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Talk:Rodney Dangerfield

Rodney Dangerfield was the best comedian that ever lived - Dave Ralston

Rodney Dangerfield was the Picasso of comedy. Eloquent and succinct. steve marshall, dontbehave.com

 * These words of admiration for a great comedian are nice, folks, but Wikiquote talk pages are for discussing quote article content, not the subject himself. — Jeff Q (talk) 20:03, 15 May 2005 (UTC)

How would you like to make $14 the hard way?- Caddyshack

Hey honey, you must have been something before electricity! - Caddyshack

For years I wouldn't kiss my mother-in-law on the cheek and I end up kissing her a--! - Easy Money.

Jason, you don't lie to your father, you lie to girls...- Back to School

"Never forget the common man" a Rodney quote from real life told to comedian Steve Marshall by tony Bevacqua Joba

Unsourced

 * What a childhood I had. My parents sent me to a child psychiatrist. The kid didn't help me at all.

 * My ol' man took me to a freak show. They said, "Get the kid outta here. He's distracting from the show."

 * With my wife, I got no sex life. She cut me down to once a month. Hey I'm lucky, two guys I know she cut out completely.

 * When my wife drives, there's always trouble. The other day she took the car. She came home. She told me, "There's water in the carburetor." I asked her, "Where's the car?" She said, "In a lake."

 * All my wife and I do is fight about sex. The other night, we really had it out. Well, I'll put it this way-I had it out.

 * In high school, when I played football I got no respect. I shared a locker with a mop.

 * When I was a kid, I got no respect. I told my mother I'm gonna run away from home. She said, "On your mark..."

 * With my wife I don't get no respect. I made a toast on her birthday to "the best woman a man ever had." The waiter joined me.

 * My wife told me she likes to have sex in the backseat of the car. I drove her and that guy around all night.

 * My uncle's dying wish, he wanted me on his lap. He was in the electric chair.

 * I told my doctor I want to get a vasectomy. He said with a face like mine, I don't need one.

 * I tell ya, with my wife, I got no sex life. Her favorite position is facing Bloomingdale's.

 * I asked my wife, "last night, were you faking it?" She said, "No, I was really sleeping."

 * They took a survey: "Why do men get up in the middle of the night?" Ten percent get up to go to the bathroom and 90 percent get up to go home.

 * I had a date with an inflatable girl. Now I got an inflatable guy looking for me.

 * She was a wild girl. I took her to a bar. She gave the mechanical bull her phone number.

 * I said to a girl I'd been seeing, "come home with me, honey, and I'll show you where it's at." She said, "You'd better, because the last time I could'nt find it."

 * I tell ya one thing-I know how to satisfy my wife in bed. I leave.

 * I tell ya, comedy is in my blood. I wish it was in my act.

 * I like southern girls. They talk so slow that by the time they say no, I made it already.

 * I tell ya, it's tough to save a buck. Right now I'm supporting two fighters. My wife and her mother.

 * I tell ya, southern people, they always think you are hard-of-hearing. Every timr you leave they say to you, "You come back, you hear?" And southern people, they think you are horny too. You get directions, they say, "Just up the road apiece."

 * With my ol' man, I got no respect. He told me to start at the bottom. He was teaching me how to swim.

 * Getting older is tough. I remember the last time I felt an erection. It was at the movies. The only trouble is, it belonged to the guy sitting next to me.

 * Women my age just don't turn me on. That's another problem with getting older. I took out an older woman the other night, and I mean old. I told her, "Act your age." She died.

 * Nothing goes right. I joined Gamblers Anonymous. They gave me two-to-one I don't make it.

 * We were poor. we were so poor, in my neighborhood the rainbow was in black-and-white.

 * I figured out I'm bisexual. I have sex twice a year.

 * Time and tide and hookers wait for no man.

 * I tell you, I can't take it no more. My dog found out we looked alike, He killed himself.

 * My old man was dumb, he picked a guy's pocket on an airplane and made a run for it.

 * With my wife I get no respect. I fell asleep with a cigarette in my hand. she lit it.

 * I tell ya, my wife was never nice to me. On our first date, I asked her if I could give her a good-night kiss on the cheek. she bent over.

 * I bought another book, How to make it big. i got ripped off. It was about money.

 * When I go to a nude beach, I always take a ruler, just in case I have to prove something.

 * My wife can't cook at all. She made chocolate mousse. an antler got stuck in my throat.

 * We were poor, too. If i wasn't born a boy, I would have nothing to play with.

 * Last week, I went to a discount massage parlor- It was self-service.

 * I shouldn't tell jokes about my wife. she's attached to a machine that keeps her alive...The refrigerator.

 * What a doctor I've got- he's really mixed up. Last week, he grabbed my knee and told me to cough. Then hit me in the balls with a hammer.

 * This girl was ugly. They used her in prisons to cure sex offenders.

 * I told my psychiatrist I was thinking of killing myself. He told me from now on I had to pay in advance.

 * My building's super told me to wipe my feet in the house before going out in the hall.

 * I took my car to a mechanic for an estimate. He told me $200.  I went to pick up the car, and he told me the bill was for $300.  I asked "What about the estimate?"  He told me "I forgot. That'll be $500."

title: Talk:Rodney Dangerfield


text: User:Ananke

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

title: User:Ananke


text:
User:BrokenSegue

I am an administrator on the english wikipedia. If you must contact me quickly see me here.

Also can find me at...

 * English Wikipedia
 * Commons
 * Wikibooks
 * Simple English
 * Wiktionary
 * Meta

title: User:BrokenSegue


text:
User talk:BrokenSegue

I may not see this page for some time since I edit only sporadically. If you want to chat see my talk page

title: User talk:BrokenSegue


text:
Man on Fire (2004 film)

Man on Fire is a 2004 film about a former assassin who swears vengeance on those who committed an unspeakable act against the family he was hired to protect.
 * ''Directed by Tony Scott. Written by Brian Helgeland, based on the novel by A.J. Quinnell.

Creasy

 * I am going to ask questions. If you don't answer fully and truthfully, you will suffer much more than you have to. I'm going to cut your fingers off. One by one, if I have to.

 * Okay, my friend. It's off to the next life for you. I guarantee, you won't be lonely.

 * I'm going to tear your family apart piece by piece, YOU UNDERSTAND ME! PIECE BY PIECE!

 * I don't want your money! YOU UNDERSTAND ME?! No, I want you!

 * [to Samuel] I'm gonna ask your wife a couple of questions. You move... you make one sound... I'll snatch the life right outta you, understand?

 * I'm goin' home, too. I'm goin' to Blue Bayou.

Rayburn

 * A man can be an artist ... in anything, food, whatever. It depends on how good he is at it. Creasey's art is death. He's about to paint his masterpiece. I have nothing else to say.

 * He'll deliver more justice in a weekend than ten years of your courts and tribunals. Just stay out of his way.

 * A bullet always tells the truth.

Dialogue

 * Samuel: Your resume is quite impressive. 16 years of military experience, extensive counter-terrorism work. I'm surprised anyone could afford you, what's the catch?
 * Creasy: I drink.
 * Samuel: How does that affect you?
 * Creasy: Coordination, reaction time. Top professionals try to kidnap your daughter I'll do the best I can but the service will be on par with the pay.
 * Samuel: What if amateurs try?
 * Creasy: I'd probably kill 'em. That likely?
 * Samuel: No. No one is to know about your drinking. That includes my wife.

 * Pita: You're late.
 * Creasy: I'm sorry.
 * Pita: Where's my mother?
 * Creasy: I dropped her at home.
 * Pita: It's no wonder you're late. Why didn't she just come with you? [Creasy doesn't answer] Do you think my mom likes you?
 * Creasy: I think she's afraid of me. But not the same way most people are.
 * Pita: I'm not afraid of you.
 * Creasy: I know you're not.
 * Pita: Are you afraid of me?
 * Creasy: I used to be. At first. But not any more.
 * Pita: Good.

 * Creasy: The gunshot holds no fear, say it.
 * Pita: The gunshot holds no fear.
 * Creasy: You welcome the sound. In fact it's the sound that sets you free. You are a prisoner on this block until that sound sets you free.

 * Pita: There are some good things in this world.
 * Creasy: Oh yeah, like what?
 * Pita: Like meeting me.

 * Pita: Do you have a girlfriend, Creasy?
 * Creasy: What?
 * Pita: Do you have a girlfriend?
 * Creasy: No. What kind of question is that, anyway? You're supposed to be studying history, okay?
 * Pita: It is history... Creasy history.
 * Creasy: No, that's ancient history.

 * Sister Anna: Do you ever see the Hand of God in what you do?
 * Creasy: No, not for a long time.
 * Sister Anna: The Bible says, "Do not be over come with evil, but overcome...?
 * Creasy: "But overcome evil with good." [in Spanish] That's Romans Chapter 12 Verse 21. I am the sheep that got lost, Madre.

 * Lisa: What are you gonna do?
 * Creasy: What I do best. I'm gonna kill 'em. Anyone that was involved. Anybody who profited from it. Anybody who opens their eyes at me.
 * Lisa: [whispering] You kill 'em all.

 * Creasy: Do you think God'll forgive us for what we've done?
 * Rayburn: No.

 * Fuentes: A last wish, please, please. Please.
 * Creasy: Last wish? I wish you had more time.

 * Elderly man: In the church, they say to forgive.
 * Creasy: Forgiveness is between them and God. It's my job to arrange the meeting.

 * Pita: I love you, Creasy. And you love me too, don't you?
 * Creasy: Yes, I do. With all my heart, Pita. Go.

