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Double Indemnity (film)

Double Indemnity is a 1944 American film noir about an insurance salesman who conspires with a murderous housewife.
 * Directed by Billy Wilder and written by Billy Wilder and Raymond Chandler, based on a novella by James M. Cain.

From the Moment they met it was Murder! Taglines

Walter Neff

 * Office memorandum. Walter Neff to Barton Keyes, Claims Manager. Los Angeles, July 16, 1938. Dear Keyes, I suppose you'll call this a confession when you hear it. Well, I don't like the word confession. I just want to set you right about something you couldn't see because it was smack up against your nose. You think you're such a hot potato as a claims manager, such a wolf on a phony claim. Maybe you are. But let's take a look at that Dietrichson claim. Accident and double indemnity. You were pretty good in there for a while, Keyes. You said it wasn't an accident. Check. You said it wasn't suicide. Check. You said it was murder. Check. You thought you had it cold, didn't you? All wrapped up in tissue paper with pink ribbons around it. It was perfect. Except it wasn't, because you made one mistake. Just one little mistake. When it came to picking the killer, you picked the wrong guy. You want to know who killed Dietrichson? Hold tight to that cheap cigar of yours, Keyes. I killed Dietrichson. Me, Walter Neff, insurance salesman. 35 years old, unmarried, no visible scars. Until a while ago, that is. Yes, I killed him. I killed him for money and for a woman. I didn't get the money and I didn't get the woman. Pretty, isn't it?

 * The living room was still stuffy from last night's cigars. The windows were closed and the sunshine coming in through the venetian blinds showed up the dust in the air. On the piano in a couple of fancy frames were Mr. Dietrichson and Lola, his daughter by his first wife. They had a bowl of those little red goldfish on the table behind the big Davenport. But to tell you the truth, Keyes, I wasn't a whole lot interested in goldfish right then, not in auto renewals, nor in Mr. Dietrichson and his daughter Lola. I was thinking about that dame upstairs and the way she had looked at me, and I wanted to see her again, close, without that silly staircase between us.

 * It was a hot afternoon, and I can still remember the smell of honeysuckle all along that street. How could I have known that murder can sometimes smell like honeysuckle?

 * So I let her have it, straight between the eyes. She didn't fool me for a minute, not this time. I knew I had ahold of a red hot poker, and the time to drop it was before it burned my hand off...I was all twisted up inside and I was still holding on to that red-hot poker. And right then it came over me that I hadn't walked out on anything at all, that the hope was too strong, that this wasn't the end between her and me. It was only the beginning.

 * So we just sat there, and she started crying softly like the rain on the window. And we didn't say anything. Maybe she had stopped thinking about it, but I hadn't. I couldn't because it was all tied up with something I'd been thinking about for years. Since long before I ever ran into Phyllis Dietrichson. Because, you know how it is Keyes, in this business you can't sleep for trying to figure out all the tricks they could pull on you. You're like the guy behind the roulette wheel, watching the customers to make sure they don't crook the house. And then one night, you get to thinking how you could crook the house yourself. And do it smart. Because you've got that wheel right under your hands. You know every notch in it by heart. And you figure all you need is a plant out front, a shill to put down the bet. And suddenly the doorbell rings and the whole setup is right there in the room with ya. [pause] Look, Keyes, I'm not trying to whitewash myself. I fought it, only I guess I didn't fight it hard enough. The stakes were $50,000 dollars, but they were the life of a man too, a man who'd never done me any dirt except he was married to a woman he didn't care anything about. And I did.

 * That was all there was to it. Nothing had slipped, nothing had been overlooked, there was nothing to give us away. And yet, Keyes, as I was walking down the street to the drugstore, suddenly it came over me that everything would go wrong. It sounds crazy, Keyes, but it's true, so help me. I couldn't hear my own footsteps. It was the walk of a dead man.

Barton Keyes

 * This Dietrichson business. It's murder, and murders don't come any neater. As fancy a piece of homicide as anybody ever ran into. Smart, tricky, almost perfect - but...I think Papa has it all figured out. It's beginning to come apart at the seams already. Murder is never perfect. It always comes apart sooner or later. When two people are involved, it's usually sooner. Now we know the Dietrichson dame is in it and the somebody else. Pretty soon, we'll know who that somebody else is. He'll show. He's got to show. Sometime, somewhere, they've got to meet. Their emotions are all kicked up. Whether it's love or hate, it doesn't matter. They can't keep away from each other. They may think it's twice as safe because there are two of them. But it isn't twice as safe. It's ten times twice as dangerous. They've committed a murder. And it's not like taking a trolley ride together where they can get off at different stops. They're stuck with each other and they've got to ride all the way to the end of the line and it's a one-way trip and the last stop is the cemetery.

Dialogue

 * Phyllis: Mr. Neff, why don't you drop by tomorrow evening around 8:30? He'll be in then.
 * Walter: Who?
 * Phyllis: My husband. You were anxious to talk to him, weren't you?
 * Walter: Yes, I was. But I'm sort of getting over the idea, if you know what I mean.
 * Phyllis: There's a speed limit in this state, Mr. Neff. Forty-five miles an hour.
 * Walter: How fast was I going, officer?
 * Phyllis: I'd say around ninety.
 * Walter: Suppose you get down off your motorcycle and give me a ticket.
 * Phyllis: Suppose I let you off with a warning this time.
 * Walter: Suppose it doesn't take.
 * Phyllis: Suppose I have to whack you over the knuckles.
 * Walter: Suppose I bust out crying and put my head on your shoulder.
 * Phyllis: Suppose you try putting it on my husband's shoulder.
 * Walter: That tears it. 8:30 tomorrow evening, then.
 * Phyllis: That's what I suggested.
 * Walter: You'll be here too?
 * Phyllis: I guess so. I usually am.
 * Walter: Same chair, same perfume, same anklet?
 * Phyllis: I wonder if I know what you mean.
 * Walter: I wonder if you wonder.

 * Keyes: I'm the guy that has to sit here up to my neck in phony claims so they won't throw more money out the window than they take in at the door.
 * Walter: Okay, turn the record over and let's hear the other side.
 * Keyes: Well, I get darn sick of tryin' to pick up after a gang of fast-talking salesmen dumb enough to sell life insurance to a guy who sleeps in the same bed with four rattlesnakes. Walter, I've had twenty-six years of this and let me tell ya, I -
 * Walter: And you loved every minute of it, Keyes. You love it, only you worry about it too darn much, you and your little man. You're so darn conscientious you're driving yourself crazy. You wouldn't even say today's Tuesday unless you looked at the calendar. Then, you'd check to see if it was this year's or last year's calendar. Then you'd find out who'd printed the calendar and find out if their calendar checked with the World Almanac's Calendar.
 * Keyes: Now that's enough out of you, Walter. Now get outta here before I throw my desk at you. [looks in his pocket for a match]
 * Walter: [takes his own match and lights Keyes' cigar] I love you, too. [voiceover] I really did, too, you old crab. Always yelling your head off, always sore at everybody. You never fooled me with your song and dance, not for a second. I kinda always knew that behind all the cigar ashes on your vest was a heart as big as a house.

 * Walter: Look, baby. You can't get away with it. You want to knock him off, don't ya?
 * Phyllis: That's a horrible thing to say.
 * Walter: Whaddya think I was anyway? A guy that walks into a good-looking dame's front parlor and says, 'Good afternoon. I sell accident insurance on husbands. Have you got one that's been around too long? One you'd like to turn into a little hard cash? Just give me a smile and I'll help you collect?' Huh! Boy, what a dope you must think I am!
 * Phyllis: I think you're rotten.
 * Walter: I think you're swell. So long as I'm not your husband.
 * Phyllis: Get out of here.
 * Walter: You bet I'll get out of here, baby. I'll get out of here but quick.

