 * Old man in wheelchair: You're wonderful.
 * Asami Yamazaki: I never felt unhappy... Because I have been unhappy all the time.

Taglines

 * She always gets a part

Cast

 * Ishibashi Ryo - Shigeharu Aoyama
 * Shiina Eihi - Asami Yamazaki
 * Tetsu Sawaki - Shigehiko

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

title: Audition (1999 film)


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Auditions

 * For the 1999 film directed by Mike Takashi, see Audition (1999 film)

An audition is a sample performance by an actor, singer, musician, dancer or other performer. It typically involves the performer displaying their talent through a previously memorized and rehearsed solo piece or by performing a work or piece given to the performer at the audition or shortly before. In some cases, such as with a model or acrobat, the individual may be asked to demonstrate a range of professional skills. The audition is a systematic process in which industry professionals select performers, which is in some ways analogous to a job interview in the regular job market.

Quotes

 * I didn't have a problem with rejection, because when you go into an audition, you're rejected already. There are hundreds of other actors. You're behind the eight ball when you go in there.
 * Robert De Niro, What I've Learned |esq|emb| Esquire, January 2003.

 * At the audition, your assignment is to find something new in the song. Something you've never noticed before. A breath carried over, a thought that ties the whole thing together. Then take the risk and do it.
 * Pete Seeger, How Can I Keep from Singing: Pete Seeger (1981)

title: Auditions


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Wikiquote:Shortcuts

This is a manually-maintained list of useful Wikiquote shortcuts, last updated on 28 June 2022. If some time has passed, check Special:Prefixindex/WQ: to see if new entries should be added. Also, add any shortcuts you create here.

It is modelled on the similar list from Wikipedia.

title: Wikiquote:Shortcuts


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Plan 9 from Outer Space

Plan 9 from Outer Space is a 1959 film about aliens who resurrect dead humans as zombies and vampires to stop humankind from weaponizing the sun's light. It is widely regarded as a cult film and one of the worst movies ever made.
 * Written and directed by Ed Wood.

Unspeakable Horrors From Outer Space Paralyze The Living And Resurrect The Dead!taglines

Criswell

 * Greetings, my friends. We are all interested in the future, for that is where you and I are going to spend the rest of our lives. And remember, my friends, future events such as these will affect you in the future. You are interested in the unknown, the mysterious, the unexplainable. That is why you are here. And now, for the first time, we are bringing to you the full story of what happened on that fateful day. We are giving you all the evidence, based only on the secret testimonies of the miserable souls who survived this terrifying ordeal: the incidents, the places. My friends, we cannot keep this a secret any longer. Let us punish the guilty. Let us reward the innocent. My friend, can your heart stand the shocking facts about grave robbers from outer space?
 * My friends, you have seen this incident based on sworn testimony. Can you prove that it didn't happen? Perhaps on your way home you will pass someone in the dark, and you will never know it, for they will be from outer space. Many scientists believe that another world is watching us this moment. We once laughed at the horseless carriage, the aeroplane, the telephone, the electric light, vitamins, radio, and even television! And now some of us laugh at outer space. God help us... in the future.

Eros

 * Those whom we're using cannot think. They are the dead, brought to a simulated life by our electrode guns. You know, it's an interesting thing when you consider: the Earth people, who can think, are so frightened by those who cannot — the dead.

The Ruler

 * As soon as you have enough of the dead recruits, march them on the capitals of the earth. Let nothing stand in your way. Their own dead will be used to make them accept our existence and believe in that fact.

Col. Edwards

 * For a time we tried to contact them by radio but no response. Then they attacked a town, a small town I'll admit, but nevertheless a town of people, people who died.

Lt. Harper

 * One thing's sure: Inspector Clay is dead — murdered — and somebody's responsible!

Dialogue

 * Paula: A flying saucer? You mean the kind from up there?
 * Jeff: Yeah, either that or its counterpart

 * Larry: Strange. If someone had broken in, the dirt should be piled up here somewhere. It looks like it's fallen in, into the grave.
 * Lt. Harper: Larry, you'll be out of that uniform before you know it.

 * Col. Edwards: This is the most fantastic story I've ever heard.
 * Jeff: And every word of it's true, too.
 * Col. Edwards: That's the fantastic part of it.

 * Col. Edwards: Why is it so important that you want to contact the governments of our earth?
 * Eros: Because of death. Because all you of Earth are idiots.
 * Jeff: Now you just hold on, Buster.
 * Eros: No, you hold on. First was your firecracker, a harmless explosive. Then your hand grenade: you began to kill your own people, a few at a time. Then the bomb. Then a larger bomb: many people are killed at one time. Then your scientists stumbled upon the atom bomb, split the atom. Then the hydrogen bomb, where you actually explode the air itself. Now you can arrange the total destruction of the entire universe served by our sun: The only explosion left is the solaronite.
 * Col. Edwards: Why, there's no such thing.

 * Jeff: So what if we do develop this solaronite bomb? We'd be even a stronger nation than now.
 * Eros: "Stronger." You see? You see? Your stupid minds! Stupid! Stupid!

 * Lt. Harper: [about Eros] He's mad.
 * Tanna: Mad? Is it mad that you destroy other people to save yourselves? You have done this. Is it mad that one country must destroy another to save themselves? You have also done this. How then is it "mad" that one planet must destroy another who threatens the very existence-...
 * Eros: [shoves her roughly aside] That's enough. [to the humans] In my land, women are for advancing the race, not for fighting man's battles.

Taglines

 * Unspeakable Horrors From Outer Space Paralyze The Living And Resurrect The Dead!
 * Aliens Resurrecting The Dead! Flying Saucers Over Hollywood!

Cast

 * Gregory Walcott - Jeff Trent
 * Mona McKinnon - Paula Trent
 * Duke Moore - Lt. John Harper
 * Tom Keene - Col. Tom Edwards
 * Carl Anthony - Patrolman Larry
 * Paul Marco - Patrolman Kelton
 * Tor Johnson - Insp. Dan Clay
 * Dudley Manlove - Eros
 * Joanna Lee - Tanna
 * Bunny Breckinridge - The Ruler
 * Lyle Talbot - General Roberts
 * David De Mering - Danny
 * The Amazing Criswell - Himself
 * Bela Lugosi - Ghoul Man
 * Maila Nurmi - Vampire Girl

title: Plan 9 from Outer Space


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Category:Cult films

A cult film, also commonly referred to as a cult classic, is a film that has acquired a cult following. Cult films are known for their dedicated, passionate fanbase, an elaborate subculture that engage in repeated viewings, quoting dialogue, and audience participation. Inclusive definitions allow for major Hollywood productions, especially box office bombs, while exclusive definitions focus more on obscure, transgressive films, shunned by the mainstream.

title: Category:Cult films


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Talk:John Stuart Mill

Older comments
Как я поняла страница еще не создана, но если интересно я написала диссертацию на тему "Политико-правовое учение идеолога английского либерализма Дж.Ст. Милля". Подробности на адрес a-soroka@ mail.ru

ːIf you feel qualified to create a quotation page of JSM, please feel free to do so! MosheZadka 12:59, 20 Apr 2005 (UTC)

the worst offence that can be committed by a polemic...
I found this attributed to Mill on a small number of sites, but without a source:

"the worst offence that can be committed by a polemic is to stigmatise those who hold a contrary opinion as bad and immoral men."

Searching for fragments of this long sentence got better results (e.g. "those who hold a contrary opinion as bad and immoral men."), but only up to about 6 hits of this same quote, and still no source. Google Books also failed. --Singkong2005 00:17, 29 May 2008 (UTC)

Unsourced
Wikiquote no longer allows unsourced quotations, and they are in process of being removed from our pages (see Wikiquote:Limits on quotations); but if you can provide a reliable and precise source for any quote on this list please move it to John Stuart Mill. --Antiquary 20:52, 24 February 2009 (UTC)
 * That which seems the height of absurdity in one generation often becomes the height of wisdom in the next.
 * If a people do not have the right to decide with whom they share their country, they have no rights at all.
 * A general State education is a mere contrivance for molding people to be exactly like one another; and as the mold in which it casts them is that which pleases the dominant power in the government, whether this be a monarch, an aristocracy, or a majority of the existing generation; in proportion as it is efficient and successful, it establishes a despotism over the mind, leading by a natural tendency to one over the body.

"Received opinion may be wrong and the heretic right"
I have seen the quote "Received opinion may be wrong and the heretic right" attributed to JSM. If this can be confirmed it will make a good addition. Thanks! Lbeaumont (talk) 20:49, 6 March 2024 (UTC)

title: Talk:John Stuart Mill


text: Talk:Miguel Ángel Ruiz

title: Talk:Miguel Ángel Ruiz


text: Template:Commonscat

title: Template:Commonscat


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Frédéric Bastiat

 (30 June 1801 – 24 December 1850) was an early free-market economist and French author.