Cast

 * Denzel Washington - Creasy
 * Dakota Fanning - Pita
 * Marc Anthony - Samuel
 * Radha Mitchell - Lisa
 * Christopher Walken - Rayburn

title: Man on Fire (2004 film)


text:
User talk:61.51.34.121

This IP has been blocked from editing at Wikiquote because it has been used by a persistent vandal to post unwanted commercial advertisements here at Wikiquote, a non-profit, non-commercial, public service site. If you are not this vandal, you can notify your Internet service provider of this activity, so that this violation of ethical standards, internet etiquette, and in some places the legal statutes can be addressed by the proper authorities. If you are this vandal and this behavior persists much longer, notifications can be sent to the contacts available to the Internet service providers at the China Network Communications Group Corporation. If this behavior ends, no notice will be sent to any ISP by me, and after a period of two weeks these notices that have been posted here will be removed. ~ Kalki

A small personal note to the obnoxious imbeciles who try to spread their stinking excrement wherever they find an unlocked door: ''We have no desire to swim in your toilet, so quit pissing in our pool. PISS OFF— SOMEWHERE ELSE— ASSHOLES. ''Any real hackers who would like to target these petty vandals, certainly has my blessings to do so. ~ Achilles 01:02, 30 Nov 2004 (UTC)

title: User talk:61.51.34.121


text: Category:Sitcoms

title: Category:Sitcoms


text: Category:Science fiction TV shows

title: Category:Science fiction TV shows


text:
User:Echomikeromeo~enwikiquote

Um, hi. I'm echomikeromeo, also known as EMR, also known as Emily. I live in San Diego, California and I'm almost 15 years old. I like collaborative projects a lot, and in addition to being here I've got an account on Wikipedia.

Some of my interests: I'm a rabid Anglophile, and so I love British history, British films, British books, and pretty much anything English or British. My favourite author is John Mortimer, the author of the Rumpole books; he's also my hero for writing such cool books, for being a generally cool person, and for heading the defense in the Lady Chatterley's Lover case, which was a milestone for free speech.

In general, I love useless facts, especially when they've got to do with history, literature, etc. I'm on my school's Academic League team and that's one of my true loves in life. The other one is spending vast amounts of time online, something I unfortunately don't get a whole lot of time to do, due to the fact that it can only happen when my mother is off the computer. ;-)

I'm also incredibly into Latin and Ancient Roman history. I'm in my third year of learning the language, I head up a Latin department on h2g2, and I've got an account on the Latin "Vikipaedia".

Music: I like folk and traditional music. I'm a hard-core traditionalist when it comes to music and I can't stand for electric instruments at all. Some of my favourite artists and bands include Ian & Sylvia, the Brobdingnagian Bards, Cherish the Ladies, Peter Paul & Mary and David Coffin (the best singer in the world even though no one's ever heard of him).

So, what else can I say? I'm a nerd, but I still like to have fun and my sense of humor tends a bit towards the bawdy, so you really want to stay away from my friends and me when we get going.

Oh, yes, and I really like to talk about myself. :-)

title: User:Echomikeromeo~enwikiquote


text:
User:Khaosworks

See http://en.wikipedia.org/wiki/User:Khaosworks

title: User:Khaosworks


text:
Memento (film)

Memento is a 2000 film about a man's quest to avenge the brutal rape and murder of his wife. Though he is hampered by short-term memory loss, he uses notes, photos, and tattoos to record information that may lead him to a suspect. The film is told out of chronological order, placing the audience in a similar situation as the protagonist.
 * Directed by Christopher Nolan. Written by Christopher Nolan from the story by Jonathan Nolan.

Some memories are best forgotten.

Leonard Shelby

 * Memory can change the shape of a room; it can change the color of a car. And memories can be distorted. They're just an interpretation, they're not a record, and they're irrelevant if you have the facts.
 * I have to believe in a world outside my own mind. I have to believe that my actions still have meaning, even if I can't remember them. I have to believe that when my eyes are closed, the world's still there. Do I believe the world's still there? Is it still out there? … Yeah. We all need mirrors to remind ourselves who we are. I'm no different … now … where was I?
 * I don't even know how long she's been gone. It's like I've woken up in bed and she's not here … because she's gone to the bathroom or something. But somehow, I know she's never gonna come back to bed. If I could just … reach over and touch … her side of the bed, I would know that it was cold, but I can't. I know I can't have her back … but I don't want to wake up in the morning, thinking she's still here. I lie here not knowing … how long I've been alone. So how … how can I heal? How am I supposed to heal if I can't … feel time?
 * Am I chasing this guy? [gunshot] No, he's chasing me.

Teddy

 * So you lie to yourself to be happy.

Dialogue

 * Leonard Shelby: [Wakes up in Hotel Room] [Starts an Open Dialogue in his head] So where are you? You're in some motel room. You just...You just wake up and you're in a motel room. There's the key. It feels like maybe it's just the first time you've been there, but...perhaps you've been there for a week, three months. It's kind of hard to say. I don't...I don't know. It's just an anonymous room. There's nothing in the drawers, but you look anyway. Nothing except the Gideon Bible which I, of course, read religiously [Chuckles, Sighs]. You know, you know who you are, and you know kind of all about yourself. But just for day-to-day stuff, notes are really useful. Sammy Jankis had the same problem, but he really had no system. He wrote himself a ridiculous amount of notes, but he'd get them all mixed up. You really do need a system if you're gonna make it work. You kind of learn to trust your own handwriting. That becomes an important part of your life. You write yourself notes. And where you put your notes...that also becomes really important. You need like a jacket that's got like six pockets in it. Particular pockets for particular things. You just kind of learn to know where things go and how the system works. And you have to be wary of other people writing stuff for you that is not gonna make sense or is gonna lead you astray. I mean, I don't know, How these people try and take advantage of somebody with this condition. If you have a piece of information which is vital, writing on your body instead of on a piece of paper can be the answer. It's just a permanent way of keeping a note. [Phone Rings] [Leonard Picks it up] Who is this?...

 * Leonard Shelby: [After answering the phone] You said we talked before. I don't remember that. Yeah, But it's not amnesia. I remember everything up until my injury. I just can't make new memories. So I can't remember talking to you. What did we talk about? Oh, Sammy Jankis. I guess I'd tell people about Sammy to help them understand. Sammy's story helps me understand my own situation. Well, Sammy wrote himself endless amounts of notes, but he got mixed up. I have a more graceful solution to the memory problem. I'm disciplined and organized. I use habit and routine to make my life possible. Sammy had no drive no reason to make it work...Me? Yeah...I got a reason.

 * Leonard Shelby: [Continuing Phone Conversation] I met Sammy through work. Insurance. I was an investigator. I'd investigate the claims to see which ones were phony. I had to see through people's bullshit. It was a useful experience, cause now it's my life. When I meet someone, I don't know if I've met them before. I have to just look in their eyes and try and figure them out. My job taught me the best way to find out what someone knew was just let them talk and watch the eyes...and the body language. If someone scratches their nose while they're talking, experts will tell you it means they're lying. It really means they're nervous. People get nervous for all sorts of reasons. It's all about context...Yeah, I was good. Sammy was my first real challenge. I'd just become an investigator when I came across Sammy. Mr. Samuel R. Jankis. Strangest case ever. You know the guy's a 58 year old semi-retired accountant. He and his wife had been in this car accident. Nothing too serious. But he's acting funny. He can't get a handle on what's going on. The Doctors find some possible damage to the hippocampus. Nothing conclusive, but Sammy can't remember anything for more than a couple of minutes. Can't work, Can't do shit. The medical bills pile up. His wife calls the insurance company, and I get sent in. Now this is my first Big claims investigation, so I really check into it. Sammy can think just fine, but he can't make any new memories. He can only remember things for a couple minutes. He'd watch TV, but anything longer than a couple of minutes was too confusing...He couldn't remember how it began. He liked commercials, they were short. The crazy part was that this guy who couldn't even follow the plot of Green Acres anymore could do the most complicated things as long as he learned them before the accident and as long as he kept his mind on what he was doing. Now the doctors assure me that there's a real condition called Anterograde Memory Loss, or short-term memory loss. It's rare, but legit. But everytime I see him I catch this look...this slight look of recognition. But he says he can't remember me at all. Now, I can read people and I'm thinking: Bad Actor. So now I'm suspicious and I order more tests. Sammy couldn't pick up any new skills at all. But I find something in my research: Conditioning. Sammy should still be able to learn through repetition. It's how you learn stuff like riding a bike. You just get better through practice. It's a completely different part of the brain from short-term memory. So I had the doctors test Sammy's response to conditioning. Some of the objects were electrified. They'd give him a small shock. They kept repeating the test always with the same objects electrified. THe point was to see if Sammy could avoid the electrified objects not by memory but by instinct. They kept testing Sammy for months, always with the same objects carrying the electrical charge. Even with total short-term memory loss, Sammy should have learned to instinctively stop picking up the wrong objects. All the previous cases responded to conditioning. Sammy didn't respond at all. It was enough to suggest that his condition was Psychological, not Physical. We turned down his claim on the grounds that he wasn't covered for mental illness. His wife got stuck with the bills, and I got a big promotion. Conditioning didn't work for Sammy, so he became helpless. But it works for me. I live the way Sammy couldn't. Habit and routine make my life possible. Conditioning. Acting on instinct. Sammy's wife was cripple by the cost of supporting him and fighting the company's decision. but it wasn't the money that got to her. I never said that Sammy was faking...Just that his problem was mental, not physical. She couldn't understand. I mean, she looks into his eyes and see the same person. If it's not a physical problem, he should just snap out of it. So good old Leonard Shelby from the insurance company gives her the seed of doubt just like he gave it to the doctors. But I never said that he was faking. I never said that. But what Mrs. Jankis didn't understand was that you can't bully someone into remembering. The more pressure you're under, the harder it gets...Uh, well, then call me...call me back? [Hangs up the phone]

 * Leonard Shelby: [Phone Rings] Who is this?...Yeah, Uh-huh. Well, sir, that'd certainly be in keeping with some of my own discoveries. I was hoping for a little more on the drugs angle. Can you hang on a sec?...Now, the police report mentioned the drugs found in the card outside my house. The car was stolen, but his prints were all over it. I got friends in the department. They gave me a copy of it. I dealt with the police a lot in my insurance job. With my condition, it's really tough. I can't keep it all in mind at once. I have to summarize the different sections and there's pages missing. I guess I've been trying to log them all. I don't know why these are crossed out. But they weren't even looking for John G. THe stuff they found in the car just fit in with what they believed had happened, so they didn't chase any of it up.There's something about the drugs stashed in the car that doesn't ring true for me. Because the police claim the guy was an addict needing money to score, which I think is bullshit cause he's not gonna go breaking into places while he's still got a stash that big. Well, I think John G. left it there or planted it there...How do you know that?...Oh, shit, that's true. It fits. So he's a dealer. Hang on a sec. Now we're getting somewhere.