 * Walter: And now you hate him.
 * Phyllis: Yes, Walter. He's so mean to me. Every time I buy a dress or a pair of shoes, he yells his head off. He never lets me go anywhere. He keeps me shut up. He's always been mean to me. Even his life insurance all goes to that daughter of his. That Lola.
 * Walter: Nothing for you at all, huh?
 * Phyllis: No, and nothing is just what I'm worth to him.
 * Walter: So you lie awake in the dark and listen to him snore and get ideas.
 * Phyllis: Walter, I don't want to kill him. I never did. Not even when he gets drunk and slaps my face.
 * Walter: Only sometimes you wish he was dead.
 * Phyllis: Perhaps I do.
 * Walter: And you wish it was an accident and you had that policy for $50,000 dollars. Is that it?
 * Phyllis: Perhaps that too.

 * Phyllis: I hate him. I loathe going back to him. You believe me, don't you, Walter?
 * Walter: Sure I believe you. [They kiss]
 * Phyllis: I can't stand it anymore. What if they did hang me?
 * Walter: They're not going to hang you, baby.
 * Phyllis: It's better than going on this way.
 * Walter: They're not gonna hang you because you're gonna do it and I'm gonna help you.
 * Phyllis: Do you know what you're saying?
 * Walter: Sure I know what I'm saying. We're gonna do it and we're gonna do it right. And I'm the guy that knows how. There's not going to be any slip up. Nothing sloppy, nothing weak, it's gotta be perfect. [They kiss each other and then he leads her toward the door] Call me tomorrow. But not from your house. From a booth. And watch your step every single minute. This has gotta be perfect, do ya understand? Straight down the line.
 * Phyllis: Straight down the line.

 * Phyllis: What do we do now, Walter?
 * Walter: Nothing. We just wait.
 * Phyllis: Wait for what?
 * Walter: Until he can take the train. I told you, it's gotta be the train.
 * Phyllis: But we can't wait. I can't go on like this.
 * Walter: Look, we're not gonna grab a hammer and do it quick just to get it over with.
 * Phyllis: There are other ways.
 * Walter: We're not gonna do it other ways.
 * Phyllis: But we can't leave it like this. What do you suppose would happen if he found out about the accident policy?
 * Walter: Plenty, but not as bad as sitting in that death house.
 * Phyllis: Don't ever talk like that.
 * Walter: Don't let's start losing our heads, that's all.
 * Phyllis: It's not our heads. It's our nerve we're losing.
 * Walter: We're gonna do it right. That's all I said.
 * Phyllis: It's the waiting that's getting me.
 * Walter: It's getting me just as bad, baby. We've got to wait.
 * Phyllis: Maybe we have, Walter, only it's so tough without you. It's like a wall between us.
 * Walter: I better go, baby. I'm thinkin' of you every minute.

 * Keyes: How would you like a fifty dollar cut in salary?
 * Walter: How would I -- Do I laugh now, or wait until it gets funny?
 * Keyes: I'm serious, Walter. I've been talking to Norton. There's too much stuff piling up on my desk. Too much pressure on my nerves. I spend half the night walking up and down in my bed. I've got to have an assistant. I thought that you...
 * Walter: Me? Why pick on me?
 * Keyes: Because I've got a crazy idea you might be good at the job.
 * Walter: That's crazy all right. I'm a salesman.
 * Keyes: Yeah. A peddler, a glad-hander, a back-slapper. You're too good to be a salesman.
 * Walter: Nobody's too good to be a salesman.
 * Keyes: Phooey. All you guys do is ring doorbells and dish out a smooth line of monkey talk. What's bothering you is that fifty buck cut, isn't it?
 * Walter: That'd bother anybody.
 * Keyes: Look, Walter. The job I'm talking about takes brains and integrity. It takes more guts than there is in fifty salesman. It's the hottest job in the business.
 * Walter: It's still a desk job. I don't want a desk job.
 * Keyes: A desk job. Is that all you can see in it? Just a hard chair to park your pants on from nine to five. Just a pile of papers to shuffle around, and five sharp pencils and a scratch pad to make figures on, with maybe a little doodling on the side. That's not the way I see it, Walter. To me a claims man is a surgeon, and that desk is an operating table, and those pencils are scalpels and bone chisels. And those papers are not just forms and statistics and claims for compensation. They're alive, they're packed with drama, with twisted hopes and crooked dreams. A claims man, Walter, is a doctor and a bloodhound and a cop and a judge and a jury and a father confessor, all in one...And you want to tell me you're not interested. You don't want to work with your brains. All you want to work with is your finger on a doorbell. For a few bucks more a week.

 * Keyes: You know, you, uh, oughta take a look at the statistics on suicide some time. You might learn a little something about the insurance business.
 * Norton: Mister Keyes, I was raised in the insurance business.
 * Keyes: Yeah, in the front office. Come now, you've never read an actuarial table in your life, have you? Why they've got ten volumes on suicide alone. Suicide by race, by color, by occupation, by sex, by seasons of the year, by time of day. Suicide, how committed: by poison, by firearms, by drowning, by leaps. Suicide by poison, subdivided by types of poison, such as corrosive, irritant, systemic, gaseous, narcotic, alkaloid, protein, and so forth; suicide by leaps, subdivided by leaps from high places, under the wheels of trains, under the wheels of trucks, under the feet of horses, from steamboats. But, Mr. Norton, of all the cases on record, there's not one single case of suicide by leap from the rear end of a moving train. And you know how fast that train was going at the point where the body was found? Fifteen miles an hour. Now how can anybody jump off a slow-moving train like that with any kind of expectation that he would kill himself? No. No soap, Mr. Norton. We're sunk, and we'll have to pay through the nose, and you know it.

 * Walter: Afraid, baby?
 * Phyllis: Yes, I'm afraid. But not of Keyes. I'm afraid of us. We're not the same anymore. We did it so we could be together but instead of that, it's pulling us apart, isn't it, Walter?
 * Walter: What are you talking about?
 * Phyllis: And you don't really care whether we see each other or not.
 * Walter: [kissing her] Shut up, baby.

 * Phyllis: [about Lola] She's putting on an act for you, crying all over your shoulder, that lying...
 * Walter: Keep her out of this. All I'm telling you is, we're not going to sue.
 * Phyllis: Because you don't want the money any more even if you could have it, because she's made you feel like a heel all of a sudden?
 * Walter: It isn't the money any more. It's our necks. We're pulling out. Do you understand?
 * Phyllis: Because of what Keyes can do? You're not fooling me, Walter. It's because of Lola. What you did to her father. You're afraid she might find out someday and you can't take it, can you?
 * Walter: I said, 'Leave her out of this.'
 * Phyllis: It's me I'm talking about. I don't want to be left out of it.
 * Walter: Stop saying that. It's just that it hasn't worked out as we wanted. We can't go through with it, that's all.
 * Phyllis: We have gone through with it, Walter. The tough part is all behind us. We just have to hold on now and not go soft inside. Stick close together the way we started out...I loved you, Walter, and I hated him. But I wasn't going to do anything about it. Not until I met you. You planned the whole thing. I only wanted him dead.
 * Walter: And I'm the one that fixed it so he was dead. Is that what you're telling me?
 * Phyllis: And nobody's pulling out. We went into this together and we're coming out at the end together. It's straight down the line for both of us. Remember?
 * Walter: [voiceover] Yes, I remembered. Just like I remembered what you had told me, Keyes. About that trolley car ride and how there was no getting off until the end of the line where the cemetery was. And then I got to thinking what cemeteries are for. They're to put dead people in. I guess that was the first time I ever thought about Phyllis that way. Dead, I mean. And how it would be if she were dead.

 * Walter: Sometimes people are where they can't talk. Under six feet of dirt maybe. And if it was you, they'd charge that up to Zachetti too, wouldn't they? Sure they would. And that's just what's gonna happen, baby. Cause he's coming here tonight in about 15 minutes - with the cops right behind him. It's all taken care of.
 * Phyllis: That would make everything lovely for you, wouldn't it?
 * Walter: Right. And it's got to be done before that suit of yours comes to trial and Lola gets a chance to sound off. Before they trip you up in the stand and you start to go under and drag me down with ya.
 * Phyllis: Maybe I had Zachetti here so they won't get a chance to trip me up so we can get the money and be together.
 * Walter: That's cute. Say it again.
 * Phyllis: He came here first, asked where Lola was. I made him come back. I was working on him. He's a crazy sort of guy. Quick-tempered. I kept hammering into him that she was with another man so he'd go into one of his jealous rages and then I'd tell him where she was. And you know what he would have done to her, don't you, Walter?
 * Walter: Yeah. And for once I believe you, because it's just rotten enough.
 * Phyllis: We're both rotten.
 * Walter: Only you're a little more rotten. You got me to take care of your husband for ya. And then you get Zachetti to take care of Lola, maybe take care of me too. Then somebody else would have come along to take care of Zachetti for ya. That's the way you operate, isn't it, baby?
 * Phyllis: Suppose it is. Is what you've got cooked up for tonight any better?