Quotes

 * L'État c'est la grande fiction à travers laquelle tout le monde s'efforce de vivre aux dépens de tout le monde.
 * The State is the great fiction through which everyone endeavours to live at the expense of everyone else.
 * The State in Journal des débats (1848) par. 5.20.

 * By virtue of exchange, one man's prosperity is beneficial to all others.
 * Economic harmonies, par. 4.110.

 * The profit of the one is the profit of the other.
 * Economic harmonies, par. 4.118.

 * Competition is merely the absence of oppression.
 * Economic harmonies, par. 10.4.

 * In the department of economy, an act, a habit, an institution, a law, gives birth not only to an effect, but to a series of effects. Of these effects, the first only is immediate; it manifests itself simultaneously with its cause — it is seen. The others unfold in succession — they are not seen: it is well for us, if they are foreseen. Between a good and a bad economist this constitutes the whole difference: the one takes account only of the visible effect; the other takes account of both the effects which are seen and those which it is necessary to foresee. Now this difference is enormous, for it almost always happens that when the immediate consequence is favourable, the ultimate consequences are fatal, and the converse. Hence it follows that the bad economist pursues a small present good, which will be followed by a great evil to come, while the true economist pursues a great good to come, at the risk of a small present evil.
 * That which is seen and that which is not seen (Ce qu'on voit et ce qu'on ne voit pas, 1850), the Introduction.

Justice and Fraternity (1848)

 * "Justice and fraternity", in 'Journal des Économistes' (15 June 1848)

 * Either fraternity is spontaneous, or it does not exist. To decree it is to annihilate it. The law can indeed force men to remain just; in vain would it try to force them to be self-sacrificing.
 * p. 312

 * If socialists mean that under extraordinary circumstances, for urgent cases, the State should set aside some resources to assist certain unfortunate people, to help them adjust to changing conditions, we will, of course, agree. This is done now; we desire that it be done better. There is however, a point on this road that must not be passed; it is the point where governmental foresight would step in to replace individual foresight and thus destroy it.
 * p. 313

 * [The socialists declare] that the State owes subsistence, well-being, and education to all its citizens; that it should be generous, charitable, involved in everything, devoted to everybody; ...that it should intervene directly to relieve all suffering, satisfy and anticipate all wants, furnish capital to all enterprises, enlightenment to all minds, balm for all wounds, asylums for all the unfortunate, and even aid to the point of shedding French blood, for all oppressed people on the face of the earth. Who would not like to see all these benefits flow forth upon the world from the law, as from an inexhaustible source? … But is it possible? … Whence does [the State] draw those resources that it is urged to dispense by way of benefits to individuals? Is it not from the individuals themselves? How, then, can these resources be increased by passing through the hands of a parasitic and voracious intermediary? ... Finally … we shall see the entire people transformed into petitioners. Landed property, agriculture, industry, commerce, shipping, industrial companies, all will bestir themselves to claim favors from the State. The public treasury will be literally pillaged. Everyone will have good reasons to prove that legal fraternity should be interpreted in this sense: "Let me have the benefits, and let others pay the costs." Everyone's effort will be directed toward snatching a scrap of fraternal privilege from the legislature. The suffering classes, although having the greatest claim, will not always have the greatest success.
 * p. 319

 * When under the pretext of fraternity, the legal code imposes mutual sacrifices on the citizens, human nature is not thereby abrogated. Everyone will then direct his efforts toward contributing little to, and taking much from, the common fund of sacrifices. Now, is it the most unfortunate who gains from this struggle? Certainly not, but rather the most influential and calculating.
 * Justice and fraternity, in Journal des Économistes, 15 June 1848, page 324.

Economic Sophisms (1845–1848)

 * Sophismes économiques

 * Lorsque la Spoliation est devenue le moyen d’existence d’une agglomération d’hommes unis entre eux par le lien social, ils se font bientôt une loi qui la sanctionne, une morale qui la glorifie.
 * When plunder becomes a way of life for a group of men in a society, over the course of time they create for themselves a legal system that authorizes it and a moral code that glorifies it.
 * Economic sophisms, 2nd series (1848), ch. 1 Physiology of plunder ("Sophismes économiques", 2ème série (1848), chap. 1 "Physiologie de la spoliation").
 * It is a rather singular argument to maintain that, because an abuse which has been permitted a temporary existence, cannot be corrected without wounding the interests of those who have profited by it, it ought, therefore, to claim perpetual duration.
 * Economic Sophisms, 1st series (1845), ch. 20 Human Labour, National Labour

The Law (1850)

 * There are multiple English translations available, the most recent one is done by Dean Russell "into twentieth century, idiomatic English". The quotes below are from this translation in the order they appear in the original work.

 * Life, faculties, production — in other words, individuality, liberty, property — this is man. And in spite of the cunning of artful political leaders, these three gifts from God precede all human legislation, and are superior to it. Life, liberty, and property do not exist because men have made laws. On the contrary, it was the fact that life, liberty, and property existed beforehand that caused men to make laws in the first place.

 * It is impossible to introduce into society a greater change and a greater evil than this: the conversion of the law into an instrument of plunder.

 * When law and morality contradict each other, the citizen has the cruel alternative of either losing his moral sense or losing his respect for the law.

 * Thus, if there exists a law which sanctions slavery or monopoly, oppression or robbery, in any form whatever, it must not even be mentioned. For how can it be mentioned without damaging the respect which it inspires? Still further, morality and political economy must be taught from the point of view of this law; from the supposition that it must be a just law merely because it is a law. Another effect of this tragic perversion of the law is that it gives an exaggerated importance to political passions and conflicts, and to politics in general.

 * But how is this legal plunder to be identified? Quite simply. See if the law takes from some persons what belongs to them, and gives it to other persons to whom it does not belong. See if the law benefits one citizen at the expense of another by doing what the citizen himself cannot do without committing a crime.

 * Legal plunder can be committed in an infinite number of ways. Thus we have an infinite number of plans for organizing it: tariffs, protection, benefits, subsidies, encouragements, progressive taxation, public schools, guaranteed jobs, guaranteed profits, minimum wages, a right to relief, a right to the tools of labor, free credit, and so on, and so on. All these plans as a whole — with their common aim of legal plunder — constitute socialism.

 * No legal plunder: This is the principle of justice, peace, order, stability, harmony, and logic. Until the day of my death, I shall proclaim this principle with all the force of my lungs (which alas! is all too inadequate).

 * Essayez d’imaginer une forme de travail imposée par la Force, qui ne soit une atteinte à la Liberté ; une transmission de richesse imposée par la Force, qui ne soit une atteinte à la Propriété. Si vous n’y parvenez pas, convenez donc que la Loi ne peut organiser le travail et l’industrie sans organiser l’Injustice.
 * Try to imagine a regulation of labor imposed by force that is not a violation of liberty; a transfer of wealth imposed by force that is not a violation of property. If you cannot reconcile these contradictions, then you must conclude that the law cannot organize labor and industry without organizing injustice.

 * Socialism, like the ancient ideas from which it springs, confuses the distinction between government and society. As a result of this, every time we object to a thing being done by government, the socialists conclude that we object to its being done at all. We disapprove of state education. Then the socialists say that we are opposed to any education. We object to a state religion. Then the socialists say that we want no religion at all. We object to a state-enforced equality. Then they say that we are against equality. And so on, and so on. It is as if the socialists were to accuse us of not wanting persons to eat because we do not want the state to raise grain. I do not dispute their right to invent social combinations, to advertise them, to advocate them, and to try them upon themselves, at their own expense and risk. But I do dispute their right to impose these plans upon us by law – by force – and to compel us to pay for them with our taxes.

 * If the natural tendencies of mankind are so bad that it is not safe to permit people to be free, how is it that the tendencies of these organizers are always good? Do not the legislators and their appointed agents also belong to the human race? Or do they believe that they themselves are made of a finer clay than the rest of mankind?

 * It seems to me that this is theoretically right, for whatever the question under discussion — whether religious, philosophical, political, or economic; whether it concerns prosperity, morality, equality, right, justice, progress, responsibility, cooperation, property, labor, trade, capital, wages, taxes, population, finance, or government — at whatever point on the scientific horizon I begin my researches, I invariably reach this one conclusion: The solution to the problems of human relationships is to be found in liberty.

The Bastiat-Proudhon Debate on Interest (1849–1850)

 * English translation online, original French

 * Le plus pressé, ce n'est pas que l'État enseigne, mais qu'il laisse enseigner. Tous les monopoles sont détestables, mais le pire de tous, c'est le monopole de l'enseignement.
 * The most urgent necessity is, not that the State should teach, but that it should allow education. All monopolies are detestable, but the worst of all is the monopoly of education.
 * In 'Cursed Money!', final thought.