 * Natalie: What's the last thing that you do remember?
 * Leonard Shelby: My wife …
 * Natalie: That's sweet.
 * Leonard Shelby: … dying.

 * Leonard Shelby: I don't think they'd let someone like me carry a gun.
 * Teddy: I fucking hope not.

 * Leonard Shelby: There are things you know for sure.
 * Natalie: Such as?
 * Leonard Shelby: I know what that's going to sound like when I knock on it. I know what that's going to feel like when I pick it up. See? Certainties. It's the kind of memory that you take for granted.

 * Leonard Shelby: I have this condition.
 * Teddy: [examining Jimmy Grantz] I hope it's not as serious as this guy, because he's dead.

 * [Leonard opens the closet door to find a beaten and bloodied Dodd]
 * Leonard Shelby: Who did this to you?
 * Dodd: [puzzled] You did!

DVD extras

 * Your life is over. You're a dead man. The only thing the doctors are hoping to do is teach you to be less of a burden to the orderlies. And they'll probably never let you go home, wherever that would be. So the question is not "to be or not to be," because you aren't. The question is whether you want to do something about it.
 * From "Memento Mori", by Jonathan Nolan, as quoted on the DVD

Cast

 * Guy Pearce – Leonard Shelby
 * Carrie-Anne Moss – Natalie
 * Joe Pantoliano – Teddy Gammell
 * Callum Keith Rennie – Dodd

title: Memento (film)


text:
E.T. the Extra-Terrestrial

E.T. the Extra-Terrestrial (known as E.T. and also in 185 minutes) is a 1982 American science fiction film about Elliott, a young boy who befriends an alien being trapped on Earth and trying to find his way home. Elliott and his siblings help the alien return home while trying to keep him hidden from their mother and the government.
 * Directed by Steven Spielberg. Written by Melissa Mathison.

He is afraid. He is totally alone. He is 3 million light years from home. Taglines

Dialogue

 * Gertie: What are you going as for Halloween?
 * Elliot: I'm not going to stupid Halloween.
 * Michael: Why don't you go as a goblin?
 * Elliot: Shut up.
 * Mary: It's not that we don't believe you, honey.
 * Elliot: Well, it was real, I swear!
 * Mary: [changing the subject] What are you going as, Gert?
 * Gertie: [with steak in mouth] I'm going as a cowgirl.
 * Elliot: So, what else is new?
 * Michael: Maybe it was an iguana.
 * Elliot: It was no iguana.
 * Michael: Maybe, uh...uh - You know how they say there are, uh, alligators in the sewers?
 * Gertie: Alligators in the sewers.
 * Mary: All we're trying to say is maybe you just probably imagined it. It happens.
 * Elliot: I couldn't have imagined it!
 * Michael: Maybe it was a pervert, or a deformed kid, or something.
 * Gertie: A deformed kid.
 * Michael: Maybe, uh, an elf or a leprechaun.
 * Elliot: [stands up angrily] IT WAS NOTHING LIKE THAT, PENIS-BREATH!
 * Mary: [laughs] Elliot! [laughs, but regains composure] Sit down. [clears throat]
 * Elliot: [sitting down] Dad would believe me.
 * Mary: Maybe you oughta call your father and tell him about it.
 * Elliot: I can't. He's in Mexico with Sally.
 * Gertie: Wh-Where's Mexico?
 * Mary: Excuse me. [leaves the table and walks to the window]
 * Michael: [softly to Elliot] I'm gonna kill you.
 * Mary: If you ever see it again, whatever it is, don't touch it, just call me, and we'll have somebody come and take it away.
 * Gertie: Like the dogcatcher?
 * Elliot: But they'll give it to a lobotomy, or do experiments on it, or somethin'.
 * Mary: It's your turn to do the dishes, fellas.
 * Michael: I set and cleared.
 * Elliot: I set and cleared.
 * Michael: [quickly] I did breakfast.
 * Gertie: I did breakfast.
 * [Mary slams a pot down on the sideboard, offscreen]
 * Michael: What's the matter, Mom?
 * Mary: [emotionally; about the kids' father] He HATES Mexico.
 * Michael: [to Elliot] Damn it, why don't you...grow up? Think how other people feel for a change?

 * Michael: [in awe, upon seeing E.T.] Elliot?
 * Elliot: [while looking at the hiding E.T.] I'm keeping him.
 * Gertie: [still got her mouth covered by Michael] What is it?
 * Elliot: He won't hurt you, Gertie. He won't hurt you, Gertie. He's not gonna hurt you.
 * Gertie: [as Michael uncovers her mouth] Is he a boy or a girl?
 * Elliot: He's a boy.
 * Gertie: Was he wearing any clothes?
 * Elliot: No. But, look. You can't tell, not even Mom.
 * Gertie: Why not?
 * Elliot: Because, um, grown-ups can't see him. Only little kids can see him.
 * Gertie: [snapping back] Give me a break.
 * Elliot: [imitating Dracula] Vell, do you know vhat's going to happen if you do tell? [tosses Gertie's stuffed animal to Michael] Do it, Mike. We have to.
 * Gertie: [tugging her doll with Michael] Give it to me!
 * [E.T. watches intently before Gertie managed to pull her doll from Michael]
 * Elliot: [to Gertie] Promise?
 * Gertie: Yes.
 * Elliot: [to Michael] Do you promise?
 * [Michael nods in agreement]

 * Mary: What are you doing, Gertie?
 * Gertie: I'm going to play in Elliot's room.
 * Mary: Okay, don't let them torture you.
 * Gertie: I won't, Mary.

 * Michael: [about E.T.] Did you explain school to him?
 * Elliot: How do you explain school to a higher intelligence?
 * Michael: Maybe he's not that smart. Maybe he's a worker bee who only knows how to push buttons.
 * Elliot: He's too smart.
 * Michael: All right. I just hope we don't wake up on Mars or somethin' surrounded by millions of little squashy guys.

 * Gertie: Here he is.
 * Mary: [absently] Here's who?
 * Gertie: The man from the moon. [as Mary unknowingly hits E.T. with the refrigerator door] But I think you've killed him already.
 * Mary: Just as soon as I unload this stuff, okay? [inspects a small basket of cherry tomatoes] Medbugs.
 * Gertie: I want you to meet somebody.
 * [Later, after E.T. learns how to talk]
 * Mary: Gertie, I've gotta go pick up Elliot. Will you be a good girl until I get back?
 * Gertie: Momma, he can talk!
 * Mary: [thinking she meant Elliot] Of course he can talk. I'll be back in 10 minutes. Stay there.

 * Elliot: [upon seeing E.T. in a dress, hat, wig, and jewelry] Oh, God!
 * E.T.: Elliot.
 * Elliot: [still frustrated] What?!
 * E.T.: Elliot! Elliot!
 * [Then Elliot realized that E.T. started talking]
 * Gertie: I taught him how to talk. He can talk now. [Elliot sees electronics and supplies together in the closet] Look what he brought up here all by himself. What's he need this stuff for?
 * Elliot: E.T., can you say that? Can you say 'E.T.'? E.T.?
 * E.T.: E.T.
 * Elliot: [laughs in amazement] Ha! Ha!
 * E.T.: [waddling away] E.T.! E.T.! E.T.! Be good.
 * Gertie: "Be good." I taught him that too.
 * Elliot: You should give him his dignity. This is the most ridiculous thing I've ever seen.
 * E.T.: [gives Elliot a newspaper and points at a comic picture] Phone.
 * Elliott: "Phone"? He said "phone"? He said "phone"?!
 * Gertie: Can't you understand English? He said "phone".
 * E.T.: [points to closet] Home?
 * Elliott: You're right. That's E.T.'s home.
 * E.T.: [scurries over to the window and points his long finger towards it] E.T. home phone.
 * Gertie: E.T. phone home.
 * Elliot: [understanding what E.T. means] E.T. phone home. E.T. phone home!
 * Gertie: He wants to call somebody.
 * Michael: [entering the room; chuckles upon seeing E.T. in costume] What's all this shit?
 * E.T.: E.T. phone home.
 * Michael: [shocked] My God, he's talking now.
 * E.T.: Home.
 * Elliot: E.T. phone home?
 * E.T.: [pointing at the window again] E.T. phone home.
 * Elliot: [softly] And they'll come?
 * E.T.: Come? [taking off the hat and wig] Home. Home.

 * Note: Bolded line is ranked #15 in AFI's 100 Years...100 Movie Quotes

 * Michael: Mom, would you come with me?
 * Mary: What is it?
 * Michael: Mom, just come with me.
 * Mary: Scud, what?
 * Michael: Mom, remember the goblin?
 * Mary: What are you talking about?
 * Michael: Just swear the most excellent promise you can make.
 * Mary: [annoyed] Michael. [Michael opens the bathroom door, showing E.T., Gertie and Elliot] That's terrific.
 * E.T.: Moooooom.
 * [Mary becomes shocked and horrified on seeing E.T. for the first time, and spills her coffee]
 * Elliot: We're sick. I think we're dying.

 * Scientist: Does he sleep at night?
 * Mary: I don't know, I don't know. What's the matter with Elliot?
 * Scientist: Have you noticed any surface sweating?
 * Mary: No.
 * Scientist: Has it lost any hair?
 * Gertie: He never had any hair.
 * Scientist: Are the children all right?
 * Mary: Yes.
 * Scientist: Has it built anything or written anything down?
 * Michael: Uh, no.
 * Scientist: You said it has the ability to manipulate its own environment?
 * Michael: He's smart. He communicates through Elliot.
 * Scientist: Elliot thinks its thoughts.
 * Michael: No, Elliot...Elliot feels his feelings.

 * Keys: Elliot, I've been to the forest...Elliot, that machine. What does it do?
 * Elliot: [while being sick] The communicator? Is it still working?
 * Keys: It's doing something. What?
 * Elliot: I really shouldn't tell. He came to me. He came to me.
 * Keys: Elliot, he came to me, too. I've been wishing for this since I was 10 years old. I don't want him to die. What can we do that we're not already doing?
 * Elliot: He needs to go home. He's calling his people, and I don't know where they are. He needs to go home.
 * Keys: Elliot, I don't think that he was left here intentionally. But his being here is a miracle, Elliot. It's a miracle. And you did the best that anybody could do. I'm glad he met you first.