 * Walter: [after Phyllis shoots a gun at him, missing him] You can do better than that, can't you, baby? You'd better try it again. Maybe if I came a little closer? How's this? Think you can do it now? [She lowers her gun, trembling. He takes the gun] Why didn't you shoot again, baby? Don't tell me it's because you've been in love with me all this time.
 * Phyllis: [crying] No, I never loved you, Walter, not you or anybody else. I'm rotten to the heart. I used you just as you said. That's all you ever meant to me. Until a minute ago, when I couldn't fire that second shot. I never thought that could happen to me.
 * Walter: Sorry, baby, I'm not buying.
 * Phyllis: I'm not asking you to buy. Just hold me close. [she hugs him, but then draws back when she feels the gun against her]
 * Walter: Good-bye baby. [He shoots her]

 * Walter: Know why you couldn't figure this one, Keyes? I'll tell ya. 'Cause the guy you were looking for was too close. Right across the desk from ya.
 * Keyes: Closer than that, Walter.
 * Walter: I love you, too.

Taglines

 * From the Moment they met it was Murder!
 * You Can't Kiss Away A Murder!

Cast

 * Fred MacMurray - Walter Neff
 * Barbara Stanwyck - Phyllis Dietrichson
 * Edward G. Robinson - Barton Keyes
 * Porter Hall - Mr. Jackson
 * Jean Heather - Lola Dietrichson
 * Tom Powers - Mr. Dietrichson
 * Byron Barr - Nino Zachetti
 * Richard Gaines - Edward S. Norton, Jr

title: Double Indemnity (film)


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Constitution of 3 May 1791

The Constitution of 3 May was adopted by the Great Sejm (parliament) of the Polish–Lithuanian Commonwealth, a dual monarchy comprising Poland and Lithuania. Drafted over 32 months beginning on 6 October 1788, and formally adopted as the Government Act (Ustawa rządowa), the document was designed to redress the Commonwealth's political defects.

Contemporary

 * [The] President seems a bad edition of a Polish King.
 * Thomas Jefferson to John Adams, 1787; on the office of American President under the draft U.S. Constitution, implying the President would prove as impotent as Poland's elected king

 * … founded principally on those of England and the United States of America, but avoiding the faults and errors of both, and adapt[ed] as much as possible to the local and particular circumstances of the country.
 * King Stanis&, according to a contemporary American newspaper account; describing the May 3rd Constitution

 * [It is] the noblest benefit ever received by any nation at any time. […] Stanislas II has earned a place among the greatest kings and statesmen in history.
 * Edmund Burke, in response to Prussian statesman Ewald von Hertzberg's expression of the fears of European conservatives: "[The Poles] have given the coup de grâce to the Prussian monarchy by voting a constitution. […] How can we defend our state… against a numerous and well-governed nation?"

 * The intentions of Her Highness the Empress of Russia [Catherine the Great], ally of the Polish Commonwealth, in introducing her army, are and have been none other than to restore to the Commonwealth and to Poles freedom, and in particular to all the country's citizens, security and happiness.
 * Original: Zamiary Naj. Imperatorowej rosyjskiej, aliantki Rzeczypospolitej Polskiej, nie inne są i były, wprowadzając swe wojska, tylko przywrócić Rzeczypospolitej Rzeczypospolitą, Polakom wolność, a w szczególności wszystkim kraju obywatelom bezpieczeństwo i szczęśliwość
 * The Establishing Act of the Targowica Confederation

 * Every true Pole who has not been inveigled by the Prussian and royalist cabal, is convinced that the Country's salvation can come only from Russia, that otherwise the nation will be enslaved.
 * Original: Każdy prawdziwy Polak, którego nie uwiodła kabała pruska i królewska, jest przekonany, że zbawienie ojczyzny może przyjść tylko ze strony Rosji, inaczej naród zostanie zniewolony
 * Stanisław Szczęsny Potocki, co-founder of the Targowica Confederation
 * Z korespondencji Szczęsnego Potockiego

 * [I will speak no more] of the former Poland and the Poles. That country and that name are no more, as with so many others in the history of the world. I am now forever a Russian.
 * Original: o przeszłej Polsce i Polakach. Znikło już to państwo, i to imię, jak znikło tyle innych w dziejach świata. Ja już jestem Rosjaninem na zawsze
 * Stanis&, after Stanisław August's abdication and the demise of the Commonwealth
 * Z korespondencji Szczęsnego Potockiego

 * … the last will and testament of the expiring Fatherland.
 * Hugo Ko& and Ignacy Potocki, two of the Constitution's authors, writing in exile after the Targowica Confederation's victory
 * On the Adoption and Fall of the Polish May 3rd Constitution (1793)

Later

 * Despite all its shortcomings, this Constitution looms up against the background of Russian, Prussian and Austrian barbarism as the only work of liberty which Eastern Europe has ever created independently, and it emerged exclusively from the privileged class, from the nobility. The history of the world has never seen another example of such nobility of the nobility.
 * Karl Marx

 * Today I am speaking to all the Poles all over the world. Today is the 150th anniversary of the Constitution passed by your parliament. You are right to celebrate this day as a national holiday because, at the time when your Constitution of 1791 was drawn up, it was a model of enlightened political thought. The passing of that legal act was seen by your neighbours at that time as a dawn of a revival of the Polish state. Therefore they hurried to partition your country in order to prevent the consolidation of the Polish nation.
 * British Prime Minister Winston Churchill, 3 May 1941 radio address

 * It is difficult at this moment not to mention the long history of the Polish Parliament, reaching back to the 15th century, or that glorious witness to the legislative wisdom of our ancestors that was the Constitution of May the Third, 1791."
 * Original: "Trudno w tej chwili nie wspomnieć o długiej, sięgającej XV w. historii polskiego Sejmu czy też o chlubnym świadectwie ustawodawczej mądrości naszych przodków, jakim była Konstytucja 3 maja z 1791 r.
 * Pope John Paul II, 1999, to the Polish Sejm

title: Constitution of 3 May 1791


text:
User talk:61.170.245.127

(RE: 23 April 2005 edit to Modest Mouse) — Jeff Q (talk) 14:25, 23 Apr 2005 (UTC)

title: User talk:61.170.245.127


text:
Talk:StarCraft

hey hey hey!!!

The quote about cold fusion isn't from a mission, but from a movie during the Zerg campaign (original StarCraft). Kimera757.

- I think you should add more units that say things too, I don't remember exactly, but I think the defiler says "battle", and the probes say "choose you order" and "what do you need?" for example (click'em and check it), I'm sure more units say more things but as long as I'm not an English natural speaker it's very hard for me to understand them.

Regards --62.150.81.34 21:25, 10 April 2006 (UTC)

I'm not sure about the difiler, but yes, the probe says "what do you need?" I'm also pretty sure the Hydralisk says "what?"

Where do we get transliterations of Protoss words?
In this list there are a lot of transcribed Protoss words. From where do we have these spellings? Very few of them appear on writing in the game, who supplied the rest? Are they from Blizzard or are they pure speculation? I want sources! 83.91.36.193 22:04, 4 December 2006 (UTC)

Herewith a link that has all of them.....

http://www.gamefaqs.com/computer/doswin/file/25418/34428

Removal of unit quotes
I've removed the entire section that was simply quoting every phrase that a unit utters in the game. The fact that the collection is so large borders on copyright violation, if it isn't outright, and beside that, the quotes themselves are generally very inane and/or unoriginal. Wikiquote is not a place for collecting each and every utterance, and recently, two pages were deleted (Command and Conquer, and Warcraft, though Warcraft was recreated as a very stripped-down version without the full listing of unit quotes) for being little more than complete listings of individual unit quotes. The fact that there are quotes from the cutscenes, etc. are likely to save this page from the same fate, but the full listing of unit quotes should not be restored (if any quotes were particularly unique/original, they can be restored, but there should be very few of these). —LrdChaos (talk) 01:25, 8 December 2006 (UTC)

The unit quotes when selected more than four times should be restored for the various units. Those are particularly interesting and have plenty of hidden references within them.