Misattributed

 * If (when) goods don’t cross borders, soldiers will.
 * Probably coined by Otto T. Mallery (1881-1956) in his 1943 book Economic Union and Durable Peace (he doesn't attribute it to Bastiat, although Bastiat has written similar ideas)

Quotes about Bastiat

 * By the way, have you had time to read Bastiat's partly posthumous volume, 'Les Harmonies Economiques'? If not, do so; it will require a studious perusal, but will repay it. He has breathed a soul into the dry bones of political economy, and has vindicated his favourite science from the charge of inhumanity with all the fervour of a religious devotee.
 * Richard Cobden to John Bright (1 October 1851), quoted in John Morley, The Life of Richard Cobden (1905), p. 561

 * The shallowest and therefore the most successful representative of the apologists of vulgar economics.
 * Karl Marx,

 * In three years every Frenchman can know how to read. Do you think that we shall be the better off? Imagine on the other hand that in each commune, there was ONE bourgeois, only one, who had read Bastiat, and that this bourgeois was respected, things would change.
 * Gustave Flaubert,

title: Frédéric Bastiat


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Nicholas Kurti

Nicholas Kurti (14 May 1908 – 24 November 1998) was a Hungarian-born physicist who lived in Oxford, UK, for most of his life.

Quotes

 * I think it is a sad reflection on our civilisation that while we can and do measure the temperature in the atmosphere of Venus, we do not know what goes on inside our souffles.
 * as quoted by George Porter in the preface of

title: Nicholas Kurti


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Template:Article

([ history] • [ watch])

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Protection

Protection is the process of keeping (something or someone) safe.

B

 * Neither the Army nor the Navy is of any protection, or very little protection, against aerial raids.
 * Alexander Graham Bell, as quoted in The Military Quotation Book by James Charlton, p. 37.

D

 * If you are not ready, and did not know what to do, it could hurt you in different ways. It could knock you down, hard, or throw you against a tree or a wall. It is such a big explosion, it can smash in buildings and knock signboards over, and break windows all over town, but if you duck and cover, like Burt [the Turtle], you will be much safer.
 * Duck and Cover (1951)

 * Protection is not a principle, but an expedient.
 * Benjamin Disraeli, Speech in the House of Commons (17 March 1845).

M

 * To protect those who are not able to protect themselves is a duty which every one owes to society.
 * Lord Macnaghten, Jenoure v. Delmege (1890), 60 L. J. Rep. (N. S.) Q. B. 13; reported in James William Norton-Kyshe, Dictionary of Legal Quotations (1904), p. 212.

 * A man wants no protection when his conduct is strictly right.
 * William Murray, 1st Earl of Mansfield, Bird v. Gunston (1785), 3 Doug. 275; reported in James William Norton-Kyshe, Dictionary of Legal Quotations (1904), p. 212.

S

 * Hiko Seijuro: Murder is the only art a swordsman may practice. No ornamental words can change that. You want to protect people with murder? You’ll slaughter legions so that a few may live. Many years, long before you were born, my sword was tearing asunder the lives of men. Yes, all of those men were evil, but they were human beings first and foremost, Kenshin. The world you ardently desire to enter will not know what to do with you. It will deceive you into believing that you are saving lives even as you destroy them. You will accept these lies all the while, your hands will be stained with the worst of offenses.
 * Masashi Sogo, Samurai X: Trust & Betrayal, (1999).

 * It is true that the theory of our Constitution is, that all taxes are paid voluntarily; that our government is a mutual insurance company, voluntarily entered into by the people with each other; that each man makes a free and purely voluntary contract with all others who are parties to the Constitution, to pay so much money for so much protection, the same as he does with any other insurance company; and that he is just as free not to be protected, and not to pay any tax, as he is to pay a tax, and be protected. But this theory of our government is wholly different from the practical fact.  The fact is that the government, like a highwayman, says to a man: Your money, or your life.  And many, if not most, taxes are paid under the compulsion of that threat.  The government does not, indeed, waylay a man in a lonely place, spring upon him from the road side, and, holding a pistol to his head, proceed to rifle his pockets.  But the robbery is none the less a robbery on that account; and it is far more dastardly and shameful.  The highwayman takes solely upon himself the responsibility, danger, and crime of his own act.  He does not pretend that he has any rightful claim to your money, or that he intends to use it for your own benefit.  He does not pretend to be anything but a robber.  He has not acquired impudence enough to profess to be merely a "protector," and that he takes men's money against their will, merely to enable him to "protect" those infatuated travellers, who feel perfectly able to protect themselves, or do not appreciate his peculiar system of protection.  He is too sensible a man to make such professions as these.  Furthermore, having taken your money, he leaves you, as you wish him to do.  He does not persist in following you on the road, against your will; assuming to be your rightful "sovereign," on account of the "protection" he affords you.  He does not keep "protecting" you, by commanding you to bow down and serve him; by requiring you to do this, and forbidding you to do that; by robbing you of more money as often as he finds it for his interest or pleasure to do so; and by branding you as a rebel, a traitor, and an enemy to your country, and shooting you down without mercy, if you dispute his authority, or resist his demands.  He is too much of a gentleman to be guilty of such impostures, and insults, and villainies as these.  In short, he does not, in addition to robbing you, attempt to make you either his dupe or his slave.  The proceedings of those robbers and murderers, who call themselves "the government," are directly the opposite of these of the single highwayman.  In the first place, they do not, like him, make themselves individually known; or, consequently, take upon themselves personally the responsibility of their acts.  On the contrary, they secretly (by secret ballot) designate some one of their number to commit the robbery in their behalf, while they keep themselves practically concealed.
 * Lysander Spooner, No Treason (1867–1870), No. VI: The Constitution of No Authority (1870), pp. 12–13.

title: Protection


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Talk:Angel (1999 TV series)

NOTE: All of the guidelines here are adapted from those originally created for Buffy the Vampire Slayer.

Formatting
This quote page is organized a little differently from others, largely because it can be divided into seasons and episodes and because many great quotes from Angel are in the form of dialog, which confounds the usual quote formatting.

To add a quote, find the episode it occurs in and copy the formatting of an existing quote to your own needs. If you don't know what episode your quote appeared in, place it in the Unknown episode section, and someone will move it as time permits.

The basic formatting guidelines are as follows, using this example:

 * Lorne: Xenophobia, kind of a watchword where I'm from.
 * Gunn: I don't get it. Why are they afraid of Xena?

They work as follows: When added to the page, the result looks like this:
 * The colon indents the quote.
 * The triple apostrophes ( ''' ) surrounding the character name make the name bold.
 * The double brackets make the character name a Wiki link, so you can click on the character for more information.
 * The expression "w:Character's FullName|" makes it a link to Wikipedia, where most if not all of the Angel characters have entries.
 * Don't put any blank lines between lines within a single dialog quote, but make sure there's a blank line between separate quotes.
 * Lorne: Xenophobia, kind of a watchword where I'm from.
 * Gunn: I don't get it. Why are they afraid of Xena?

In long dialog sections, you should only put Wiki links around the first occurrence of each character (to save time and headaches). If all this formatting is too much for your to bother with, just use a simplified version:
 * Lorne: Xenophobia, kind of a watchword where I'm from.
 * Gunn: I don't get it. Why are they afraid of Xena?

Just try to remember the initial colon and the blank line between different quotes. Sooner or later, someone will likely come along and pretty it up. --RPickman 02:41, 1 May 2005 (UTC)

Characters
Character list Here is a set of preformatted character names that, if you paste it into your quotes, will provide full formatting and linking abilities, including disambiguation for common names. They're separated into regular and recurring characters, and sorted by the names they're typically called in the show.

REGULAR CHARACTERS
 * :Angel
 * :Connor
 * :Cordelia
 * :Doyle
 * :Fred
 * :Gunn
 * :Harmony
 * :Illyria
 * :Lorne
 * :Spike
 * :Wesley

RECURRING CHARACTERS
 * :Andrew
 * :Anne
 * :The Beast
 * :Buffy
 * :Darla
 * :Drogyn
 * :Drusilla
 * :Eve
 * :Faith
 * :Giles
 * :The Groosalugg
 * :Groo
 * :Holland Manners
 * :Holtz
 * :Jasmine
 * :Justine
 * :Knox
 * :Kate
 * :Lilah
 * :Lindsey
 * :Nina
 * :Oz
 * :Gwen
 * :Willow
 * :Sajhan
 * :Archduke Sebassis
 * :Skip
 * :Vail

A few of the characters may not yet have Wikipedia pages. If you feel adventurous, you might consider adding one yourself.

NOTE: These guidelines are based on those for Buffy the Vampire Slayer.

Comments and contexts for quotes
If a particular quote needs some context or a comment to make it clear, italicize it and put braces around it, like so:
 * [After a drug-induced stint as Angelus, Angel wakes up chained to his bed.]
 * Cordelia: Are you still evil?