 * Elliot: E.T., stay with me. Please...
 * E.T.: ...Stay.
 * Elliot: Together. I'll be right here. I'll be right here.
 * E.T.: Stay, Elliot. [whispers] Stay. Stay. Stay. Stay.
 * Scientist: The boy's coming back. We're losing E.T.
 * Elliot: E.T., answer me, please. Please.

 * Gertie: [about E.T.] Is he dead, Momma?
 * Mary: I think so, sweetheart.
 * Gertie: Can we wish for him to come back?
 * Mary: Yeah.
 * Gertie: I wish.
 * Mary: I wish, too.

 * Keys: They're gonna have to take him away now.
 * Elliot: They're just gonna cut him all up.
 * Keys: Would you like to spend some time alone with him?
 * [Elliot is left alone with E.T.]
 * Elliot: [staring at E.T.'s body in the plastic bag] Look at what they've done to you. I'm so sorry. You must be dead, 'cause I don't know how to feel. I can't feel anything anymore. You've gone someplace else now. I'll believe in you all my life, every day. E.T., I love you. [closes the lid, and starts to walk away]
 * [E.T.'s heart light glows red. Elliot turns around slowly, and is shocked. He quickly opens the lid and unzips the bag to see E.T., who is revived]
 * E.T.: E.T. phone home!
 * Elliot: [laughs with joy] Ha, ha, ha!
 * E.T.: Home, home, home. Phone home.
 * Elliot: Does this mean they're coming?
 * E.T.: Yes.
 * Elliot: Ha, ha!
 * E.T.: E.T. phone home. E.T. phone home.
 * Elliott: [fearing that the scientists might hear him] Stay.
 * E.T.: E.T. phone home.
 * Elliott: [covering his mouth] Shut up.
 * E.T.: Phone. Phone home.
 * Elliott: Quiet!
 * E.T.: Phone, phone, phone.
 * Elliott: Would you shut up?

 * [Last lines]
 * Gertie: [tearfully] I just wanted to say goodbye.
 * Michael: He doesn't know 'goodbye.'
 * E.T.: Be good.
 * Gertie: Yes. [kisses E.T.'s nose]
 * [Michael gently strokes E.T.'s head]
 * E.T.: Thank...you.
 * Michael: You're welcome.
 * E.T.: [to Elliot] Come.
 * Elliot: Stay.
 * E.T.: [after touching his heart light and then touching his lips] Ouch.
 * Elliot: [after repeating the gesture] Ouch. [tearfully gives E.T. a farewell hug for a couple minutes]
 * E.T.: [after touching his finger to Elliot's forehead, his fingertip glows] I'll be right here.
 * Elliot: Bye.
 * [E.T. takes his geranium and climbs into his spaceship]

Taglines

 * He is afraid. He is alone. He is three million light years from home.
 * His adventure on Earth.
 * The mystery. The suspense. The adventure. The call... that started it all.
 * The story that touched the world!
 * Twenty years ago, one legacy, one touch, one story that touched the world.

Cast

 * Dee Wallace - Mary Taylor
 * Peter Coyote - Keys, Head Scientist
 * Robert MacNaughton - Michael Taylor
 * Drew Barrymore - Gertie Taylor
 * Henry Thomas - Elliott Taylor
 * K.C. Martel - Greg
 * Sean Frye - Steve
 * C. Thomas Howell - Tyler
 * Erika Eleniak - Pretty Young Girl
 * Pat Welsh - E.T. (voice)
 * Anne Lockhart - Nurse

About

 * I wanted to thank you for bringing E.T. to the White House. We really enjoyed your movie. And there are a number of people in this room who know that everything on that screen is absolutely true.
 * Ronald Reagan as quoted by Steven Spielberg in as quoted in [http://www.openminds.tv/spielberg-confirms-reagan-705/10057 Steven Spielberg and Quint have an epic chat all about JAWS as it approaches its 36th Anniversary!, by Quint, Jun 6 2011, as quoted by Open Minds: UFO news and investigations.

 * In the late 60s, there was a big probability of Satyajit Ray coming down to Hollywood to shoot The Alien based on his own short story which appeared in the then popular Bengali magazine, Sandesh. The film was to be produced by 20th Century Fox and Hollywood was waiting to embrace Ray with open arms. Alas! Due to some dirty politics played by unknown quarters, Ray's Hollywood dream had to be shelved. I have no qualms in admitting that Spielberg's E.T. was influenced by Ray's Alien. Even Sir Richard Attenborough pointed this out to me.
 * Martin Scorsese "Ray influenced E.T says Martin Scorsese", Ranjan Das Gupta, Times of India, May 19, 2010.

title: E.T. the Extra-Terrestrial


text:
The Usual Suspects

The Usual Suspects is a 1995 film about a boat that has been destroyed, leaving criminals dead, and the key to this mystery lies with the only survivor and his twisted, convoluted story beginning with five career crooks in a seemingly random police lineup.
 * Directed by Bryan Singer. Written by Christopher McQuarrie.

Five Criminals. One Line Up. No Coincidence

Roger "Verbal" Kint

 * What the cops never figured out, and what I know now, was that these men would never break, never lie down, never bend over for anybody. Anybody.
 * Back when I was picking beans in Guatemala, we used to make fresh coffee, right off the trees I mean. That was good. This is shit, but hey, I'm in a police station...
 * The greatest trick the Devil ever pulled was convincing the world he didn't exist.
 * Rephrasing of the phrase "the finest trick of the devil is to persuade you that he does not exist" by Charles Baudelaire.
 * To a cop, the explanation is never that complicated. It's always simple. There's no mystery to the street, no arch criminal behind it all. If you got a dead body and you think his brother did it, you're gonna find out you're right.
 * What about it, Agent Kujan? If I told you the Loch Ness Monster blew up that boat, what would you say?
 * Keaton always said, "I don't believe in God, but I'm afraid of him." Well, I believe in God...and the only thing that scares me is Keyser Söze.
 * And like that... poof... he's gone.
 * How do you shoot the Devil in the back? What if you miss?

Dave Kujan

 * First day on the job, you know what I learned? How to spot a murderer.
 * Convince me, and tell me every last detail.
 * I'm smarter than you, and I'm going to find out what I want to know, and I'm going to get it from you whether you like it or not.
 * You get NO immunity from me, you piece of shit! Every criminal I've put in prison, every cop that owes me a favor, every creep and scumbag that walks the streets for a living will know the name of Verbal Kint. Now you talk to me, or that precious immunity they seem so fit to grant you won't be worth the paper the contract put out on your life is printed on!
 * A rumor's not a rumor that doesn't die.

Michael McManus

 * I'm the guy that's gonna get you. I just wanted you to know that.
 * [counting off the men he is about to shoot] One, two, three, four, five... Oswald was a fag.
 * Old McDonald had a farm, ee-eye-ee-eye-oh/And on that farm he shot some guys... Bada bing, bada bing bang boom.

Kobayashi

 * One cannot be betrayed if one has no people.
 * Get your rest, gentlemen. The boat will be ready for you on Friday. If I see you or any of your friends before then, Miss Finneran will find herself the victim of a most gruesome violation before she dies. As will your father, Mr. Hockney. And your Uncle Randall in Arizona, Mr. Kint. I might only castrate Mr. McManus's nephew, David. Do I make myself clear?

Dialogue

 * Keyser Söze: How you doin', Keaton?
 * Keaton: I can't feel my legs... Keyser.

 * Verbal: [voiceover] It didn't make sense that I'd be there. I mean, these guys were hardcore hijackers. But, there I was. [suspects walk inside the police lineup] At that point, I wasn't scared. I knew I hadn't done anything they could do me for. Besides, it was fun. I got to make like I was notorious. [the lineup lights turn on]
 * Cop: All right, you all know the drill: When your number is called, step forward and repeat the phrase you've been given, understand? Number one, step forward.
 * Hockney: [sighs; deadpan] Hand me the keys, you fucking cocksucker.
 * Cop: Number two, step forward.
 * McManus: GIMME THE FUCKIN' KEYS, YOU COCKSUCKER MOTHERFUCKER!! AAAAAARGH!!
 * Cop: Knock it off, get back. Number three, step forward.
 * [Fenster snickers, as does the group; McManus slaps Fenster, who slaps McManus in retaliation]
 * Fenster: Hand me the keys, you cocksucker.
 * Cop: In English, please?
 * Fenster: Excuse me?
 * Cop: In English.
 * Fenster: Hand me the fucking keys, you cocksucker. What the fuck?
 * Cop: Number four, step forward.
 * Verbal: [voiceover] It was bullshit. The whole rap was a setup.
 * Keaton: Hand me the keys, you fucking cocksucker.
 * Verbal: [voiceover] It was all the cops' fault. You don't put guys like that into a room together.
 * Cop: Number five, step forward.
 * Verbal: [voiceover] Who knows what can happen?
 * Verbal: Hand me the keys, you fucking cocksucker.

 * Cop: McManus told us a different story altogether.
 * Fenster: Oh, is that the one about the hooker with dysentery?

 * Cop: I can put you in Queens on the night of the hijacking.
 * Hockney: Really? I live in Queens! Did you put that together yourself, Einstein? Got a team of monkeys working around the clock on this?
 * Cop: You know what happens if you do another turn in the joint?
 * Hockney: Uh... I fuck your father in the shower and then have a snack? Are you going to charge me, dickhead?

 * [after being strip-searched]
 * Fenster: I had a finger up my asshole tonight.
 * Hockney: Is it Friday already?

 * Keaton: His name is Verbal. Verbal Kint.
 * McManus: Verbal?
 * Keaton: Yeah.
 * Verbal: Roger, really. People say I talk too much.
 * Hockney: Yeah, I was just about to tell you to shut up.

 * Verbal: Can I have some coffee?
 * Dave Kujan: In a little while.
 * Verbal: I'm really thirsty. I used to get dehydrated as a kid. One time it got so bad my piss came out like snot. I'm not kidding, it was all thick and gooey...
 * Jeff Rabin: I'll get you your fuckin' coffee!

 * Dave Kujan: You know a dealer named Ruby Deemer, Verbal?
 * Verbal: You know a religious guy named John Paul?