Would it be possible to add a link to another site that has the unit quotes?—Timecrash (talk) 01:25, 8 December 2006 (UTC)

vandal! this section was so good :-( i enjoyed reading it so much .... and now it's gone.... it's all gone!! (*running away crying*)

Hah, welcome to Shittypedia, mate, the place where wikijerks pull their "e-power" weight around to gain some psuedo-self esteem. I suggest you move over to Citizendium and open such "inane and unoriginal" pages over there, where it won't get deleted by teenager nutcases and e-power mad "exclusionist/inclusionist" shenanigan hoodlums. A pittance, I actually came here looking for that page because I needed some of those quotes. Just one more reason to not have anyone link to wikipedia/give it traffic. All in all, Wales is just running a scientology-esque scam here. Keep the Internet/Information Free!-Ori 62.219.148.12 16:10, 13 February 2009 (UTC)

 * The units quotes should stay, as it is a fact that the units are a part of Starcraft, and have amazing quotes. Seriously, some peopple like reading this.

 * I totally agree. Those are the quote that stucks in our head while we play the game and we like to verify if we heard it correctly.

"silent marine"
I thought it was a ghost. He carried a C-10 rifle

Unit Quotes
I agree about adding the Unit quotes. Well Is anyone with me or they object? Which policy restricts unit quotes?(Dennys 17:54, 7 May 2009 (UTC))
 * quotability is relevant to these unit vocalizations. ~ Ningauble 18:45, 7 May 2009 (UTC).
 * Agreed. The purpose of Wikiquote isn't to grab absolutely everything from a particular source, just the best (and most important). Furthermore, quoting everything the units say brings us dangerously close to copyright violations, which we're trying pretty hard to fight. EVula // talk // ☯  // 18:50, 7 May 2009 (UTC)
 * Besides, http://starcraft.wikia.com/wiki/StarCraft_unit_quotations has all the unit quotations, so what use do we have for them here? In fact, doing so would mean little more than copy-pasting from a more appropriate source. Kvn8907 06:34, 2 June 2009 (UTC)

I just recently added people quotes because People quotes do not count as Unit Quotes.(Dennys 17:20, 28 May 2009 (UTC))
 * We've already got "people quotes", its the standard dialogue. Such quotes are far better delivered in the context of the conversation they were made in (except for the odd soliloquy), and within the context of the product they were retrieved from, rather than under lump headings for each character. Such headings also encourages unnecessary proliferation of quotes; this is copyrighted material, which as noted above by Evula should be kept heavily in check. Plus, having a bunch of empty section headings is utterly pointless from a presentation point of view, especially when the quotes added to those sections that do have something are already contained elsewhere on the page. -- S@bre 00:48, 5 June 2009 (UTC)

Well add more quotes then. Hey how about adding the Dialogue about Zerg Mission Omega? I want to see the Quotes made by Kerrigan, Mengsk, Artanis and DuGalle in mission Omega.(Dennys 19:18, 10 June 2009 (UTC))

 * Its still all copyrighted stuff and we have to be moderate with what we include. The SC1 and Brood War sections are long enough, especially given the upcoming StarCraft 2 and if we're going down the route of adding quotes from some of the novels. -- S@bre 23:24, 14 June 2009 (UTC)

Well I'm sorry but this page could use some more quotes and besides we don't know when Starcraft II is coming out. I'm glad this page doesn't need trimming.(Dennys 18:17, 16 June 2009 (UTC))

Question to all users
Is it okay to add "Zeratul: I bring tidings of doom. The xel'naga return, the cycle nears its end, the artifacts are the key. Jim Raynor: The key... the key to what? Zeratul: To the end of all things."

- Starcraft ?

(StarWarsFanBoy 02:36, 12 December 2009 (UTC))

Can someone trim this? If I trim out the very notable quotes or start an edit war on purpose or accident then nobody will forgive me including admins.(StarWarsFanBoy 05:50, 6 February 2011 (UTC))

title: Talk:StarCraft


text:
User talk:Sweets~enwikiquote

--Aphaia 15:15, 23 Apr 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Sweets. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Sweets~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:37, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:59, 19 April 2015 (UTC)

title: User talk:Sweets~enwikiquote


text:
User:TheoClarke

You can find out about me at Theo Clarke's user page at English Wikipedia.

Contributions

 * Fred Conlon
 * David Helvarg
 * Diana Wynne Jones
 * Ed Krebs
 * Richard Mottram

title: User:TheoClarke


text:
Talk:Arnold Schwarzenegger

Wikipedia
these were on the en.wikipedia version. i removed them, and have placed them here for those interested in adding them to this article:

I've put in the first quote under 'film quotes'. Please tell me if I've actually put it in the right place...

Quotes

 * "I'll be back." — his catch phrase as an actor; it or some variation appears in many of his movies
 * "Bodybuilders party a lot, and once, in Gold's - the gym in Venice, California, where all the top guys train - there was a black girl who came out naked. Everybody jumped on her and took her upstairs, where we all got together." — promoting bodybuilding in a 1977 interview with Oui magazine
 * "They cannot have the guts to come out there in front of you and say 'I don't want to represent you. I want to represent those special interests: the unions, the trade lawyers' … I call them girlie men. They should get back to the table, and they should finish the budget." — delivered to a rally of supporters, regarding an impass with state Democratic lawmakers which prevented the passing of the state budget on time, July 17, 2004
 * "When I was on my way to the podium a gentleman stopped me and said I was as good a politician as I was an actor. What a cheap shot!" — At the 2004 Republican National Convention, August 31, 2004
 * "Everything I have — my career, my success, my family — I owe to America."  — At the 2004 Republican National Convention, August 31, 2004
 * "To those critics who are so pessimistic about our country, I say: Don't be economic girly men." — At the 2004 Republican National Convention, August 31, 2004
 * "Hasta la vista, Baby" — Terminator 2: Judgment Day
 * "It is as satisfying to me as coming is — you know, as having sex with a woman and coming. So can you believe how much I am in heaven?. I am, like, getting the feeling of coming in the gym. I'm getting the feeling of coming at home. I'm getting the feeling of coming backstage when I pump up. When I pose out in front of 5.000 people I get the same feeling. So I'm coming day and night." — regarding the feeling associated with bodybuilding, from the movie Pumping Iron.
 * "I propose that a teacher's pay be tied to merit, not tenure. And I propose that a teacher's employment be tied to performance, not just showing up." January 5, 2005
 * "Going through the pain barrier, that's what makes the muscles grow. There's this pain, this aching, and going on and on and on. That's what divides a champion from a non-champion - having the guts to go through the pain barrier."
 * Ed Pilkington reports on the tough times facing Arnold Schwarzenegger and California | World news | The Guardian

 * Jingle all the way let me talk to your mother, Jaime get your mutha
 * Who is your daddy and what does he do?
 * I am not a pervert
 * Who are you?
 * You're a fucking choir boy
 * look at this shiny red ball want to trade.
 * get down

spamlink
This page is impossible to edit, it is spam protected because of the fansite hyperlink. 70.51.8.129 11:58, 25 March 2008 (UTC)

Cleanup - Wikipedia box
The Wikipedia box should be in the external links section, or at the top, not the misattribution section. 70.51.8.129 11:59, 25 March 2008 (UTC)

To really clean up a page like this please trim it to at least the maximum amount of quotes allowed.(StarWarsFanBoy 01:33, 5 December 2009 (UTC))

Unsourced

 * My relationship to power and authority is that I'm all for it...People need somebody to watch over them. . . . Ninety-five percent of the people in the world need to be told what to do and how to behave.
 * A profile in U.S. News and World Report (1990)

 * These kids come to me and ask, 'Hey Arnie, are you God?'. I just laugh and say 'Nice try, but keep looking.'
 * Interview with BASE magazine (2005).