The formatting line for the comment line above is:
 * :[After a drug-induced stint as Angelus, Angel wakes up chained to his bed.]

Although comments should be succinct, longer dialog sections may need longer explanations. — Jeff Q (talk) 09:25, 1 May 2005 (UTC)

Separating dialogue segments
There is an unresolved problem in visually separating different dialog segments. Using the Standard (now called Classic) skin and its stylesheet, separating segments with a single blank line makes it clear that consecutive segments are separate. However, with the new Monobook skin forced on anonymous users and anyone who hasn't explictly chosen otherwise, it is difficult to see where one segment ends and the next begins. This problem does not look like it'll be resolved anytime soon.

Several approaches have been tried in this and other articles to remedy this situation, but most only fix the problem for one skin or the other. In order to make the article clearer without adding too much black space for one skin, I have inserted the following HTML between each pair of dialog sections:  It's done like so:
 *

I didn't use the standard Wiki line markup "" because it looks exactly like the horizontal lines used in Monobook headings. It would be preferable to use Wiki markup, or to have spacing between the skins match, but based on my unanswered pleas on several discussion pages, I don't see this happening. Let's try this out for a while. — Jeff Q (talk) 09:26, 1 May 2005 (UTC)

Collapsing witticisms
As I belatedly got around to watching Joss Whedon's third series Firefly, I found myself wondering about something. One of many recurring entertainments of these Whedon shows is the occasional witty line that suddenly dies in the middle, as if the wit suddenly ran out. Here are Buffy and Firefly examples:

 * Buffy: Giles, it's one thing to be a Watcher and a librarian. They go together, like chicken and… guh, another chicken… or… two… chickens, or… something — you know what I'm saying!
 * from Buffy, "What's My Line?", Part I

 * Mal: Well, looks can be deceiving.
 * Jayne: Not as deceivin' as a low-down… dirty… deceiver.
 * from Firefly, "Out of Gas"

 * Jayne: Captain says you're to stay put. Doesn't want you to run afoul of his blushin' psychotic bride. She figures out who you are, she'll turn you in before you can say… "Don't turn me in, lady."
 * from Firefly, "Trash"; somehow Firefly's always come from Jayne ☺

I haven't seen Angel enough to provide an example, but I'd be shocked if it didn't have plenty to offer. What I'm wondering is whether Whedon-show fans have come up with a term for these collapsing witticisms, like MST3K's "Crow Syndrome" (extending suggestive quips to an extreme, only to be shouted down). The structure certainly isn't unique to Whedon's shows — Blackadder has a good measure of these — but I was hoping that there was a shorthand term among the Buffy/Angel/Firefly crowd. — Jeff Q (talk) 22:18, 14 Jun 2005 (UTC)

Lorne or The Host?
Are there any thoughts on which name to use for Lorne's early quotes? Currently they are attributed to The Host which is technically correct as we didn't learn that his name is Lorne until later in the show. However it is only these first few episodes where his lines are attributed to The Host so it is inconsistent with later attributions. Should they remain the same or should they all be switched over to Lorne? -- Greyed 16:51, 24 December 2007 (UTC)

The original meaning
Hmmm we have no Angel in its original meaning? Even not as Angels? It's a shame. And I think, this article would be better to move to Angel (TV series), to make a room to all the Host of the Lord. --Aphaia 18:20, 24 December 2007 (UTC)

 * Well, how would they be independently verified? -- Greyed 19:07, 24 December 2007 (UTC)

Vandalism?
When I enter the Angel quotes page through a link in Wikipedia, the page gets covered by a huge goatse picture made by using a table with different cell background colors to simulate pixels. I managed to go to enter the edit page by stopping the page loading before it gets all covered and using tab to browse through links, but on the edit page I can't see any code that would look like it was causing the picture to appear. So no idea how to get rid of it. It mentions Grawp whom Google reveals to be a banned user. Also I looked at the edit history and I can't see anything suspicious in the latest edits, so I'm wondering if they hacked the fundamental structure of the site and not just this particular page. --77.109.221.112 19:42, 19 April 2008 (UTC)

 * This was a temporary problem caused by a vandal modifying one of the templates used in many articles (including this one). It was quickly corrected and the vandal blocked. Thank you for calling attention to this situation. ~ Jeff Q (talk) 22:39, 19 April 2008 (UTC)

title: Talk:Angel (1999 TV series)


text:
Ernie Kovacs

Ernest Edward Kovacs (January 23, 1919 – January 13, 1962) was an American comedian whose uninhibited, often ad-libbed, and visually experimental comic style came to influence numerous television comedy programs for years after his tragic, early death in an automobile accident.

Quotes

 * Television is a medium, so called because it is neither rare nor well-done.
 * Quoted in Wired 4.07, p. 102 [July 1996]

 * Nothing in Moderation.
 * Epitaph, Forest Lawn (Hollywood Hills) Cemetery, Los Angeles, California

title: Ernie Kovacs


text:
User:Urhixidur

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fr:Utilisateur:Urhixidur it:Utente:Urhixidur

title: User:Urhixidur


text:
User talk:Urhixidur

--Aphaia 18:08, 20 Apr 2005 (UTC)

title: User talk:Urhixidur


text:
Men in Black (1997 film)

Men in Black is a 1997 film about a street-smart cop from the New York City Police Department who is recruited by a veteran government agent to a secret government agency that monitors and polices alien activity on Earth, unbeknownst to the public.
 * Directed by Barry Sonnenfeld. Written by Ed Solomon, based on The Men in Black by Lowell Cunningham.

Protecting the earth from the scum of the universe.

Agent K

 * You sold a reverberating carbonizer with mutate capacity to an unlicensed cephalopoid, Jeebs, you piece of...!
 * [To Jeebs] I want you on the next transport off this rock, or I'm gonna shoot you where it don't grow back.
 * A person is smart. People are dumb, panicky, dangerous animals, and you know it.
 * 1,500 years ago, everybody knew that the Earth was the center of the universe. 500 years ago, everybody knew that the Earth was flat. And 15 minutes ago, you knew that humans were alone on this planet. Imagine what you'll know tomorrow.
 * That is a lot of fun, it's a universal translator. We're not even supposed to have it, and I'll tell you why: human thought is so primitive, it's looked upon as an infectious disease in some of the better galaxies. That kind of makes you proud, doesn't it?
 * [After J accidentally activates a device that causes havoc around the headquarters] This thing caused the 1977 New York blackout. Practical joke by the Great Attractor. He thought it was funny as hell.
 * Imagine a giant cockroach, with unlimited strength, a massive inferiority complex, and a real short temper, is tear-assing around Manhattan island in a brand new Edgar suit. That sound like fun?
 * [To Beatrice] No, ma'am. We at the FBI do not have a sense of humor we're aware of.
 * [When goading the bug into eating him] Hey! Hey, bug! Wait a minute, I'm talking to you. You know how many of your kind I've swatted with a newspaper? You're nothing but a smear on the sports page to me, you slimy, gut-sucking intestinal parasite! Eat me! EAT ME!!!

James Darrell Edwards / Agent J

 * You see this?! Huh?! NYPD! Means I will k n ock y our p unk-ass d own!
 * You trying to catch a beat-down, huh?!
 * [to Agent K, while wearing his suit for the first time] You know what the difference is between you and me? I make this look good.
 * HEY! OLD GUYS! Do those still work?

Dr. Laurel Weaver

 * I hate the living.
 * [examining Rosenberg's corpse] Oh, my God! [laughs] Whoa, buddy, what are you?
 * [to J and K, after blowing up the bug] Interesting job you guys have.

Jack Jeebs

 * [Regrowing his head after K has blown it off] You insensitive prick! Do you have any idea how much that stings?
 * [after being screamed at by K for selling a reverberating carbonizer with mutate capacity to an unlicensed cephalopoid] He looked alright to me!

Zed

 * [voiceover, as Edwards becomes Agent J] You will dress only in attire specially sanctioned by MIB Special Services. You'll conform to the identity we give you, eat where we tell you, live where we tell you. From now on, you'll have no identifying marks of any kind. You will not stand out in any way. Your entire image is crafted to leave no lasting memory with anyone you encounter. You are a rumor, recognizable only as déjà vu and dismissed just as quickly. You don't exist; you were never even born. Anonymity is your name, silence your native tongue. You are no longer part of the System. You are above the System. Over it. Beyond it. We're "them". We're "they". We are the Men in Black.
 * We're not hosting an intergalactic kegger down here.
 * The twins keep us on Centaurian time, standard 37-hour day. Give it a few months. You'll get used to it. Or you'll have a psychotic episode.
 * Containment may be a moot point, old friend. The exodus continues. It's like the party's over and the last one to leave gets stuck with the check.
 * [Screaming at the worms as they desert their posts] YOU SORRY LITTLE INGRATES!