 * Smuggler: Will this get me to Staten Island?
 * [Hands over an envelope full of cash.]
 * Rizzi: You kidding? This'll get you to Cape Cod!

 * Strausz: Do you know who I am? Do you people know who the fuck I am?
 * [Hockney takes his badge]
 * Hockney: We do now, jerk-off!

 * Keaton: A friend of mine in New York tells me you knew Spook Hollis.
 * Redfoot: The way I hear it, you did time with ol' Spook. Good man, wasn't he? I used to run dope for him. Too bad he got shivved.
 * Keaton: Yeah. [pause] I shivved him. Better you hear it from me now than from somebody else later.
 * Redfoot: Yeah, well, I appreciate that. Just out of curiousity, was it business or personal?
 * Keaton: A bit of both.

 * Verbal: Where's your head, Agent Kujan? Where do you think the pressure's coming from? Keyser Söze - or whatever you want to call him - he knows where I am right now! He's got the front burner under your ass to let me go so he can scoop me up 10 minutes later! Immunity was just a deal with you assholes. I got a whole new problem once I post bail.
 * Dave Kujan: So why play into his hands? We can protect you.
 * Verbal: Oh, gee, thanks, Dave. Bang-up job so far. Extortion, coercion. You'll pardon me if I ask you to kiss my pucker. The same fuckers that rounded us up and sank us into this mess are gonna bail me out? Fuck you. You think you can catch Keyser Söze? You think a guy like that comes this close to getting caught and sticks his head out? If he comes up for anything, it will be to get rid of me. After that...my guess is you'll never hear from him again.

 * [Kobayashi has killed Fenster]
 * McManus: Now it's payback!
 * Keaton: It's not payback! It's precaution. You want payback? You wanna run? I don't care! I'm not doing this for Fenster, I'm not doing it for you... I'm doing it for me. I'm gonna finish this thing. This Kobayashi bastard is not gonna stand on me!

 * Kujan: You had a gun, then why didn't you help him? He was your friend!
 * Verbal: Because I was afraid, okay? I was afraid.
 * Kujan: Afraid of what?
 * Verbal: It was Keyser Söze, Agent Kujan! The Devil himself! How do you shoot the Devil in the back? [pause, holds up his crippled hand] What if you miss?

 * [Kujan has just theorized that Keaton is Keyser Söze]
 * Kujan: It was his idea to rob the taxi service back in New York, wasn't it? C'mon, tell me the truth.
 * Verbal: [sobbing] It was all Keaton! We followed him from the beginning! I didn't know! I saw him die! I believe he's dead, oh Christ!
 * Kujan: You're not safe on your own.
 * Verbal: Do...do you really think he was...
 * Kujan: Keyser Söze? I don't know, Verbal. Keyser Söze's a shield, or, like you said, a spook story. But I know Keaton, and someone is out there pulling strings for you. Stay here and let us protect you.
 * Verbal: No way. I'm not bait. I post today.
 * Kujan: You posted 20 minutes ago. Captain Leo wants you out of here ASAP, unless you turn state's.
 * Verbal: I'll take my chances, thank you.
 * Kujan: If someone wants to get you, they're gonna get you out there. Turn state's evidence. You may never see trial.
 * Verbal: Maybe so. But I'm not a rat, Agent Kujan. [turns to leave, and then takes one last look at Kujan] Fuckin' cops!

Cast

 * Stephen Baldwin - Michael McManus
 * Gabriel Byrne - Dean Keaton
 * Benicio del Toro - Fred Fenster
 * Kevin Pollak - Todd Hockney
 * Kevin Spacey - Verbal Kint
 * Chazz Palminteri - Dave Kujan, US Customs
 * Pete Postlethwaite - Kobayashi
 * Suzy Amis - Edie Finneran

title: The Usual Suspects


text:
User:The bellman

yep, same old me as it is on all the other wikis. If you want to find out more about me, choose a random wiki and see if my user page on that reveals more....

title: User:The bellman


text:
User talk:The bellman

hey, feel free to leave me a message here, but tell me about it here. Thanks.

title: User talk:The bellman


text:
User talk:219.82.134.65

This IP has been blocked from editing at Wikiquote because it has been used by a persistent vandal to post unwanted commercial advertisements here at Wikiquote, a non-profit, non-commercial, public service site. If you are not this vandal, you can notify your Internet service provider of this activity, so that this violation of ethical standards, internet etiquette, and in some places the legal statutes can be addressed by the proper authorities. If you are this vandal and this behavior persists much longer, notifications can be sent to the contacts available to the Internet service providers at chinahcn.com. If this behavior ends, no notice will be sent to any ISP by me, and after a period of two weeks these notices that have been posted here will be removed. ~ Kalki

title: User talk:219.82.134.65


text:
User talk:219.137.110.229

This IP has been blocked from editing at Wikiquote because it has been used by a persistent vandal to post unwanted commercial advertisements here at Wikiquote, a non-profit, non-commercial, public service site. If you are not this vandal, you can notify your Internet service provider of this activity, so that this violation of ethical standards, internet etiquette, and in some places the legal statutes can be addressed by the proper authorities. If you are this vandal and this behavior persists much longer, notifications can be sent to the contacts available to the Internet service providers at the CHINANET Guangdong province network. If this behavior ends, no notice will be sent to any ISP by me, and after a period of two weeks these notices that have been posted here will be removed. ~ Kalki

title: User talk:219.137.110.229


text:
Seven Samurai

Seven Samurai (七人の侍 Shichinin no samurai) is a 1954 film about war-torn 16th-century Japan, where a village of farmers look for ways to ward off a band of looters. Since they do not themselves know how to fight, they hire seven ronin (lordless samurai) to fight for them. This epic film is about the extinction of the samurai culture. The plot would later be adapted into the American film The Magnificent Seven.

 * Directed by Akira Kurosawa. Written by Akira Kurosawa, Shinobu Hashimoto, and Hideo Oguni.

The Mighty Warriors Who Became the Seven National Heroes of a Small Town.

Kikuchiyo

 * [drunkenly] You again. I see that bald head of yours in my dreams. You had the nerve to ask me if I wazz a samurai. Didn't you, huh? I never forget a face. Look here, though I look like hell, I'm a real samurai, all right. Here. I got something for you. Damn jerks. Looky here. [He clumsily fumbles around in his robe, and presents a scroll from inside it] There, juzz you look at this. Izz been handed down in my family for generations and generations. And you asked me if I were a samurai! You jerks. Look at this, juzz look at this! Thazz me right there.
 * What do you think of farmers? You think they're saints? Hah! They're foxy beasts! They say, "We've got no rice, we've no wheat. We've got nothing!" But they have! They have everything! Dig under the floors! Or search the barns! You'll find plenty! Beans, salt, rice, sake! Look in the valleys, they've got hidden warehouses! They pose as saints but are full of lies! If they smell a battle, they hunt the defeated! They're nothing but stingy, greedy, blubbering, foxy, and mean! God damn it all! But then . . . who made them such beasts? You did! You samurai did it! You burn their villages! Destroy their farms! Steal their food! Force them to labour! Take their women! And kill them if they resist! So what should farmers do? Damn it... [He sinks to his knees, sobbing] Damn it... God damn it...
 * [After having rung the alarm] Don't be so scared! No bandits are coming. Look here, you idiots. We came all this way and look at the welcome you give us! Yet when I ring the alarm a few times... [He runs up and down, mimicking the farmers] ... you all rush out screaming for us to help you! You bunch of suckers.
 * [To a bunch of kids laughing at his impression of Yohei] Hey! I'm gonna start charging admission, you know.
 * You there, chewing the cud. Can you cut that out? This isn't a cow barn!
 * [Kikuchiyo shambles into Rikichi's stable where the farmer had been staying.] It's me. I'm sleeping here from now on. Those guys cramp my style. [Humbled, Rikichi starts to hurry out, but Kikuchiyo grabs him] Stop cowering, you idiot! This is your place! You hand over your house and sleep in a barn and you still can't stand up for yourself! Go lie back down, you! [Kikuchiyo hurls Rikichi onto the straw, then lies down on the straw himself, with a straw mat over his body for a blanket. He sighs] Brings back memories.
 * [to the village children]: Does any of you have a cute sister?
 * Hey, everybody! Give your wives plenty of lovin' tonight, you hear?
 * This baby... is me! This is exactly what happened to me! [He sobs]

Gorobei Katayama

 * I thought I told you to let us go, did I not? To think that instead you would choose your own death.

Heihachi Hayashida

 * [To Rikichi, who is farming] Couples always work harder together. You ought to get married yourself. [Rikichi drops everything and runs off, upset] Hey, come back! I was just kidding!
 * [To Rikichi] You know, it helps to open up your feelings.

Kambei Shimada

 * Danger always strikes when everything seems fine.
 * I have no idea.
 * [To Gorobei, about Minoru] You said he'd be a treasure during hard times. The hard times have only just begun.
 * This is the nature of war. By protecting others, you save yourself. If you only think of yourself, you’ll only destroy yourself.
 * Once more, we have survived.
 * So. Again we are defeated. The farmers have won. Not us.
 * Kikuchiyo. You're lucky it was us. If it was the bandits... you'd be looking for your head.

Grandfather

 * Bandits are coming, you fool. Why worry about the beard, when the head is about to fall?

Dialogue

 * Kambei Shimada: Go to the north. The decisive battle will be fought there.
 * Gorobei Katayama: Why didn't you build a fence there?
 * Kambei Shimada: A good fort needs a gap. The enemy must be lured in. So we can attack them. If we only defend, we lose the war.

 * Villager: How can we find a samurai we can pay with only rice?
 * Gisaku: Find hungry samurai.

 * [While Heihachi is chopping wood]
 * Gorobei Katayama: You're good.
 * Heihachi Hayashida: Yeah, yeah. But I'm better at killing enemies.
 * Gorobei Katayama: Killed many?
 * Heihachi Hayashida: Well — it's impossible to kill 'em all, so I usually run away.
 * Gorobei Katayama: A splendid principle!
 * Heihachi Hayashida: Thank you.
 * Gorobei Katamaya: And how do you feel about killing thirty bandits?
 * [Heihachi is so surprised that he completely misses the wood]

 * [after discussing how Shichirōji managed to survive the last battle they fought together]
 * Kambei Shimada: As a matter of fact, I'm preparing for a tough war. It will bring us neither money nor fame. Want to join?
 * Shichirōji: Yes!
 * Kambei Shimada: Maybe we die this time.
 * [Shichirōji smiles]

 * [The samurai look over into a stable at Kikuchiyo, who is asleep on a pile of straw]
 * Katsushiro Okamoto: Is he really a samurai?
 * Kambei Shimada: He only thinks he is.