 * Any man loves a little hummer.
 * Tonight Show with Jay Leno

 * Strength does not come from winning. Your struggles develop your strengths. When you go through hardships and decide not to surrender, that is strength.

 * Everybody likes to be wanted... and needed, and appreciated and loved, and all those things. Some people only have it in a limited way. You know, by just being loved by their family, or by their children, or by their brother or whatever... their wife. Some people like more than that. Now, I am one of them.
 * Mr. Olympia Interview, 1980

 * You can't reason with people blinded by hate. They hate the power of the individual. They hate the progress of women. They hate the religious freedom of others. They hate the liberating breeze of democracy. But ladies and gentlemen, their hate is no match for America's decency.

 * The guys who own the most real estate in Los Angeles are Europeans. There are people coming over from Yugoslavia with hardly any money...a friend of mine came over from Czechoslovakia in '68 and he now owns four apartment buildings. Americans are still sitting on their asses waiting for it. Europeans are hungry because we don't have that much.
 * Time Out, 1977

 * What I want to do is make Americans aware that they're fucked-up when they equate everything a person does with some sexual trip. . You know, if you hold a pencil in your hand, it's a phallic symbol and you really want to hold a cock in your hand. And a football coach doesn't really want to be a coach, he likes to slap football players' asses...he's a latent homosexual. And it goes on and on and on, all the fucking time.
 * Time Out, 1977

 * America is so money-oriented. (Thank God! It's always helped me!) But it has its disadvantages because the psychiatrists know their business doesn't mean a thing if there are no sick people around, and so they make everybody feel guilty. You know, all New York City is running to a psychiatrist. All America thinks it has sexual hang ups. Everybody's running to shrinks.
 * Time Out, 1977

 * Nixon was always being attacked sexually. It was always said that he was a fag and that he had no sexual relations with his wife for 15 years and that was why he liked power. And Hitler had only one ball, and that was why he wanted to conquer the world.
 * Time Out, 1977

 * I think that gay marriage should be between a man and a woman.
 * During the California recall campaign (2003)

 * So I want to say to you: yes, that I have behaved badly sometimes. Yes, it is true that I was on rowdy movie sets and I have done things that were not right which I thought then was playful, but now I recognize that I have offended people. And to those people that I have offended, I want to say to them: I am deeply sorry about that, and I apologize because this is not what I'm trying to do. When I am governor, I will prove to women that I will be a champion for women. I hope you will give me the chance to prove this.
 * At a campaign stop in San Diego (Oct 2003)

 * We can't always do what we are passionate about, but everything we do can move us closer to our passion.
 * On reddit, |Link

 * Everybody pities the weak; jealousy you have to earn.

Gawker article
This 25 May 2011 article mentions:
 * Getting back to this sleazy picture on the cover of Star, it reminds me of a series of photos that Gawker published years ago before this scandal. One featured a then-single Arnold fingering a woman and smiling for the camera with other people around.

"Years before" sounds like 2009ish. Would anyone happen to know the title of the Gawker articles which included this photo? I am trying to figure out when it became popularized. Gawker hasn't updated since Hogan wrecked it in 2016 but it still might require checking archives. Ranze (talk) 19:42, 11 October 2018 (UTC)

title: Talk:Arnold Schwarzenegger


text:
Pirates of the Caribbean

Pirates of the Caribbean is a Walt Disney Company franchise encompassing a film series, numerous theme park attractions, and spin-off novels as well as numerous video games and other media publications. The franchise originated with the Pirates of the Caribbean theme ride attraction, which opened at Disneyland in 1967, the last Disney theme park attraction overseen by Walt Disney.

Films

 * Pirates of the Caribbean: The Curse of the Black Pearl (2003)
 * Pirates of the Caribbean: Dead Man's Chest (2006)
 * Pirates of the Caribbean: At World's End (2007)
 * Pirates of the Caribbean: On Stranger Tides (2011)
 * Pirates of the Caribbean: Dead Men Tell No Tales (2017)

Video games

 * Kingdom Hearts II
 * Pirates of the Caribbean: The Legend of Jack Sparrow (2006)
 * Kingdom Hearts III

Pirati dei Caraibi שודדי הקאריביים (סדרת סרטים) Piraci z Karaibów Pirates of the Caribbean

title: Pirates of the Caribbean


text:
Robert Morley

Robert Morley (26 May 1908 – 3 June 1992) was a British actor who, often in supporting roles, was regularly cast as the archetypal English gentleman representing the Establishment.

Quotes

 * The British tourist is always happy abroad as long as the natives are waiters.
 * The Observer (20 April 1958), as quoted in "Death of Baron De Kalb" (1849), by Benjamin Franklin Ells, The Western Miscellany, Volume 1, p. 233.

 * Anyone who works is a fool. I don't work; I merely inflict myself upon the public.
 * Films and Filming vol. 8 (1961)

 * Fat men get knocked over by buses no earlier, nor later, than thin men. And I, for one, have buried most of my thin friends.
 * Explaining why he never tried to lose weight.
 * Toledo Blade (August 20, 1978)

title: Robert Morley


text:
Talk:Imagination

I have a strong interest in the importance of the imagination. One of the problems it seems to me is that some people extol its virtue and others condemn it! A distinction I make in this debate is the difference between fantasy and imagination. My proposed difference is that Fantasy is the covering of reality, where as imagination is the proposals of possibilities regards the future which have yet to be tested. I would be interested in any academic links to this discussion and comments regards my distinction. :) --210.50.216.162 23:21, 23 Apr 2005 (UTC)

I moved the following quotation from the ariticle. Subject has no wq article, and wp article was SDed.~ MosheZadka (Talk) 11:41, 2 November 2005 (UTC)

 * "The only boundaries to our imaginations are the ones we imagine ourselves." -Jan Kaim, 2004

LKB?
The third quote down is attributed to someone called "LKB". I did not recognize these initials, so I looked it up online. From what I can tell, the quote is really by a Dr. Timothy Findley, and the full quote goes, "I believe imagination is our greatest asset, as human beings, and I believe it is our best, perhaps our only weapon against despair. I believe imagination is our best, our ultimate means of survival, all of us together -- each of us apart." I'll go ahead and replace it, but if anyone knows better than I, feel free to revert the page. Sammi 00:54, 8 May 2006 (UTC)

Unsourced

 * I believe imagination is our greatest asset, as human beings, and I believe it is our best, perhaps our only weapon against despair. I believe imagination is our best, our ultimate means of survival, all of us together — each of us apart.
 * Timothy Findley

 * Imagination is your key to unlock the hidden wonders of our world.
 * Dreamfinder, original Journey Into Imagination ride at Epcot

 * It is not that the child lives in a world of imagination, but that the child within us survives and starts into life only at rare moments of recollection, which makes us believe, and it is not true, that, as children, we were imaginative?
 * Cesare Pavese

 * Mon incompréhension est ma plus grande qualité car elle laisse une place a l'imagination.
 * Carréric Benjamin (Jabamin) 27/06/2006

 * Nothing is impossible - not if you can imagine it!
 * Hubert Farnsworth, Futurama

 * You cannot imagine infinity but your imagination is infinite.
 * Michael Grasso, 1990

 * "I love my imagination. She allows me to survive."
 * Caroline De Vil

title: Talk:Imagination


text:
Robert Penn Warren

Robert Penn Warren (April 24 1905 – September 15 1989) was an American poet, novelist, and literary critic, and one of the founders of New Criticism. He was also a charter member of the Fellowship of Southern Writers. He received the 1947 Pulitzer Prize for the Novel All the King's Men (1946) and in 1957 and 1979, the Pulitzer Prize for Poetry. He is the only person to have won Pulitzer Prizes for both fiction and poetry.