Dialogue

 * Agent K: Que dices si te rompo la cara?(What do you say if I break your face?) [the guy smiles and nods. He stops, and his own smile broadens and he drops a hand on the guy's shoulder] No hablas ni una palabra del español, verdad, amigo? (You don't speak a word of Spanish, do you, friend?) [again, the guy smiles and nods. He looks back at Agent D] We got a winner. ''[to the others] Los restos estan libres a irse. Lárgense! (The rest of you are free to go. Scram!)

 * Edgar: [from inside the house] I go out, I work my butt off to make a living, all I want is to come home to a nice clean house, with a nice fat steak on the table, but instead, I get this. It looks like poison. Don't you take that away! I'm eating that, dammit! It is poison, isn't it? I swear to God, I would not be surprised if it was, the way you skulk around here like a dog been hit too much, or ain't been hit enough. I can't make up my mind. You're useless, Beatrice. The only thing that pulls its weight around here is my goddamn truck! [an alien spaceship crashes into his truck. opens the door with a shotgun in his hand, he surveys the wreckage] Figures. [begins to walk over to the wreckage]
 * Beatrice: [comes out to see the wreckage] What the heck is it, Edgar?
 * Edgar: Get your big butt back in the house!
 * [Beatrice does so as Edgar approaches the crater]
 * Bug: [unseen] Place projectile weapon on the ground.
 * Edgar: You can have my gun... [cocks it] ...when you pry it from my cold dead fingers.
 * Bug: Your proposal is acceptable.
 * [The Bug seizes Edgar and pulls him down into the crater, eating him up, then dresses in his skin and clothes. It climbs out and enters the house]
 * Beatrice: Edgar, what on earth was that?
 * Edgar/Bug: Sugar.
 * Beatrice: I've never seen sugar do that.
 * Edgar/Bug: Give me sugar. [Beatrice holds up the sugar bowl from the kitchen table] In water. [she puts a teaspoon of sugar into a glass of water and holds it up] More. [confused, Beatrice adds some more sugar to the glass] More.
 * [She empties all the sugar into the glass and gives it to Edgar/Bug, who noisily guzzles it]
 * Beatrice: Edgar, your skin is hangin' off your bones.
 * Edgar/Bug: Huh? [looks at his reflection] Oh, yeah. [grabs his scalp and stretches it back against his skull] There. Is that better?
 * [A shocked Beatrice faints]

 * Inspector: Why do you suppose none of the other officers saw either of these two events?
 * James: Well, sir, some of the other officers are a little soggy around the midsection. I guess that's why they weren't able to keep up.
 * Sergeant: Hey, Edwards, if you were half the man I am -
 * James: What the hell are you talkin' about? I am half the man that you are.

 * [The MIB recruits' firing range test ends after James fires one shot]
 * Zed: Edwards, what the hell happened?!
 * James: Hesitated.
 * Zed: [brings forward a cardboard cutout of a little girl, shot between the eyes] May I ask why you felt little Tiffany deserved to die?
 * James: Well, she was the only one that actually seemed dangerous at the time, sir.
 * Zed: How'd you come to that conclusion?
 * James: Well, first I was gonna pop this guy hangin' from the streetlight, and then I realized, you know, he's just workin' out. How would I feel if somebody come runnin' into the gym, bust me in my ass while I'm on the treadmill? Then I saw this, uh, snarling beast guy...and I noticed he had a tissue in his hand and I'm realizing, he's not snarling, he's sneezing. You know, ain't no real threat there. Then I saw little Tiffany. I'm thinkin', you know, eight-year-old white girl, middle of the ghetto, bunch of monsters this time of night, with quantum physics books? She 'bout to start some shit, Zed. She's about eight years old. Those books are way too advanced for her. If you ask me, I'd say she's up to somethin'. And to be honest, I'd appreciate it if you eased up off my back about it. [Zed looks at him] Or do I owe her an apology? [to other recruits, as Zed leaves the room] That was a good shot, though, right?

 * [At MIB headquarters, K diverts James from following the other recruits to an "eye exam" that will erase their memories.]
 * Agent K: Where are you going?
 * James: Yo. Hey, man, what the hell is all this?
 * [The two begin walking; K hands James a file]
 * Agent K: Back in the mid-1950s the government started a little underfunded agency with the simple and laughable purpose of establishing contact with a race not of this planet. Everybody thought the agency was a joke, except the aliens who made contact March 2, 1961, outside New York. There were nine of us the first night: seven agents, one astronomer, and one dumb kid who got lost on the wrong back road.
 * James: [noticing a picture of K giving an alien flowers] Aww, you brought that tall man some flowers.
 * Agent K: [points] This way. They were a group of intergalactic refugees. Wanted to use the earth as an apolitical zone for creatures without a planet. Did you ever see the movie Casablanca? [James nods] Same thing, except no Nazis.
 * James: Oh.
 * Agent K: We agreed, and we concealed all the evidence of their landing.
 * James: [looking at the picture] Uh-huh. So these are real flying saucers, and the World's Fair was just a cover-up for their landing.
 * Agent K: Why else would we hold it in Queens? More non-humans arrive every year and they live among us in secret.
 * James: Um, look, I'm sorry, not to change the subject or anything, but when was the last time you had a CAT scan?
 * Agent K: 'Bout six months ago, it's company policy.
 * James: Right, you should make another appointment. Um, look, tell your boy Zed I had an absolutely wonderful time, and thank you for everything, but, uh... [handing the file back] ...why don't you show me the door?

 * Agent K: All right, kid, here's the deal. At any given time there are around fifteen hundred aliens on the planet, most of them right here in Manhattan. And most of them are decent enough, they're just trying to make a living.
 * James: Cab drivers.
 * Agent K: No, not as many as you'd think. Humans, for the most part, don't have a clue. They don't want one or need one, either. They're happy. They think they have a good bead on things.
 * James: But why? Why the big secret? People are smart. They can handle it.
 * Agent K: A person is smart. People are dumb, panicky, dangerous animals and you know it. Fifteen hundred years ago, everybody knew the Earth was the center of the universe. Five hundred years ago, everybody knew the Earth was flat. And fifteen minutes ago, you knew that people were alone on this planet. Imagine what you'll know tomorrow.
 * James: What's the catch?
 * Agent K: The catch? The catch is you will sever every human contact. Nobody will ever know you exist anywhere...Ever. I'll give you 'til sunrise to think it over. [walks away]
 * James: Hey! Is it worth it?
 * Agent K: Oh yeah, it's worth it. [pause] If you're strong enough.

 * James: All right. I'm in, because there's some next-level shit goin’ on around here, and I'm with that. But before you get to beamin' me up, there's a couple of things I want you to understand. First off, you chose me, so you recognize the skills, and I don't want nobody callin' me "son" or "kid" or "sport" or nothin' like that. Cool?
 * Agent K: Cool, whatever you say, slick. But I need to tell you something about all your "skills". [they enter MIB headquarters] As of right now, they mean precisely...dick.

 * [Agent K shows James around MIB headquarters.]
 * James: Hey, uh, what--what branch of the government do we report to?
 * Agent K: Well, none. They ask too many questions.
 * James: So who pays for all this?
 * Agent K: We hold the patents on a few gadgets that we confiscated from out-of-state visitors, um...Velcro, microwave ovens, liposuction... [shows James a tiny disc] This is a fascinating little gadget. It's going to replace CDs soon. Guess I'll have to buy the White Album again. [points out another device] Oh, that is a lot of fun. It's a universal translator. We're not even supposed to have it, and I'll tell you why.
 * [turns it on; it plays a distorted echo of his words]
 * Agent K: Human thought is so primitive, it's looked upon as an infectious disease in some of the better galaxies. [turns it off] That kinda makes you proud, doesn't it, huh?

 * Zed: Edwards! Let's put it on.
 * James: Put what on?
 * Zed: The last suit you'll ever wear.

 * [J is amazed to see K gathering up tabloid magazines as "hot sheets" at a newsstand]
 * Agent J: These are the hot sheets!?
 * Agent K: Best investigative reporting on the planet. Go ahead, read The New York Times if you want to. They get lucky sometimes. [pays vendor] Thanks, Manny.
 * Agent J: Cannot believe you lookin' for tips in the supermarket tabloids!
 * Agent K: Not looking for. [tosses one onto car hood, with headline: "Terrified Farm Wife Says: 'Alien Stole My Husband's Skin'] Found.