 * [The men arrive at the village]
 * Kikuchiyo: I'd hate to die on that dung heap.
 * Heihachi: Nobody's asking you to.

 * [Kikuchiyo drags a captured bandit, bound by a rope, into a circle of peasants, and gives the prisoner a vicious kick every once in a while]
 * Bandit: Help! Help me!
 * [The bandit is close to tears]
 * Bandit: Help!
 * [As the bandit continues to scream for mercy, the other samurai try to restrain the crowd. Kambei rushes into the middle of the circle]
 * Kambei: Back off! He's a prisoner of war. He confessed. He's begging for his life. We can't just chop him to pieces.
 * [Heihachi tries to restrain a peasant lunging forth with a spear]
 * Peasant: Stay out of this!
 * [Kambei tries to hold back Rikichi, who is also full of murderous vengeance]
 * Rikichi: Let me at him!
 * [The shouting suddenly dies down, and they all turn to look at something: the old woman approaching menacingly with a hoe. The samurai watch as she walks past. Gisaku also approaches the crowd]
 * Gisaku: Let her avenge her son's death in her own way. Make way there. Somebody help her!
 * [Rikichi pushes past Kambei and charges forth with his spear. The other peasants follow suit. The samurai turn away dejectedly]

 * Katsushiro: He has the real samurai spirit. He is totally fearless. Yet at the same time, he is gentle, and modest- look how he acted after he went and got that gun. And how he went too- just as though he were going up into the hills to look for mushrooms.
 * Kikuchiyo (sarcastically): Delightful. Your yapping is absolutely riveting.

 * Kikuchiyo: What's that?
 * Yohei: ... It's my horse.
 * Kikuchiyo: Horse? I thought it was a big mouse.

 * Kikuchiyo: [about Rikichi] Something's upsetting the little bugger, but he won't say what. You can see it all over his face.
 * Heihachi: Those lips of his are bolted up tight as a house.

Cast

 * Takashi Shimura - Kambei Shimada
 * Isao Kimura - Katsushiro Okamoto
 * Yoshio Inaba - Gorobei Katayama
 * Daisuke Kato - Shichiroji
 * Seiji Miyaguchi - Kyuzo
 * Minoru Chiaki - Heihachi Hayashida
 * Toshiro Mifune - Kikuchiyo

title: Seven Samurai


text:
Category talk:Foreign films

"Foreign?!?" while this is undoubtedly the English-language Wikiquote, somehow I doubt the label "Foreign" has enough specificity!

That, and it's terribly american-centric. ;)

 * I agree; this category doesn't help too much on the World Wide Web. -- LGagnon (talk) 03:17, 5 Dec 2004 (UTC)

 * I'll third that concern, but I think this category is salvageable. In the U.S., English-language films from Australia, Britain, and Canada don't seem to be considered "foreign films"; that designation seems almost exclusively to apply to non-English-language films. (I haven't run into a case of, say, an English-language Indian film.) How do the "ABC" countries refer to non-English films? Perhaps this category could be titled "Foreign language films" (or, to be pedantic, "Foreign-language films")? On en:Wikiquote, that would be a less clutzy but unambiguous way of rephrasing "non-English-language films". — Jeff Q (talk) 03:15, 25 Mar 2005 (UTC)
 * I prefer "non-English-language films", though "foreign language films" is still ok. The current name is ambiguous and sounds a certain country-centric (thus not NPOV).--Aphaia 06:24, 25 Mar 2005 (UTC)

title: Category talk:Foreign films


text:
The Fog of War

The Fog of War: Eleven Lessons from the Life of Robert S. McNamara is a documentary film directed by Errol Morris. The film was released in December 2003 and won many awards, including the 2003 Oscar for Best Documentary, as well as the documentary of the year award from "the National Board of Review, the Los Angeles Film Critics Association, Chicago Film Critics, and the Washington D.C. Area Film Critics." . It is worth noting that the eleven lessons that give the film its structure and name were derived from the interviews conducted by Errol Morris and were not explicitly stated or created by Robert McNamara.

Robert McNamara

 * Any military commander who is honest with himself, or with those he's speaking to, will admit that he has made mistakes in the application of military power. He's killed people unnecessarily — his own troops or other troops — through mistakes, through errors of judgment. A hundred, or thousands, or tens of thousands, maybe even a hundred thousand. But, he hasn't destroyed nations. And the conventional wisdom is don't make the same mistake twice, learn from your mistakes. And we all do. Maybe we make the same mistake three times, but hopefully not four or five. There will be no learning period with nuclear weapons. You make one mistake and you're going to destroy nations.

 * At my age, 85, I'm at age where I can look back and derive some conclusions about my actions. My rule has been try to learn, try to understand what happened. Develop the lessons and pass them on.

 * Kennedy was trying to keep us out of war. I was trying to help him keep us out of war. And General Curtis LeMay, whom I served under as a matter of fact in World War II, was saying "Let's go in, let's totally destroy Cuba."

 * In Thompson's mind was this thought: Khrushchev's gotten himself in a hell of a fix. He would then think to himself, "My God, if I can get out of this with a deal that I can say to the Russian people: 'Kennedy was going to destroy Castro and I prevented it.'" Thompson, knowing Khrushchev as he did, thought Khrushchev will accept that. And Thompson was right. That's what I call empathy. We must try to put ourselves inside their skin and look at us through their eyes, just to understand the thoughts that lie behind their decisions and their actions.

 * In the first message, Khrushchev said this: "We and you ought not to pull on the ends of a rope which you have tied the knots of war. Because the more the two of us pull, the tighter the knot will be tied. And then it will be necessary to cut that knot, and what that would mean is not for me to explain to you. I have participated in two wars and know that war ends when it has rolled through cities and villages, everywhere sowing death and destruction. For such is the logic of war. If people do not display wisdom, they will clash like blind moles and then mutual annihilation will commence."

 * I want to say, and this is very important: at the end we lucked out. It was luck that prevented nuclear war. We came that close to nuclear war at the end. Rational individuals: Kennedy was rational; Khrushchev was rational; Castro was rational. Rational individuals came that close to total destruction of their societies. And that danger exists today.

 * The major lesson of the Cuban Missile Crisis is this: The indefinite combination of human fallibility and nuclear weapons will destroy nations. Is it right and proper that today there are 7500 strategic offensive nuclear warheads, of which 2500 are at 15 minute alert to be launched by the decision of one human being?

 * Why was it necessary to drop the nuclear bomb if LeMay was burning up Japan? And he went on from Tokyo to firebomb other cities. 58% of Yokohama. Yokohama is roughly the size of Cleveland. 58% of Cleveland destroyed. Tokyo is roughly the size of New York. 51% percent of New York destroyed. 99% of the equivalent of Chattanooga, which was Toyama. 40% of the equivalent of Los Angeles, which was Nagoya. This was all done before the dropping of the nuclear bomb, which by the way was dropped by LeMay's command. Proportionality should be a guideline in war. Killing 50% to 90% of the people of 67 Japanese cities and then bombing them with two nuclear bombs is not proportional, in the minds of some people, to the objectives we were trying to achieve.

 * LeMay said, "If we'd lost the war, we'd all have been prosecuted as war criminals." And I think he's right. He, and I'd say I, were behaving as war criminals. LeMay recognized that what he was doing would be thought immoral if his side had lost. But what makes it immoral if you lose and not immoral if you win?

 * I can still see it. There's a love seat, two armchairs with a lamp table in between. Jack Kennedy is sitting in one armchair and Bobby Kennedy's sitting in the other. "Mr. President, it's absurd, I'm not qualified." "Look, Bob," he said, "I don't think there's any school for Presidents either."
 * McNamara on his reaction to being offered the position of the Secretary of Defense.

 * I called the superintendent of Arlington Cemetery. And he and I walked over those grounds. They're hauntingly beautiful grounds, white crosses all in a row. And finally I thought I'd found the exact spot, the most beautiful spot in the cemetery. I called Jackie at the White House and asked her to come out there, and she immediately accepted. And that's where the President is buried today. A park service ranger came up to me and said that he had escorted President Kennedy on a tour of those grounds a few weeks before. And Kennedy said, "That was the most beautiful spot in Washington." That's where he's buried.

 * If you went to the C.I.A. and said "How is the situation today in South Vietnam?" I think they would say it's worse. You see it in the desertion rate, you see it in the morale. You see it in the difficulty to recruit people. You see it in the gradual loss of population control. Many of us in private would say that things are not good, they've gotten worse. Now while we say this in private and not public, there are facts available that find their way in the press. If we're going to stay in there, if we're going to go up the escalating chain, we're going to have to educate the people, Mr. President. We haven't done so yet. I'm not sure now is exactly the right time.
 * This conversation was also taped by Johnson, on June 9, 1964.

 * Let me go back one moment. In the Cuban Missile Crisis, at the end, I think we did put ourselves in the skin of the Soviets. In the case of Vietnam, we didn't know them well enough to empathize. And there was total misunderstanding as a result. They believed that we had simply replaced the French as a colonial power, and we were seeking to subject South and North Vietnam to our colonial interests, which was absolutely absurd. And we, we saw Vietnam as an element of the Cold War. Not what they saw it as: a civil war.

 * What makes us omniscient? Have we a record of omniscience? We are the strongest nation in the world today. I do not believe that we should ever apply that economic, political, and military power unilaterally. If we had followed that rule in Vietnam, we wouldn't have been there. None of our allies supported us. Not Japan, not Germany, not Britain or France. If we can't persuade nations with comparable values of the merit of our cause, we'd better reexamine our reasoning.

 * Were those who issued the approval to use Agent Orange criminals? Were they committing a crime against humanity? Let's look at the law. Now what kind of law do we have that says these chemicals are acceptable for use in war and these chemicals are not. We don't have clear definitions of that kind. I never in the world would have authorized an illegal action. I'm not really sure I authorized Agent Orange. I don't remember it, but it certainly occurred, the use of it occurred while I was Secretary.