Quotes

 * So little time we live in Time, And we learn all so painfully, That we may spare this hour's term To practice for Eternity.
 * "Bearded Oaks", Eleven Poems on the Same Theme (1942)

 * The poet is in the end probably more afraid of the dogmatist who wants to extract the message from the poem and throw the poem away than he is of the sentimentalist who says, "Oh, just let me enjoy the poem."
 * Lecture, "The Themes of Robert Frost" (1947)

 * For fire flames but in the heart of a colder fire. All voice is but echo caught from a sound-less voice. Height is not deprivation of valley, nor defect of desire. But defines, for the fortunate, that joy in which all joys should rejoice.
 * "To a Little Girl, One Year Old, in a Ruined Fortress" (1956)

 * The poem... is a little myth of man's capacity of making life meaningful. And in the end, the poem is not a thing we see — it is, rather, a light by which we may see — and what we see is life.
 * Saturday Review (22 March 1958)

 * We are right to see power prestige and confidence as conditioned by the Civil War. But it is a very easy step to regard the War, therefore, as a jolly piece of luck only slightly disguised, part of our divinely instituted success story, and to think, in some shadowy corner of our mind, of the dead at Gettysburg as a small price to pay for the development of a really satisfactory and cheap compact car with decent pick-up and road-holding capability. It is to our credit that we survived the War and tempered our national fiber in the process, but human decency and the future security of our country demand that we look at the costs. What are some of the costs? Blood is the first cost. History is not melodrama, even if it usually reads like that. It was real blood, not tomato catsup or the pale ectoplasm of statistics, that wet the ground at Bloody Angle and darkened the waters of Bloody Pond. It modifies our complacency to look at the blurred and harrowing old photographs — the body of the dead sharpshooter in the Devil's Den at Gettysburg or the tangled mass in the Bloody Lane at Antietam.
 * The Legacy of the Civil War (1961), pp. 49–50

 * Most writers are trying to find what they think or feel. . . not simply working from the given, but toward the given, saying the unsayable and steadily asking, "What do I really feel about this?"
 * National Observer (6 February 1967)

 * The urge to write poetry is like having an itch. When the itch becomes annoying enough, you scratch it.
 * The New York Times (16 December 1969)

 * But to poetry — You have to be willing to waste time. When you start a poem, stay with it and suffer through it and just think about nothing, not even the poem. Just be there. It's more of a prayerful state than writing the novels is. A lot of the novel is in doing good works, as it were, not praying. And the prayerful state is just being passive with it, mumbling, being around there, lying on the grass, going swimming, you see. Even getting drunk. Get drunk prayerfully, though.
 * Interview with Richard B. Sale (1969)

 * If anybody's going to be a writer, he's got to be able to say, "This has got to come first, to write has to come first." That is, if you have a job, you have to scant your job a little bit. You can't be an industrious apprentice if you're going to be a poet. You've got to pretend to be an industrious apprentice but really steal time from the boss. Or from your wife, or somebody, you see. The time's got to come from somewhere. And also this passivity, this "waitingness," has to be achieved some way. It can't be treated as a job. It's got to be treated as a non-job or an anti-job.
 * Interview with Richard B. Sale (1969)

 * Long ago, in Kentucky, I, a boy, stood By a dirt road, in first dark, and heard The great geese hoot northward. I could not see them, there being no moon And the stars sparse. I heard them. I did not know what was happening in my heart.
 * Audubon: A Vision (1969)

 * If, in the middle of World War II, a general could be writing a poem, then maybe I was not so irrelevant after all. Maybe the general was doing more for victory by writing a poem than he would be by commanding an army. At least, he might be doing less harm. By applying the same logic to my own condition, I decided that I might be relevant in what I called a negative way. I have clung to this concept ever since — negative relevance. In moments of vain-glory I even entertain the possibility that if my concept were more widely accepted, the world might be a better place to live in. There are a lot of people who would make better citizens if they were content to be just negatively relevant.
 * Acceptance speech for the 1970 National Medal for Literature, New York, New York (2 December 1970)

 * More and more Emerson recedes grandly into history, as the future he predicted becomes a past.
 * Acceptance speech for the 1970 National Medal for Literature, New York, New York (2 December 1970)

 * I've been to a lot of places and done a lot of things, but writing was always first. It's a kind of pain I can't do without.
 * National Observer (12 March 1977)

 * I know that any discussion of the relation of this poem to its historical materials is, in one perspective, irrelevant to its value; and it could be totally accurate as history and still not worth a dime as a poem. I am trying to write a poem, not a history, and therefore have no compunction about tampering with non-essential facts. But poetry is more than fantasy and is committed to the obligation of trying to say something, however obliquely, about the human condition. Therefore, a poem dealing with history is no more at liberty to violate what the writer takes to be the spirit of his history than it is at liberty to violate what he takes to be the nature of the human heart. What he takes those things to be is, of course, his ultimate gamble.
 * Foreword, Brother to Dragons: A Tale in Verse and Voices — A New Version (1979)

 * Historical sense and poetic sense should not, in the end, be contradictory, for if poetry is the little myth we make, history is the big myth we live, and in our living, constantly remake.
 * Foreword, Brother to Dragons: A Tale in Verse and Voices — A New Version (1979)

 * I longed to know the world's name.
 * Now and Then: Poems, 1978–1979 (1979)

 * A young man’s ambition — to get along in the world and make a place for himself — half your life goes that way, till you’re 45 or 50. Then, if you’re lucky, you make terms with life, you get released.
 * The New York Times (2 June 1981)

 * Storytelling and copulation are the two chief forms of amusement in the South. They’re inexpensive and easy to procure.
 * Newsweek (25 August 1980)

 * How do poems grow? They grow out of your life.
 * "Poetry Is a Kind of Unconscious Autobiography" in The New York Times (12 May 1985)

 * What is a poem but a hazardous attempt at self-understanding? It is the deepest part of autobiography.
 * "Poetry Is a Kind of Unconscious Autobiography" in The New York Times (12 May 1985)

 * Here is the shadow of truth, for only the shadow is true.
 * "A Way to Love God", New and Selected Poems 1923–1985 (1985)

 * I cannot recall what I started to tell you, but at least I can say how night-long I have lain under the stars and Heard mountains moan in their sleep. By daylight, They remember nothing, and go about their lawful occasions Of not going anywhere except in slow disintegration. At night They remember, however, that there is something they cannot remember. So moan. Theirs is the perfected pain of conscience that Of forgetting the crime, and I hope you have not suffered it. I have.
 * "A Way to Love God", New and Selected Poems 1923–1985 (1985)

 * Everything seems an echo of something else.
 * "A Way to Love God", New and Selected Poems 1923–1985 (1985)

 * I don’t expect you’ll hear me writing any poems to the greater glory of Ronald and Nancy Reagan.
 * On his appointment as the first U.S. poet laureate, in The Washington Post (27 February 1986)

 * The lack of a sense of history is the damnation of the modern world.
 * As quoted in Vision and Leadership in Sustainable Development (1999) by Chris Maser.

 * In separateness only does love learn definition.
 * Revelation

 * Tell me a story. In this century, and moment, of mania, Tell me a story. Make it a story of great distances, and starlight. The name of the story will be Time, But you must not pronounce its name. Tell me a story of deep delight.
 * "Tell me A Story"

 * In silence the heart raves. It utters words Meaningless, that never had A meaning. I was ten, skinny, red-headed, Freckled. In a big black Buick, Driven by a big grown boy, with a necktie, she sat In front of the drugstore, sipping something Through a straw. There is nothing like Beauty. It stops your heart.It Thickens your blood. It stops your breath. It Makes you feel dirty. You need a hot bath. I leaned against a telephone pole, and watched. I thought I would die if she saw me.
 * "True Love"

 * How could I exist in the same world with that brightness? Two years later she smiled at me. She Named my name. I thought I would wake up dead.
 * "True Love"

 * She never came back. The family Sort of drifted off. Nobody wears shiny boots like that now. But I know she is beautiful forever, and lives In a beautiful house, far away. She called my name once. I didn't even know she knew it.
 * "True Love"

 * Accept these images for what they are — Out of the past a fragile element Of substance into accident. I would speak honestly and of a full heart; I would speak surely for the tale is short, And the soul's remorseless catalogue Assumes its quick and piteous sum.
 * "San Francisco Night Windows"

Love's Voice (c.1935–1939)

 * What glass unwinking gives our trust Its image back, what echo names The names we hurl at namelessness?