 * Agent K: [neuralyzing Beatrice after she tells them her story] Alright, Beatrice, there was no alien. The flash of light you saw in the sky was not a UFO. Swamp gas from a weather balloon was trapped in a thermal pocket, and refracted light from Venus.
 * Agent J: Wait, wait, wait a minute. So, you just flash that thing, it erases her memory, and you just come up with a new one?
 * Agent K: A standard issue Neuralyzer.
 * Agent J: And that weak-ass story's the best you can come up with?
 * Agent K: Yeah. [to Beatrice] On a more personal note, Beatrice, Edgar ran off with an old girlfriend. You're gonna go stay with your mom a couple nights, you're gonna get over it, and decide you're better off.
 * Agent J: Well, yeah, 'cause, 'cause, he never appreciated you anyway. In fact, you know what, you kicked him out! And now that he's gone, you're gonna go in town, go to Bloomingdale's, get yourself some nice dresses, get yourself some shoes, go somewhere maybe, get a facial, and, uh, oh, hire a decorator to come into this place quick, 'cause, damn!
 * [Beatrice is looking at J with a blank stare]

 * [Rosenberg meets with an Arquillian envoy at a diner, speaking in their native tongue]
 * Gentle Rosenberg: Sorry I'm late. The cab drivers on this planet are terrible.
 * Arquillian: Your Majesty, you are in grave danger.
 * Gentle Rosenberg: Yeah, and they overcharge you every time.
 * Arquillian: Sir, a bug landed here. We must get you off the planet.
 * Gentle Rosenberg: A bug? He must know why I'm here.
 * Arquillian: We think he does. [glances at a small container] Is that what I think it is?
 * Gentle Rosenberg: No, just some diamonds for your children. Do we have time to eat?
 * Arquillian: Sure. I ordered you some pierogi. [Rosenberg is delighted]
 * [In the kitchen, the chef brings out the Arquillians' order]
 * Chef: Six is up! [looks confused] Where is Ivan?
 * Edgar/Bug: Gave him a break.
 * [Under the counter, Ivan is literally broken in half]
 * Arquillian: [raising his glass] To the continued reign of the Arquillian Empire.
 * Gentle Rosenberg: To the safety of the Galaxy.
 * [Edgar/Bug puts the plates down, depositing cockroaches onto Rosenberg's]
 * Gentle Rosenberg: [in English] You can kill us both, but you will not find the Galaxy.
 * Edgar/Bug: You're right about one thing.
 * [Edgar/Bug spears both Arquillians through the throat and takes the diamonds]

 * [A police officer pushes a stretcher with Rosenberg's corpse, Rosenberg's cat Orion is on top]
 * Police Officer: Where do you want contestant number three?
 * Dr. Laurel Weaver: Just leave it there. What's with the cat?
 * Police Officer: Oh, the cat. Yeah, well, there's a problem with the cat. Sign here.
 * Dr. Laurel Weaver: [signs the paperwork] What's the problem with the cat?
 * Police Officer: It's your problem. [chuckles as he leaves]
 * Dr. Laurel Weaver: I hate the living. [begins pushing the stretcher] Shall we?

 * Dr. Laurel Weaver: Look at this.
 * Agent J: What the hell was that?
 * [J touches Rosenberg’s ear and it unlocks the head showing a small control room containing alien Rosenberg]
 * Alien Rosenberg: [struggling to speak] Must.....To Prevent.....Contest.
 * Agent J: It's okay. What are you tryna say?
 * Alien Rosenberg: Prevent.
 * Agent J: Prevent. Struggle?
 * Alien Rosenberg: [shaking his head] No...To Prevent.
 * Dr. Laurel Weaver: War?
 * Alien Rosenberg: [nodding his head up and down slowly] War. The galaxy...is on...Orion's....Be-be---What is word?
 * Agent J: Bed? Belt? Orion's Belt?
 * [Rosenberg nods as the control room shuts down and he dies; Orion looks down from a ledge and meows]
 * Agent J: "To prevent war the galaxy is on Orion's belt." What the hell does that mean? [to K] Dr., uh...Whatever, come here.
 * Dr. Laurel Weaver: Dr. Whatever? Hey, you guys aren't really from the Department of Health, are you?
 * Agent K: Rosenberg. Aw, damn. The Arquillians are not gonna like this. This guy was one of the royal family.
 * Dr. Laurel Weaver: I knew it. This is an alien, and you guys are from some government agency trying to keep it under wraps.

 * Dr. Laurel Weaver: [still disoriented from being neuralyzed] Hey, whoever you guys are, you're gonna have to show me some ID if you're gonna be in the morgue.
 * Agent K: Oh, yes, of course, young lady. Have a look at this for me, please. [neuralyzes her again]
 * Agent J: [before he can fully put his shades on to protect himself from the flash of the neuralyzer] Would you stop that?!
 * Agent K: What?!
 * Agent J: That thing is gonna give her brain cancer or somethin'!
 * Agent K: Never hurt her before. Look, we've gotta get all the doors closed around here. Special Services'll be here any minute.
 * Agent J: "Never hurt her before"? How many times have you flashy-thinged that poor woman?!
 * Agent K: Couple.
 * Agent J: So, what, are you not worried about no long-term damage?
 * Agent K: A little.
 * Agent J: K, have you ever flashy-thinged me?
 * Agent K: No.
 * Agent J: I ain't playin’ wit you, K, have you ever flashy-thinged me?!
 * Agent K: No.

 * [As K and J arrive at the morgue to get Orion]
 * Agent J: Look, K, why don't you let me handle this one?
 * Agent K: What?
 * Agent J: Come on, man, all we gotta do is go in here and get a cat, it's not really that hard. But if you go in there, you're gonna lay your Jack Webb on her, start flashin' your brain ray all in her face, she's gonna wind up with leukemia and some shit. The woman's a doctor, she don't need you flashin' away half her med school classes. Five minutes.
 * Agent K: Two minutes.
 * [J goes in and K waits outside]

 * [Facing off with the Bug in the morgue, as he holds Laurel at gunpoint]
 * Agent K: Freeze it, Bug!
 * Agent J: Don't shoot! Don't shoot!
 * Dr. Laurel Weaver: Christ, you are thick!
 * Agent J: Look, how was I supposed to know?!
 * Dr. Laurel Weaver: What did I have to do, sing it for you?!
 * Agent J: Well, if you weren't comin' on like some drunken prom date...!
 * Dr. Laurel Weaver: Oh, God, that is so typical! Any woman who shows yet the slightest hint of sexual independence...!
 * Edgar/Bug: Oh, everybody shut up!
 * Agent K: Let her go, shiteater.
 * Edgar/Bug: Now listen, monkey-boy! Compared to you humans, I'm on the top rung of the evolutionary ladder! So can it, all right?!
 * Agent K: You're breakin' my heart. Show me your face and I'll cure all your ills.
 * Edgar/Bug: You ever pulled the wings off a fly? Do you care to see the fly get even?!
 * Agent K: How far do you think you're gonna get without your ship, if that's what you call that piece of space trash we've got locked up in the office?
 * Edgar/Bug: Put your weapons down!
 * Agent K: Never gonna happen, insect.
 * Agent J: It's okay, Laurel.
 * Dr. Laurel Weaver: How...is...it...okay?
 * Agent J: I'm sayin’ it's gon' be okay.
 * Edgar/Bug: Don't bet on it, meatsack! [takes Laurel, who screams, and jumps out the window onto the street]

<hr width="50%" />
 * Agent J: [K has popped in an 8-track of Elvis' "Promised Land"] You do know Elvis is dead, right?
 * Agent K: No, Elvis is not dead, he just went home.

<hr width="50%" />
 * Dr. Laurel Weaver: [Edgar/Bug is carrying Laurel on his shoulder as he climbs the ladder to one of the ships at the World's Fair fairgrounds] You don't wanna eat me. I'm a very important person on my planet. Like a queen. A goddess, even! There are those who worship me! I'm not telling you this to try to impress you, I'm just letting you know, it could start a war!
 * Edgar/Bug: Good, war! That means more food for my family, all seventy-eight million of 'em. That's a lot of mouths to feed, Your Highness.
 * Dr. Laurel Weaver: You're a wonderful dad, but I'm staying here!
 * [Edgar/Bug throws Laurel in a nearby tree and continues up the ladder into the ship]

<hr width="50%" />
 * Agent J: [after stepping on a cockroach, causing the Bug to freeze as he is climbing to the remaining ship] Uh-oh. I'm sorry. Was that your auntie? [the Bug turns toward J with a enraged snarl] Oh. Then that must mean that-that's your uncle, then, huh? [points at another cockroach at his feet before squashing it] Y'know y'all look alike. [enraged, the Bug descends to the ground and approaches him] Well, well. Big bad bug got a bit of a soft spot, huh? [squishes another cockroach; the Bug snarls in anger] See, what I can't understand is why you gotta come down bringin' all this ruckus! Snatchin' up galaxies and everything. [Laurel watches as the Bug moves closer to Agent J] My attitude is: don't start nuttin', won't be nuttin’! [crushes two more cockroaches as the Bug walks right up to him, seething with anger] You need to ease up out my face 'fore somethin' bad happen to you. [K loads his gun within the Bug's stomach; smiles] Too late.
 * [K shoots, blowing the Bug in half and freeing himself. They are covered in bug guts. J picks up the galaxy]
 * Agent K: [calling headquarters] Zed, call the Arquillians, tell them we have the galaxy.
 * Zed: [on the phone] You got it, friend.
 * [K hangs up]
 * Agent J: Goin' to get ya gun back, huh?
 * Agent K: I like this gun.
 * Agent J: Yeah, well, while you were in there playin' around, I was down here doin' all the work. First, I had to bean him in the head with the big rock. Then I was gonna hit him with a two by four. He kicked me. Y'know, it hurt. Then I got the fire. I was "yah!" with the fire.
 * [Unknown to them, the half of the Bug creeps up to them]
 * Agent K: Not bad for your second day of work is it?
 * Agent J: This definitely rates a 9.0 on my Weird Shit-o-Meter.
 * Agent K: Should've been here for the Zeronian migration in 1968. I guess you weren't even alive in '68.
 * [The half of the Bug appears behind them, about to eat them, but is blasted to pieces. They turn around to see Laurel, who's holding the big gun]
 * Laurel: [grinning] Interesting job you guys have.