 * I formed the hypothesis that each of us could have achieved our objectives without the terrible loss of life. And I wanted to test that by going to Vietnam.
 * McNamara, on his 1995 meeting in Vietnam with the former Foreign Minister of Vietnam

 * "Mr. McNamara, You must never have read a history book. If you'd had, you'd know we weren't pawns of the Chinese or the Russians. McNamara, didn't you know that? Don't you understand that we have been fighting the Chinese for 1000 years? We were fighting for our independence. And we would fight to the last man. And we were determined to do so. And no amount of bombing, no amount of U.S. pressure would ever have stopped us." - Xuân Thuỷ, Foreign Minister of North Vietnam (1963 to 1965), during a 1995 meeting former US Secretary of Defense, serving from 1961 to 1968, Robert S. McNamara.

 * Norman Morrison was a Quaker. He was opposed to war, the violence of war, the killing. He came to the Pentagon, doused himself with gasoline. Burned himself to death below my office. He held a child in his arms, his daughter. Passersby shouted, "Save the child!" He threw the child out of his arms, and the child lived and is alive today. His wife issued a very moving statement: 'Human beings must stop killing other human beings.' And that's a belief that I shared. I shared it then and I believe it even more strongly today. How much evil must we do in order to do good? We have certain ideals, certain responsibilities. Recognize that at times you will have to engage in evil, but minimize it.

 * We all make mistakes. We know we make mistakes. I don't know any military commander, who is honest, who would say he has not made a mistake. There's a wonderful phrase: 'the fog of war.' What "the fog of war" means is: war is so complex it's beyond the ability of the human mind to comprehend all the variables. Our judgment, our understanding, are not adequate. And we kill people unnecessarily.

 * The major lesson of the Cuban missile crisis is this: the indefinite combination of human fallibility and nuclear weapons will destroy nations. Is it right and proper that today there are 7500 offensive strategic nuclear warheads, of which 2500 are on a 15 minute alert to be launched at the decision of *one* human being?

 * Never answer the question that is asked of you. Answer the question that you wish had been asked of you.

 * I'm not so naive or simplistic to believe we can eliminate war. We're not going to change human nature anytime soon. It isn't that we aren't rational. We are rational. But reason has limits. There's a quote from T.S. Eliot that I just love: "We shall not cease from exploring And at the end of our exploration We will return to where we started And know the place for the first time."Now that's in a sense where I'm beginning to be.

Dialogue

 * McNamara: I was on the island of Guam in his command in March of 1945. In that single night, we burned to death 100,000 Japanese civilians in Tokyo: men, women, and children.
 * Morris: Were you aware this was going to happen?
 * McNamara: Well, I was part of a mechanism that in a sense recommended it. I analyzed bombing operations, and how to make them more efficient. i.e. Not more efficient in the sense of killing more, but more efficient in weakening the adversary. I wrote one report analyzing the efficiency of the B—29 operations. The B—29 could get above the fighter aircraft and above the air defense, so the loss rate would be much less. The problem was the accuracy was also much less. Now I don't want to suggest that it was my report that led to, I'll call it, the firebombing. It isn't that I'm trying to absolve myself of blame. I don't want to suggest that it was I who put in LeMay's mind that his operations were totally inefficient and had to be drastically changed. But, anyhow, that's what he did. He took the B—29s down to 5,000 feet and he decided to bomb with firebombs.

 * Kennedy: The advantage to taking them out is?
 * McNamara: We can say to the Congress and people that we do have a plan for reducing the exposure of U.S. combat personnel.
 * Kennedy: My only reservation about it is if the war doesn't continue to go well, it will look like we were overly optimistic.
 * McNamara: We need a way to get out of Vietnam, and this is a way of doing it.
 * [This conversation was taped on October 2, 1963. This tape, together with a series of conversations between McNamara and President Johnson together depict McNamara as being less pro-war than he is often charactarized as being.]

 * Johnson: I always thought it was foolish for you to make any statements about withdrawing. I thought it was bad psychologically. But you and the President thought otherwise, and I just sat silent.
 * McNamara: The problem is...
 * Johnson: Then come the questions: how in the hell does McNamara think, when he's losing a war, he can pull men out of there?
 * [This conversation was taped by President Johnson on February 25, 1964.]

 * McNamara: It was just confusion, and events afterwards showed that our judgment that we'd been attacked that day was wrong. It didn't happen. And the judgment that we'd been attacked on August 2nd was right. We had been, although that was disputed at the time. So we were right once and wrong once. Ultimately, President Johnson authorized bombing in response to what he thought had been the second attack; it hadn't occurred but that's irrelevant to the point I'm making here. He authorized the attack on the assumption it had occurred, and his belief that it was a conscious decision on the part of the North Vietnamese political and military leaders to escalate the conflict and an indication they would not stop short of winning. We were wrong, but we had in our minds a mindset that led to that action. And it carried such heavy costs. We see incorrectly or we see only half of the story at times.
 * Morris: We see what we want to believe.
 * McNamara: You're absolutely right. Belief and seeing, they're both often wrong.

 * Morris: When you talk about the responsibility for something like the Vietnam War, whose responsibility is it?
 * McNamara: It's the president's responsibility. I don't want to fail to recognize the tremendous contribution I think Johnson made to the country. I don't want to put the responsibility for Vietnam on his shoulders alone, but I do — I am inclined to believe that if Kennedy had lived, he would have made a difference. I don't think we would have had 500,000 men there.

Related Quotes

 * On his way out of the studio, Errol Morris remarked that last August in Waco, Texas (where he was shooting a Nike commercial), he looked up in the airport and saw Karl Rove standing in front of him. Morris introduced himself as the film-maker of "The Fog of War." With something more than cordiality, Rove responded: "That's one of my favorite movies. I recommend it to everybody I know."
 * Christopher Lydon

 * My wife, Julia Sheehan, sees McNamara as 'the flying Dutchman,' destined to travel the earth looking for redemption, absolution, whatever. Many political writers have been less kind. They see his trip to Vietnam, to Hanoi, as an attempt to justify a war that can never be justified. And they see his trips to Havana and to Moscow as facile attempts to rewrite history. I see it differently. There is something, for me, deeply moving and interesting about McNamara's attempt to figure out what happened, who he is and what he's done. Unusual among public figures, he has embarked on an historical investigation of himself. But doesn’t he know what he’s done? Call it the Cartesian error: the belief that we have privileged access to our own minds, that we somehow know what we're thinking or what we were thinking. Can’t I just look 'upstairs' and summarize what I find up there? I don't think so.
 * Errol Morris

 * I've always wondered where explanations end and excuses begin. And is there a difference between excuses and explanations ... is an excuse a bad or self-serving explanation? I don't know. Maybe Newton's Law is an excuse for why bodies just stay at rest or in motion unless acted on by some external force. I look at the McNamara story as the-fog-of-war-ate-my-homework excuse. After all, if war is so complex, then no one is responsible.
 * Errol Morris' response to Ron Rosenbaum's suggestion that the film be re-titled Eleven Excuses of Robert S. McNamara.

 * "A friend of mine has said, 'You can never trust someone who doesn't talk a lot, because how else could you know what they're thinking?' This could be true. There's a belief that if you sit people down and you let them talk that they will reveal who they are. And then this also contrary to the whole idea about how you're supposed to investigate stuff, how you're supposed to interview people. After all, you're supposed to ask difficult questions. You're supposed to - particularly if you want to find something out, you're supposed to back the subject against the wall, press them hard and get them to 'fess up in some way or another. This is part of many of the criticisms that I heard about my film of Robert S. McNamara. That he should have been subjected to much tougher questions."
 * Errol Morris

 * I had a lot of trouble with McNamara in the course of making this movie. Horrible disagreements about stuff I had put in the movie that he did not want in there. One of the major disagreements concerned the lessons in the film. There are 11 lessons. And he repeatedly said, 'You know, Errol, those are not my lessons. They are your lessons.' And I said, 'Yeah, yeah, they are. But they're extracted, of course, from things that you've said,' things that McNamara said, which is indeed the case. Perhaps not the lessons that McNamara would have chosen, but then, he was not directing the movie. I think that the lessons are all ironic. It's very odd to me that people talk about the film and they talk about the lessons without pointing out that there might be intended ironies with each and every one of them. But yes, they are for me ironic, particularly the last one in the movie: You can't change human nature. It tells you that all of the other lessons are valueless, that the human situation is indeed hopeless."
 * Errol Morris

 * I saw the movie as a collaboration between the two of us. I never saw the movie, as I was making it, and I don't see the movie now, as my attempt to quote-unquote "get," go after, Robert S. McNamara. I saw it as an attempt to try to understand McNamara - to answer questions about McNamara.

 * This thing is heavy. I'd like to thank the Academy for finally recognizing my films. Thank you so very, very, very much! I thought it would never happen. I'd like to thank my very good friends at Sony Pictures Classics, Michael Barker, Tom Bernard. No one would get to see this movie without them. My two producers - Michael Williams, Julie Ahlberg. Couldn't have made the movie without them either. My long suffering editors - Charlie Silver, Brad Fuller. And Karen Schmeer and Doug Abel, thank you also very much. And believe it or not, Robert McNamara, with whom, if he hadn't done it there would have been no film. Forty years ago this country went down a rabbit hole in Vietnam and millions died. I fear we're going down a rabbit hole once again. And if people can stop and think and reflect on some of the ideas and issues in this movie, perhaps I've done some damn good here. Thank you very, very much.
 * Errol Morris' Academy Award acceptance speech.

title: The Fog of War


text:
Category:Documentary films

A documentary film is a nonfictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction or maintaining a historical record.

title: Category:Documentary films


text:
The Walking Drum

The Walking Drum (1984) is a novel by Louis L'Amour.