 * Such fable ours! However sweet, That earlier hope had, if fulfilled, Been but child's pap and toothless meat — And meaning blunt and deed unwilled, And we but motes that dance in light And in such light gleam like the core Of light, but lightless, are in right Blind dust that fouls the unswept floor For, no: not faith by fable lives, But from the faith the fable springs — It never is the song that gives Tongue life, it is the tongue that sings; And sings the song. Then, let the act Speak, it is the unbetrayable Command, if music, let the fact Make music's motion; us, the fable.

 * Then let us turn now — you to me And I to you — and hand to hand Clasp, even though our fable be Of strangers met in a strange land Who pause, perturbed, then speak and know That speech, half lost, can yet amaze Joy at the root; then suddenly grow Silent, and on each other gaze.

All the King's Men (1946)

 * The end of man is knowledge but there's one thing he can't know. He can't know whether knowledge will save him or kill him. He will be killed, all right, but he can't know whether he is killed because of the knowledge which he has got or because of the knowledge which he hasn't got and which if he had it would save him.

 * Man is conceived in sin and born in corruption and he passeth from the stink of the didie to the stench of the shroud. There is always something.

 * If you could not accept the past and its burden, there was no future, for without one there cannot be the other, and [...] if you could accept the past you might hope for the future, for only out of the past can you make the future.

Quotes about Robert Penn Warren

 * I don't think that the Negro problem in America can be even discussed coherently without bearing in mind its context; its context being the history, traditions, customs, the moral assumptions and preoccupations of the country; in short, the general social fabric. Appearances to the contrary, no one in America escapes its effects and everyone in America bears some responsibility for it. I believe this the more firmly because it is the overwhelming tendency to speak of this problem as though it were a thing apart. But in the work of Faulkner, in the general attitude and certain specific passages in Robert Penn Warren, and, most significantly, in the advent of Ralph Ellison, one sees the beginnings-at least-of a more genuinely penetrating search.
 * James Baldwin Notes of a Native Son (1955)

title: Robert Penn Warren


text:
The Pirates of Penzance (film)

The Pirates of Penzance is a 1983 film adaptation of the Gilbert & Sullivan operetta of the same name, with some updates for modern American audiences. The plot revolves around the dutiful Frederic and his attempt to break away from the band of pirates he was mistakenly apprenticed to as a boy.
 * Directed by Wilford Leach. Screenplay by Wilford Leach, from the original work by William S. Gilbert and Arthur Sullivan.

Dialogue

 * [As the term of his apprenticeship expires, Frederic tries to advise his erstwhile crewmates.]
 * Frederic: You make it a point of never attacking a weaker party than yourselves, and when you attack a stronger one you invariably get thrashed!
 * [The indignant pirates mutter and advance on him.]
 * The Pirate King: (holding up a finger) There's some truth in that.

 * The Pirate King: Oh, better far to live and die / Under the brave black flag I fly, / Than play a sanctimonious part / With a pirate head and a pirate heart. / Away to the cheating world go you, / Where pirates all are well-to-do; / But I'll be true to the song I sing, / And live and die a Pirate King. / For I am a Pirate King! / And it is, it is a glorious thing / To be a Pirate King!

 * [Frederic comes upon a group of maidens rolling up their stockings to go wading.]
 * Frederic: Stop, ladies, pray!
 * Maidens: A man!
 * Frederic: Oh, is there not one maiden here / Whose homely face and bad compexion / Have caused all hope to disappear / Of ever gaining man's affection? / Of such a one, if such there be, / I swear by Heaven's arch above you, / If you will cast your eyes on me, / However plain you be, I'll love you...
 * Mabel Stanley: Poor wandering one, though you have surely strayed, / Take heart of grace, thy steps retrace, poor wandering one... / Poor wandering one, if such poor love as mine / Can help you find true peace of mind, / Why, take it, it is thine!
 * Mabel Stanley: Poor wandering one, though you have surely strayed, / Take heart of grace, thy steps retrace, poor wandering one... / Poor wandering one, if such poor love as mine / Can help you find true peace of mind, / Why, take it, it is thine!
 * Mabel Stanley: Poor wandering one, though you have surely strayed, / Take heart of grace, thy steps retrace, poor wandering one... / Poor wandering one, if such poor love as mine / Can help you find true peace of mind, / Why, take it, it is thine!

 * [As Major General Stanley enters, all present sing to the tune of Pirate King's earlier song.]
 * Samuel: For he is a Major General!
 * Daughters: He is, hurrah for the Major General!
 * Major General Stanley: And it is, it is a glorious thing to be a Major General.
 * All, in chorus: Hurrah for the Major General, hurrah for the Major General!
 * The Pirate King: (annoyed, muttering) That's the same as the "Pirate King" tune!
 * Major General Stanley: Now that I have introduced myself, I should like to know what's going on here!
 * Kate Stanley: Oh, Papa, we —
 * Samuel: I can explain in two words: we propose to marry your daughters.
 * Gen. Stanley: But-but... who are you?
 * The Pirate King: We are all single gentlemen.
 * Kate: Don't believe them, Papa! They're pirates — the famous Pirates of Penzance!
 * Gen. Stanley: Mmm, wait a moment... I object to pirates as sons-in-law!
 * Pirate King: Well, we object to major generals as fathers-in law! But we waive the point. We do not press it. We look over it.
 * Pirate King: Well, we object to major generals as fathers-in law! But we waive the point. We do not press it. We look over it.

 * [As the maidens are about to roll up their stockings to go wading]
 * Frederic: Stop, ladies, pray!
 * Maidens: A man!

 * Mabel: Oh Frederic, can you not in the calm excellence of your wisdom reconcile it with your conscience to say something that will ease my father's sorrow?
 * Frederic: ...What?
 * Mabel: Can't you cheer him up?

 * Pirate King: Do you mean that in order to save his own contemptible life... he dared to impress upon our credulous simplicity?!?

 * Sergeant: They come in force, with steal-thy stride. Our obvious course is now to... hide!

 * Frederic: Oh, HORROR!
 * The Pirate King: What's the matter?
 * Frederic: Ought I tell you? No, no I cannot! And yet as one of your band -
 * Pirate King: Speak out! I-CHARGE-YOU-BY-THAT-SENSE-OF-CONSCIENTIOUSNESS-TO-WHICH-WE-HAVE-NEVER-YET-APPEALED-IN-VAIN!
 * [All, including the King himself, goggle at this feat of verbal virtuosity.]
 * Pirate King: Yeah.

 * Sergeant: We observe too great a stress / On the risks which on us press / And of reference a lack / To our chance of coming back! / Still, perhaps it would be wise/Not to carp or criticize / For it's very evident / These attentions are well meant...

 * The Pirate King: With base deceit, you played upon our feelings; / Revenge is sweet, and flavors all our dealings. / With courage rare, and resolution manly, / For death prepare, unhappy General Stanley!

 * [while trying to rally the bobbies and raise their morale]
 * Mabel: Go, ye heroes, go to glory / Though you die in combat gory / Ye shall live in song and story / Go to immortality / Go to death, and go to slaughter... / Die, and every Cornish daughter... / With the tears your grave shall water / Go, ye heroes, go and DIE!

Cast

 * Kevin Kline - The Pirate King
 * Rex Smith - Frederic
 * Linda Ronstadt - Mabel Stanley
 * Angela Lansbury - Ruth
 * George Rose - Major General Stanley
 * Tony Azito - Police Sergeant

title: The Pirates of Penzance (film)


text:
Talk:Bill Watterson

OK, I love Calvin and Hobbes as much as anyone (note my username), but it seems that we don't need to transcribe entire strips. Probably just me. ~ The Noodle Incident 06:47, 13 July 2006 (UTC)

"I try to make everyone's day a little more surreal"?
I do not think that is appropriate for a caption. It is a picture of a biography of John Calvin and Thomas Hobbes, but it has nothing to do with his famous quote, "I try to make everyone's day a little more surreal." I shall make this edit now.