<hr width="50%" />
 * Agent J: K, um, look. I know we got these rules and everything, but I was thinkin'. She did help us bust that Bug; maybe we didn't have to flashy-thing her. [K pulls out the neuralyzer] K, come on, man. What - who's she gon' tell? She hang out with all dead people.
 * Agent K: It's not for her. It's for me.
 * Agent J: What?
 * Agent K: [looking up at the sky] They're beautiful, aren't they? Stars. You know, I never look at them anymore, but they actually are quite, um...beautiful.
 * Agent J: Uh, K, you're frightening your partner.
 * Agent K: I haven't been training a partner, I've been training a replacement.
 * Agent J: Wait a minute, K. I cannot do this job by myself.
 * Dr. Laurel Weaver: Hey, guys, my apartment isn’t anywhere near here. It’s not even on the same island.
 * Agent K: [pointing out neuralyzer controls to J] Days. Months. Years. Always face it forward. [hands it to J]
 * Agent J: K...
 * Agent K: I've just been down the gullet of an interstellar cockroach, kid. That's one of a hundred memories that I don't want. [J puts on his sunglasses] See you around, James.
 * Agent J: [raising the neuralyzer] No, you won't.
 * [he triggers it; the flash whites out the screen]

<hr width="50%" />
 * [Last lines]
 * [J gathers up some tabloids whose front pages show events from the pursuit of the Bug, as well as one that shows K reunited with his girlfriend after supposedly waking from a 35-year coma. He takes them and a hot dog to Laurel, who has now joined MIB as Agent L and partnered with J.]
 * Agent L: Hey, J! Zed called. The High Councilor from Solaxiant 9 wants floor seats for the Knicks-Bulls game.
 * Agent J: All right, let's put in a call to Dennis Rodman. He's from that planet. [hands L her hot dog]
 * Agent L: Rodman? You're kidding.
 * Agent J: Nope.
 * Agent L: Not much of a disguise.

About

 * "Men in Black," the second Will-Smith-versus-the- aliens picture, is a high- tech comedy, more along the lines of a tight little action movie than a bona fide blockbuster. It was the smallest of the big summer films, the most slickly made -- and the most old-fashioned. Directed by Barry Sonnenfeld, "Men in Black" has the gloss and the wit of Sonnenfeld's other comedies ("Get Shorty," "The Addams Family"). Sonnenfeld uses odd angles and wide lenses to view the action with a sardonic eye, as if the onscreen events were a joke between director and audience. But if "Men in Black" is a joke, who's the joke on?
 * Mick LaSalle, “Men in Black' Alienating Comedy”, San Francisco Chronicle, (Nov. 28, 1997)

 * [T]he Men in Black aren't merry entrepreneurs, like the Ghostbusters. They're cold-blooded bureaucrats whose job is to control and suppress information.
 * Mick LaSalle, “Men in Black' Alienating Comedy”, San Francisco Chronicle, (Nov. 28, 1997)

 * Men in Black came out just as digital effects were starting to rise to prominence and here they look very, very dated in almost every single shot. They almost feel like you could pause the movie, stick your hand onto the screen, and pull them off like a sticker. It’s that bad. On the other hand, that’s also because the film uses those effects so ambitiously. Men in Black uses full, CG characters years before Star Wars Episode I: The Phantom Menace or The Lord of the Rings did (though they were created differently). So although the effects date the film poorly, it’s also a little bit charming, since everything else in the movie works so well. Put all of that together and 1997's Men in Black today looks, in 2019, like the Missing Link of Hollywood blockbusters. A film that bridges the gap between the old and the new. It blends the legendary Amblin tone of the ‘80s with the soon-to-be-prevalent digital effects of the 2000s, under the umbrella of a comic book adaptation that would spawn a larger franchise, which is the kind of thing movie studios dream of.
 * Germain Lussier, “The Original Men in Black Marked a Transition of the Hollywood Blockbuster”, IO9, (6/04/19).

 * What would be the first question to ask a space alien newly arrived on planet Earth? The dryly clever Men in Black has a novel answer: Carrying any fruits or vegetables? This, you see, is business as usual for the film's top-secret police and immigration authorities, dapper black-suited types who keep tabs on stray spacelings in the New York area. There are a lot of these visitors. They come in all shapes and sizes. Some tote cartons of Marlboros for the trip back home.
 * Janet Maslin, “Oh, Aliens: Business As Usual”, New York Times, (July 1, 1997).

 * There's a jarring discrepancy between the film's plot, which tosses around the fate of galaxies yet still manages to be inconsequential, and its imposing scale. Certain sets, like the pawnshop lighted by Edward Hopper and the vast Eero Saarinen-inspired Men in Black headquarters, are studied and elegant to the point of distraction. Yet with its production design by Bo Welch (Edward Scissorhands, A Little Princess), one of the enormously talented contributors to the film's overall look, Men in Black even makes its morgue inviting. (Scenes there feature Linda Fiorentino, who deftly underplays the city's deputy medical examiner and certainly belongs in the same movie with the supremely unruffled, tacitly hilarious Mr. Jones.) The film's technical team reflects exceptional stylistic harmony. Mr. Sonnenfeld, cinematographer on the early Coen brothers films, invokes the eccentric clarity of their work and that of Tim Burton (whose usual composer, Danny Elfman, contributes some black magic to the score). Mr. Welch also designed Mr. Burton's Beetlejuice, while Rick Baker's amazing makeup effects are on the same weird wavelength. Industrial Light and Magic deserves star billing in a film with approximately 250 special-effects shots. (Jurassic Park had 60.) The tricks don't share much continuity, but they can rock Mr. Smith in the tentacle of a space squid or make the Men in Blackmobile fly through the Midtown Tunnel upside down. A wonderfully playful coda will send you home with a smile.
 * Janet Maslin, “Oh, Aliens: Business As Usual”, New York Times, (July 1, 1997).

 * Our Flick of the Week is the often hilarious "Men in Black," a smart, funny and hip adventure film in a summer of car wrecks and explosions.
 * Gene Siskel, “`MEN IN' BLACK' A CLEVER ROMP”, Chicago Tribune, (July 4 1997).

 * In addition to a top-flight cast (Rip Torn is the big boss of the MIB), the behind-the-scenes talent involved in "Men in Black" is first-rate. Bo Welch, a three-time Oscar-nominated production designer, has created an MIB headquarters and research facility that is a hilarious mix of man, alien and machine. Ric Baker is the master of movie creatures. And director Barry Sonnenfield ("The Addams Family"), a former cinematographer, makes every shot look great. But if I had to pick the one person most responsible for the success of "Men in Black" it would be writer Ed Solomon, who invests all of his major characters with brains.
 * Gene Siskel, “`MEN IN' BLACK' A CLEVER ROMP”, Chicago Tribune, (July 4 1997).