Quotes

 * '''A ship does not sail with yesterday's wind.
 * Red Mark, p. 6

 * I have been nothing, but there is tomorrow.
 * Mathurin

 * Any time is a time for thinking of women, and when they thrust the blade that takes my life I shall be thinking of women, or of a woman. If not, then death has come too late.
 * Mathurin Kerbouchard, p. 452

 * I have only a sword, but a strong man need wish for no more than this: a sword in the hand, a horse between his knees, and the woman he loves at the battle's end. ~Mathurin Kerbouchard
 * Page 415

 * Much of command is the ability to take command.
 * Page 24

 * A lion is not to be slain by jackals.
 * Page 47

 * If I do not travel late I may not travel at all. -Mathurin
 * Page 58

 * How many are the lives we meet and pass! -Mathurin
 * Page 58

 * You have saved my life. Wait. Perhaps I have only made you aware of death. We do not yet know what the night may bring. -Mathurin

The Devil survives. Is survival, then, the first thing? Is there not something else? Honor first, then victory, but if a man is to learn, first he must live. You would be wise to go to Co'rdoba or to Toledo. The best of things is to learn. Money can be lost or stolen, health and strength may fail, but what you have committed to your mind is yours forever.
 * Have you heard about the Devil quoting scriptures for his own ends?

 * Reading without thinking is as nothing, for a book is less important for what it says than for what it makes you think.
 * Page 202

 * On that I had no comment, for the future is the future, and I place no trust in the reading of the stars.
 * Page 208

 * If the dead live only in the memories of those they leave behind, then she would never die while I lived.
 * Note: This is Mathurin thinking of his mother.
 * Page 219

 * We rode to war. What matter if only a small war. Is the blade less sharp? The arrow less deadly? My blade this night would avenge not only my mother but my Arab teacher and all the others Tournemine had slain.
 * Page 219

 * Aye, he would cheat his own mother, and willingly, if he could have a coin by doing it.
 * Page 231

 * Blasphemy? Not unless it is blasphemy to seek the truth. No, I am no blasphemer, but something worse, I am an asker of questions.
 * Page 252

 * That man is a fool who would descend into a well on another man's rope.
 * Page 253

 * To die for what one believes is all very well for those so inclined, but it has always seemed to me the most vain of solutions. There is not a cause worthy dying for that is not better served by living.
 * Page 254

 * The radical ideas of today are often the conservative policies of tomorrow, and dogma is left protesting by the wayside.
 * Page 256

 * The companion of vagabonds. Few men are so poor they cannot have fire.
 * Page 260

 * Be a philosopher. A man can compromise to gain a point. It has become apparent that a man can, within limits, follow his inclination within the arms of the Church if he does so discreetly. Remember this, Julot, even a rebel grows old, and sometimes wiser. He finds the things he rebelled against are now the things he must defend against newer rebels. Aging bones creak in the cold. Seek warmth, my friend; be discreet, but follow your own mind. When you have obtained position you will have influence. Otherwise you will tear at the bars until your strength is gone, and you will have accomplished nothing but to rant and rave.
 * Page 261

 * Think a little, Julot. All our lives we compromise, and without it there would be no progress, nor could men live together. You may think a man a fool, but if he is an agreeable fool you say nothing. Is that no compromise?"
 * Page 261

The important thing is to know where you stand and what you believe, then be true to yourself in all things. Moreover, it is foolish to waste time in arguing questions with those who have no power to change.
 * There are many ways of fighting. Many a man or woman has waged a good war for truth, honor, and freedom, who did not shed his blood in the process. Beware of those who would use violence, too often it is the violence they want and neither truth nor freedom.
 * Page 261-262

 * Trade is much superior to piracy. You can rob and kill a man but once, but you can cheat him again and again.
 * Page 272

 * The soul of business is to inspire people to buy that which they neither need nor want.
 * Page 272

 * Barons, my Comtesse, bleed as easily as merchants or peasants. This one bled like the thief he was.
 * Page 281

 * Adding, for my own information, that I did not intend to die. Too much remained to be done.
 * Page 282

If you come up these stairs, we shall see whose innards lie upon them. Come if you wish. You can bite on this steel.-Mathurin I do not fight with commoners. These do it for me. -Count Robert An excuse for cowardice.-Mathurin Kill him. - Count Robert If they advance one step, I shall hang the lot of them, and you higher than the rest. I am the Hansgraf Rupert von Gilderstern, of the White Company of traders. This man [Mathurin] is a merchant of our company. -Rupert von Gilderstern I have thirty men! -Count Robert I have five times that number. They are veterans of more than three hundred battles, Count Robert. Any five of my men would take your thirty and spit them like frogs. If you have had no experience of war with a merchant caravan, Count Robert, this will be a lesson to you, a lesson you would not live to appreciate. -Rupert von Gilderstern
 * Stand aside, I said! Or I shall spill your innards and walk over them to the room.-Count Robert

 * Where there is gold, there is blood.
 * Page 318

 * Suzanne, a wise man fights to win, but he is twice a fool who has no plan for possible defeat.
 * Page 322

 * Even if we win, it will be an end of this, and it is a pity that every beginning should also be an end. I shall miss the walking drum, Suzanne, miss it indeed. That drum has been our pulse, and often have I wondered what it is that starts the drum of a man's life to beating? For each of us walks to the beat of our own drum, an unheard rhythm to all our movements and thought.
 * Page 323

 * How easily, at such a time, are promises made! And how vain the promises when destiny hangs in the balance!
 * Page 324

 * He is a wise man who can choose the moment. It is not necessary to die to prove you are brave.
 * Page 324

 * I drink the wine and put aside the glass, but the taste lingers, Lolyngton, the taste lingers!"
 * Page 325

 * My mind is my sword, and if you linger you shall feel its edge.
 * Page 349

 * What road has not left its dust upon my feet?
 * Page 349

 * Had I asked in any of those cities, would anyone have believed they someday would lie in ruins? Each age is an age that is passing, and cities, my friend, are transitory things. Each is born from the dust; each matures, grows older, then it fades and dies. A passing traveler looks at a mound of sand and broken stones and asks 'What was here?' and his answer is only an echo or a wind drifting sand.
 * Page 351

 * Perhaps the blood here is thinning now, and perfume appreciated more than sweat.
 * Page 351

 * Are we not all slaves, occasionally? To custom? To a situation? To an idea? Who among us it truly free, Byzantine?
 * Pages 351-352

That might be arranged. Then plan it well, Byzantine, for death is a visitor who can call upon any man.
 * I would not, for we understand each other, and I shall have her until one of us dies.
 * Page 353

 * The goods of this world, Phillip, are soon lost. Fire, storm, thieves, and war are ever with us, but what is stored in the mind is ours forever.
 * Page 362

 * If ever you become a hero to the mob, Phillip, remember this: Every man who cheers you carries in his belt the knife of an assassin.
 * Page 363

 * I shall simply ask. Many things are not done simply because they are not attempted.
 * Page 366

 * I have observed that the steps of a man sound heavier when he is alone in the hall.
 * Page 366

 * Up to a point a man's life is shaped by environment, heredity, and movements and changes in the world about him; then there comes a time when it lies within his grasp to shape the clay of his life into the sort of thing he wishes to be. Only the weak blame parents, their race, their times, lack of good fortune, or the quirks of fate. Everyone has it within his power to say, this I am today, that I shall be tomorrow. The wish, however, must be implemented by deeds.
 * Page 373

Thank you, Bardas, it is true I have come far, yet I find you where you were, licking crumbs from the fingers of your superiors.
 * Ah, Beggar, you have come far since I tossed you a coin at the bazaar!
 * Page 375

I am sorry, Bardas. I could never fight an unarmed man.
 * By the Gods! If it is a duel of wits you wish, you shall have it!
 * Page 375

 * If one plans to measure blows with a stranger, one had best judge the length of his arm.
 * Page 376

 * Deliver this man safely to Trebizond, or cut your own throat and sink your vessel. If he arrives not safely, we shall hunt you down and feed you, in small pieces, to the dogs. Do you understand?
 * Page 383

 * Such are the amenities of social life, which oft makes a liar of the best of men. Never had I heard of Mas'ud Khan, nor had I any idea whether he was noble, splendid, or rich, but considering my problems, I hope he was all three.
 * Page 392

 * What can the will do when the heart commands?
 * Page 410

 * You are young, and honor rides with you, but honor is important only when dealing with honorable men.
 * Page 418

 * Lie to a liar, for lies are his coin; steal from a thief, for that is easy; lay a trap for the trickster and catch him at the first attempt, but beware of an honest man.
 * Page 418

 * To survive? What is that? A mouse lives, a fly lives, one flees in terror, another lives in filth. They exist, they are, but do they live?
 * Page 419

 * Honor is the thing, for he who is honorable needs no praise. He is secure with the knowledge of what he is, a decent human being first, all else after.
 * Page 420

My fortune, or his?
 * The dried leaves of autumn are lightly blown away, still more easily is the fortune of man destroyed.
 * Page 433

 * Escape you? You misunderstand the situation, Mahmound. It is you who shall not escape me.
 * Page 433

 * So it ever is in moments of trial or decision. One is born alone, one dies alone, and usually faces the trials and tribulations alone.
 * Page 438

 * The weak can be terrible when they wish to appear strong, and he was such a man, darkly vengeful and unforgetting. If dying, he would strike out wickedly in all directions to injure all he could to his last breath."
 * Page 449

 * When one has lost his freedom it is always a long walk back.
 * Page 454

 * A knife is sharpened on stone, steel is tempered by fire, but men must be sharpened by men.
 * Page 461

title: The Walking Drum


text:
Talk:Penn Jillette

Unsourced

 * Channeling is just bad ventriloquism. You use another voice, but people can see your lips moving.
 * Quoted in Malcolm Kushner, The Little Book of Humorous Quotes (2011), p. 70

 * Wanna really get rid of this bullshit racism? Stop seeing yourself as white, or black, or even American! Be yourself and fuck the tribe! Not just yours, fuck everybody's tribe! Everyone fuck everyone! In a few generations, no more races, so no more racism.

Removal of incorrectly attributed quote
I removed one of the quotes, as it was incorrectly attributed to Mr. Jillette. I welcome someone to prove me wrong, citing the proper episode number, and approximate time it occured.

On Penn's radio show, 1/3/2007 http://penn.freefm.com/episode_download.php?contentType=36&contentId=197700 about 10:30 to 12:15 minutes in, he says that the "Luck is probability taken personally " was coined by Chip Denman, not himself. (for context, he is discussing a recent issue of "The Atom" where the quote is attributed to him, and says that he did not originate the quote.) 198.115.64.20 15:59, 4 January 2007 (UTC)

title: Talk:Penn Jillette