Terrifying sanitization: where the hell did all the contractions go???
If we're going to transcribe all these comics directly, we should do it accurately, FFS. I guarantee you no dialog ever went, "Yes, at long last. Too bad you cannot put on dry clothes. You will feel a lot better... No...wait...do not do that here!!" This is worse than useless, but I don't have access to the source material to fix it. Can someone who has the books transcribe these as they're, you know, actually goddamn written? This is, after all, Wikiquote, not Wikicopyedit. Even me doing these from memory would yield a better result - but that's the very last resort. ☯.Zen Swashbuckler  .☠  20:36, 1 August 2012 (UTC)

Unsourced

 * I hope some historian will confirm that I was the first cartoonist to use the word "booger" in a newspaper comic strip.
 * The Calvin and Hobbes Tenth Anniversary Book (pg 78)

 * So, what's it like in the real world? Well, the food is better, but beyond that, I don't recommend it.
 * Kenyon College Commencement Address (May 20, 1990)

 * You can lead people to truth, but you can't make them understand it: the story of my youth, as seen from the present.
 * The Calvin and Hobbes Tenth Anniversary Book

 * If you ever want to find out just how uninteresting you really are, get a job where the quality and frequency of your thoughts determine  your livelihood. I've found that the only way I can keep writing every  day, year after year, is to let my mind wander into new territories. To  do that, I've had to cultivate a kind of mental playfulness.
 * Kenyon College Commencement Address (May 20, 1990)

 * We're not really taught how to recreate constructively. We need to do more than find diversions; we need to restore and expand ourselves. Our  idea of relaxing is all too often to plop down in front of the television set and let its pandering idiocy liquefy our brains. Shutting  off the thought process is not rejuvenating; the mind is like a car battery— it recharges by running.
 * Kenyon College Commencement Address (May 20, 1990)

 * Selling out is usually more a matter of buying in. Sell out, and you're really buying into someone else's system of values, rules and rewards.
 * Kenyon College Commencement Address (May 20, 1990)

 * Such is American business, I guess, where the desire for obscene profit mutes any discussion of conscience.
 * Kenyon College Commencement Address (May 20, 1990)

 * Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. Ambition is only understood if it's to rise to the top of some imaginary ladder of success. Someone who takes an undemanding job because it affords him the time to pursue other interests and activities is considered a flake. A person who abandons a career in order to stay home and raise children is considered not to be living up to his potential-as if a job title and salary are the sole measure of human worth. You'll be told in a hundred ways, some subtle and some not, to keep climbing, and never be satisfied with where you are, who you are, and what you're doing. There are a million ways to sell yourself out, and I guarantee you'll hear about them.
 * Kenyon College Commencement Address (May 20, 1990)

title: Talk:Bill Watterson


text:
User talk:69.212.73.178

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:
 * The use of a username of your choice
 * The ability to view all your contributions via a "My contributions" link
 * Your own user page
 * Your own talk page which, if you choose, also allows users to send you messages without knowing your e-mail address
 * The use of your own personal watchlist to which you can add articles that interest you
 * The ability to rename pages
 * The ability to upload images
 * The ability to customize the appearance and behavior of the website
 * The eligibility to become an administrator
 * The right to be heard in formal votes and elections, and on pages like votes for deletion

Click here to create an account. By the way, your Pilates has already moved ;-) --Aphaia 02:08, 24 Apr 2005 (UTC)

title: User talk:69.212.73.178


text:
User talk:Davedorr9

And don't worry for your erasing too much; On wiki everything can be fixed very easily. --Aphaia 02:16, 24 Apr 2005 (UTC)
 * Fixed ;-) And thank you for your reports. By the way I can't figure what you meant on your vandalism report. For me it seems no problem on there. I hope it is same for you. --Aphaia 02:22, 24 Apr 2005 (UTC)

title: User talk:Davedorr9


text:
User:~K

My real user page is Wikipedia:User:~K. Please leave any messages for me at this talk page.

title: User:~K


text:
User talk:~K

--Aphaia 04:55, 24 Apr 2005 (UTC)

title: User talk:~K


text:
User talk:Jeffq/2004

Kalki
I like the sampling of interests and ideas on your user page, which reminds me I have to get around to working on my page soon. I haven't updated it much in quite a while. I hope you like it here. ~ Kalki 22:23, 26 May 2004 (UTC)

 * I have just deleted the "Lulu Ebeling" page. I had noted the request to do so, but there does seem to be an actress by that name, and I had hoped to find some legitimate quotations to post there. I did not find any, but as there was not anything obviously insulting or offensive to the post I did not delete the page right away. When people have created a page for someone notable, and filled it with nonsense, jibberish, or information other than quotations, I have usually preferred to ammend it with legitimate and noteworthy quotes rather than delete it. I simply couldn't find any in this case. ~ Kalki 12:20, 21 Aug 2004 (UTC)

Standard
Jeff Q: I appreciate your vast contribution to all the wiki's. I believe you are the one that can (and has) shine light on our issue of formating - more precisely, dealing with the format of TV Shows and Films; How do we have a consistency among articles? I've begun some discussion of this on other pages, but I have a feeling an action would be slow to implement;

I like what you did with Blackadder, love the idea of a top horizontal table (vs. a vertical-accumulating table); I've been experiencing with the Seinfeld article, and I feel that it may have a flaw, for once the loads of quotes become added, it may be unorganized. On the otherhand, I really like that we can see what a certain character (say Jerry) said during the entire span of the show's existence (instead of the episode break down). I also like the idea of linking the main characters to wikipedia - George Costanza. I almost feel some sort of compromise/collaboration between: The Simpsons + Seinfeld + Blackadder = Solution (so we hope, maybe through a template) also view: Template for TV/Movie quotes? Long list of examples of possible formats PEACE...RoboAction 23:20, 23 Nov 2004 (UTC)

 * Thanks for the compliments. I've started and contributed to several discussions on format standardization and basic decent Wiki markup support for TV and film quotes, and have been frustrated by the general lack of interest, let alone debate or consensus. However, I'll contribute to another attempt at a debate. I've reviewed the pages you mentioned here and added to your posting at Wikiquote talk:Templates with some alternative examples and my own views. We'll see if it gets any reaction. ☺ — Jeff Q 04:22, 24 Nov 2004 (UTC)

Headline text
How do I add an accent mark to words? -- On the hill 03:20, 10 Dec 2004

 * Sorry for the delay in responding. I've been having Internet connection troubles. Based on your different phrasing of this question on your and my Talk pages, I assume you're interested both in how to insert accented characters and how to create an article whose title includes such characters.

 * First, there are two basic ways in Wikidom to add accented characters to text. The "proper" way is to use Unicode special characters (e.g., &eacute; for é). You can find lists of these character labels in many places, including WebReference's HTML Character Reference. Just start the character name with an ampersand (&) and end it with a semicolon . This is supposed to work with all modern browsers and avoids character encoding problems with non-Windows and/or non-English computers, but some very old browsers don't handle this too well.

 * The other way, if you're using a Microsoft Windows computer, is to insert the accented character either through the keyboard (which I don't have time to explain at the moment) or by using the Character Map utility (go to Start->Run, enter "charmap", select the character you want, and press copy to get it in your clipboard; then paste it into place in the Wiki page.) This is not the preferred way, but is in common use.

 * As far as creating articles with accented characters in the titles goes, you can do it the same way you'd create any article referenced in another page. For your cited interest in films, you can go to List of films, add the title (e.g., Amélie) to it, and then click on the resulting red link. This will bring up an edit page for that article title.

 * Incidentally, I noticed that you seemed to be asking this question precisely because of Amélie (which happened to be the first relevant film I thought of — one of my favorite foreign films). I went ahead and moved the Amelie quote page to Amélie, corrected the accent mark in the text, and added it to List of films. Amelie is now a redirect to the actual article (always a good idea when dealing with accent marks). — Jeff Q 19:41, 15 Dec 2004 (UTC)

Off the net for a while
I'm experiencing severe problems with my computer equipment. I expect to be doing only minimal work on Wikipedia and Wikiquote for the next few weeks. — Jeff Q 18:49, 10 Dec 2004 (UTC)

 * I'm back on the air, quicker than I thought. — Jeff Q 19:54, 15 Dec 2004 (UTC)

title: User talk:Jeffq/2004