 * “I always felt like the secret to Men in Black was not the sunglasses and the big guns and the coolness, and the other surface level coolness of it,” Solomon says. “I always thought the secret of Men in Black was the generosity of spirit… It was the attitude of the film and its relationship to the audience, which was more of a ‘Hey, everyone check this out, come join us on this journey. Take a look into this world that other people don’t know exists. Let’s go in it together.”
 * Ed Solomon as quoted by David Crow, Tony Sokol; “Where the Men in Black Sequels Went Wrong”, Den of Geek, (July 14, 2021)

 * “It seems to me like the sequels weren’t dealing with the humanity of the [first] movie,” Solomon says. “The other thing that I really loved in writing the first Men in Black was that it really was about how we humans think we’re so important, but in fact we don’t know anything that’s really going on. And so that was a very human experience, and to me, the story of Men in Black was about a cocky human being who gets humbled and realizes that he ain’t even close to the center of the universe. In fact, the universe, the world, what’s important, is nothing that he ever thought about. Reality isn’t anything like he ever thought. It’s a humbling blow. It’s a very human experience.” Solomon continues, “So I just don’t know. I didn’t get that experience watching the sequels. I think their priorities were slightly different and, I’m not an expert on why a movie works or doesn’t. Sometimes, I’ll think something’s going to be a giant hit and it isn’t, and vice versa. I can’t say for sure, all I can say is that during my own personal experience of writing [Men in Black] that was what was important, and I didn’t get those elements as much from the other movies. That was my own takeaway from being the writer of the first and an audience member of the others.” Still, he’s quick to add that even if he didn’t think the sequels worked as a whole, there were still things to like. “I enjoyed parts of all of them. They just weren’t the way I would have done it, but I didn’t have the opportunity because I wasn’t working on them.” That might be so, but if and when someone else takes a crack at MIB, perhaps these are insights worth sitting on a park bench and appreciating here.
 * Ed Solomon as quoted by David Crow, Tony Sokol; “Where the Men in Black Sequels Went Wrong”, Den of Geek, (July 14, 2021)

 * “Men in Black” is set in New York at the suggestion of its director, a native son, and that sets up inventive use of such landmarks as the Guggenheim Museum, the old World’s Fair grounds in Queens and the Battery Park vent room for the Holland Tunnel, plus the expected jokes about what percentage of cabbies are not of this Earth. Hard to ignore because it’s partly unexpected is the film’s slime factor. “Men in Black” has periodic moments of gross-out humor that will not be to everyone’s taste, and when Edgar the invader finally reveals himself, he turns out to be more disturbing and off-putting than the film’s genial tone would have you expect. But mostly what you get with “Men in Black” is the opportunity to spend some quality time with the Kings of Cool in a world where inconvenient memories get erased and supermarket tabloids offer the most reliable alien tips. It’s not the traditional world where only the bad guys wore black, but you but you already knew that, didn’t you?
 * Kenneth Turan, “The Outer Limits of Fun : ‘Men in Black’ takes the alien theme, twists it in hip directions and adds some cool sight gags”, Los Angeles Times, (July 1, 1997).

Cast

 * Tommy Lee Jones as Kevin Brown / Agent K
 * Will Smith as James Darrell Edwards III / Agent J
 * Vincent D'Onofrio as Edgar the Bug
 * Linda Fiorentino as Dr. Laurel Weaver / Agent L
 * Rip Torn as Chief Zed
 * Tony Shalhoub as Jack Jeebs
 * Siobhan Fallon Hogan as Beatrice
 * Mike Nussbaum as Gentle Rosenberg
 * Jon Gries as Van Driver
 * Sergio Calderón as Jose
 * Carel Struycken as Arquillian
 * Fredric Lehne as INS Agent Janus
 * Kent Faulcon as 2nd Lt. Jake Jensen
 * Richard Hamilton as Agent D
 * David Cross as Newton the Morgue Attendant
 * Tim Blaney as Frank the Pug (voice)
 * Scottie Ray as Mikey and additional alien voices

title: Men in Black (1997 film)


text:
User talk:128.173.217.32

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
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title: User talk:128.173.217.32


text:
Mary Doria Russell

Mary Doria Russell (born August 19, 1950) is an American author. Russell has become widely known for her two novels which explore one of science fiction's oldest concepts: first contact with aliens. In this framework she also explores the even older issue of how one can reconcile the idea of a benevolent deity with pain and evil in the world.

Quotes

 * One minute, she was in the State of Puerto Rico and the next minute, she was in the State of Persistent Vegetables.
 * The Sparrow, Ballantine Books, 1996, page 115.

title: Mary Doria Russell


text:
User talk:Darkdesign~enwikiquote

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title: User talk:Darkdesign~enwikiquote


text:
Pope Paul VI

Pope Paul VI (born Giovanni Battista Enrico Antonio Maria Montini; 26 September 1897 – 6 August 1978) was head of the Catholic Church and sovereign of the Vatican City State from 21 June 1963 to his death in 1978. Succeeding John XXIII, he continued the Second Vatican Council, which he closed in 1965, implementing its numerous reforms, and fostered improved ecumenical relations with Eastern Orthodox and Protestant churches, which resulted in many historic meetings and agreements.

Quotes

 * We find sin the perversion of human freedom, and the deep cause of death, because it is separation from God, the source of life...and then, in its turn, the occasion and effect of an intervention in us and in our world of an obscure agent, the Devil. Evil is not merely a lack of something, but an effective agent, a living spiritual being, perverted and perverting. A terrible reality. Mysterious and frightening. It is contrary to the teaching of the Bible and the Church to refuse to recognize the existence of such a reality, or to regard it as a principle in itself which does not draw its origin from God like every other creature; or to explain it as a pseudoreality, a conceptual and fanciful personification of the unknown causes of our misfortunes.
 * "Deliver Us from Evil", General Audience of Pope Paul VI, November 15, 1972
 * I was solitary before, but now my solitariness becomes complete and awesome. Hence the dizziness, the vertigo. Like a statue on a plinth-that is how I live now. Jesus also was alone on the cross. I should not seek outside help to absolve me from my duty; my duty is too plain: decide, assume every responsibility for guiding others, even when it seems illogical and perhaps absurd. And to suffer alone… Me and God. The colloquy must be full and endless.
 * private note to himself of the solitude that infallibility and the papal office

 * HUMANAE VITAE tradendae munus gravissimum, ex quo coniuges liberam et consciam Deo Creatori tribuunt operam, magnis semper ipsos affecit gaudiis, quae tamen aliquando non paucae difficultates et angustiae sunt secutae.
 * HUMANAE VITAE
 * Translation: The transmission of human life is a most serious role in which married people collaborate freely and responsibly with God the Creator. It has always been a source of great joy to them, even though it sometimes entails many difficulties and hardships.
 * Official Vatican translation.

 * Nemo sane christifidelium eat infitias, ad Ecclesiae Magisterium interpretationem legis moralis naturalis spectare.
 * HUMANAE VITAE
 * Translation: No member of the faithful could possibly deny that the Church is competent in her magisterium to interpret the natural moral law
 * Official Vatican translation.

 * De propaganda prole quaestio, non secus atque quaelibet quaestio humanam vitam attingens, ultra particulares alias eiusdem generis rationes - cuiusmodi eae sunt, quae biologicae aut psychologicae, demographicae aut sociologicae appellantur
 * HUMANAE VITAE
 * Translation: The question of human procreation, like every other question which touches human life, involves more than the limited aspects specific to such disciplines as biology, psychology, demography or sociology.
 * Official Vatican translation.

 * L'arte di Ibrahim Kodra è un messaggio di pace.
 * Ibrahim Kodra's art is a message of peace. Fondazione Ibrahim Kodra

 * Sacro autem baptismate ablutis, matrimonium eiusmodi praeditum est dignitate, ut gratiae sacramentale signum exsistat, cum Christi et Ecclesiae coniunctionem designet.
 * HUMANAE VITAE
 * Translation: The marriage of those who have been baptized is, in addition, invested with the dignity of a sacramental sign of grace, for it represents the union of Christ and His Church.
 * Official Vatican translation.

 * Ad hoc, coniugalis amor et fidelis et exclusorius est, usque ad vitae extremum;
 * HUMANAE VITAE
 * Translation: Married love is also faithful and exclusive of all other, and this until death.
 * Official Vatican translation.

 * Si deinde ad impulsus innatos et ad animi affectus spectamus, paternitas conscia necessariam declarat dominationem, quam ratio et voluntas in eosdem exerceant necesse est.
 * HUMANAE VITAE
 * Translation: With regard to man's innate drives and emotions, responsible parenthood means that man's reason and will must exert control over them.
 * Official Vatican translation.

 * It is as if from some mysterious crack, no, it is not mysterious, from some crack the smoke of Satan has entered the temple of God.
 * June 29, 1972 homily.

 * Priestly celibacy has been guarded by the Church for centuries as a brilliant jewel, and retains its value undiminished even in our time when the outlook of men and the state of the world have undergone such profound changes.
 * SACERDOTALIS CAELIBATUS

 * If evils increase, the devotion of the People of God should also increase.
 * CHRISTI MATRI

About Pope Paul VI

 * Was Paul VI's papacy a heroic one? In a way, I think the answer is yes. But his heroism was essentially tragic.

 * I for one find it much easier to sympathise with the Arnoldian gloom of Paul looking quietly at the ruin of the Church than with the glad-handing U2 world-tour optimism of St. John Paul II,

 * Matthew Walther, The Consoling Gloom of Paul VI

title: Pope Paul VI